We’ve received another glimpse into the developing production of X-Men: Apocalypse, and once again it comes from Bryan Singer. Much like we saw as X-Men: Days of Future Past moved through production, Singer is always the first to drop any new images from the film.
Alex Garland makes his directorial debut with the tautly constructed A.I. thriller Ex Machina.
There’s been a whirlwind of speculation for Bryan Singer’s upcoming apocalyptic installment in the X-franchise. With rumors of Tom Hardy as a potential candidate for the role of Apocalypse, the recent casting of Guatemalan-born actor Oscar Isaac surprised some. Issac has officially accepted the lead villainous role for Apocalypse, and we’re pretty amped about it.
[pullquote_left]“My hands are a little dirty.”
“So are mine.” [/pullquote_left] That’s all it took for me. When the trailer came out and I heard that exchange between Albert Brooks and Baby Goose, I knew I needed to see this movie. And now, having seen it, I can tell you that the sheer magnitude of said exchange proves to set up the entire movie from there out, with neither participant fully grasping the effect they will have on one and other.
Brooks plays an L.A. gangster that agrees to invest in a race car, and subsequently a driver. This connection is facilitated by Shannon (Breaking Bad’s Bryan Cranston) who knows Brook’s character from way back, and who employs Baby Goose at his garage. They plan to make a mint letting Baby Goose race.
On the home front Carey Mulligan plays the girl next door, who quite obviously becomes the catalyst that triggers all the trouble for our beloved driver. Brooks’ partner is played by Ron Perlman (Sons of Anarchy) and the cast is rounded out by Christina Hendricks (This week’s Grizzly Girl) and Oscar Isaac. So the cast as a whole is great, but they are merely more than players in the much bigger story. It’s almost as if the story is moving on its own and the characters are just along for a ride. That’s how well this movie flowed.
Vince Mancini over at Film Drunk said: “Drive is Dialog-Free True Romance“. I can see where he would get that, as both Drive and True Romance are unconventional love stories with a crime element, and it even kind of felt like a Tarantino movie, just shot more beautifully and with almost none of the dialogue that QT thrives on. But for me, I think I’d say that’s only half right, and its more like a mix between True Romance and Punch Drunk Love. Never thought I’d say that…
Gosling pulls off the role perfectly, and the pacing, music, and cinematography all lend to an aesthetic that delivers a unique movie going experience. Not at all like the action movie some of the trailers made it out to look like, Drive is so much more than that.
In the end we are met with more ambiguity then I’d like, but overall I loved this movie. It’s one of those where you walk out of the theater with music that you’ve never even heard prior still resonating in your head. It’s a movie that can stick with you, unlike so many new films which are forgotten by the time you reach your car, this is one that will ensure conversation on the drive home.
4.5 / 5.0 Bears