• reverent and free

    Yikes! The Ides of March has it outgrossed.

  • DiscoNap

    I think it sneaks in with maybe Sound Editing, Film Editing, and Albert Brooks, who while not as iconic in the same way, will build up a head of steam the same way Ben Kingsley did ten years ago for a change of pace role in an equally touch, idiosyncratic crime movie.

  • Albert Brooks is just as much of a sure thing for a Best Supporting Actor nomination as Christopher Plummer. The man simply has too much good will in the industry and is playing against type in a stellar villain role. That said, I would agree that is probably the ONLY nomination the film will receive, although if there were 10 nominations this year, it would have definitely been a possibility for the ninth or tenth spot a la District 9 if the buzz on Extremely Loud or Dragon Tattoo completely died off.

  • EDouglasCS

    Jett’s wrong… if Albert Brooks is very likely to get nominated for Supporting Actor that means that people will have seen the movie and considering how many people I’ve spoke to (both critics and actors and filmmakers) who name Drive as their favorite movie of the year, I can’t believe it won’t get 300 members of the Academy saying the same. It’s going to be this year’s Oscar surprise nomination and I’ve been saying it for months.

  • myownhausfrau

    I haven’t seen Drive yet. I would like to go see it, because I think I like slightly stylish Hollywood action movies. But I don’t think I can drag myself to the theater for it because… I have seen “the jacket.” How can I take this movie (or Ryan Gosling) seriously when (I assume) he spends a significant portion of his time onscreen wearing “the jacket?” And I’m not trying to be snarky, I’m deadly serious about this. I really cannot get past the star of the movie walking through the part in whatever manner while wearing a silky jacket with a giant yellow scorpion on it.

  • JR

    I agree with EDouglasCS…Jett overstated the case against Drive – it surely has been seen by enough voters to put it into contention for multiple Oscars, possibly BP, and now likely for Albert Brooks. The lowish box office is not a deadly strike against these art house films’ chances at Oscar glory.

    @myownhausfrau: sorry, but that is an idiotic reason to not see Drive…

  • bobbyperu

    Drive is not getting nominated for Best Picture. Period. While I love the film and think it one of the few visionary movies this year, it absolutely does not go over with audiences, who do not “get” the protagonist, nor does it have any payoff people traditionally expect. Plus, it’s not afraid of extreme violence and gore.

    2 plus 2 plus 2 = no nod

  • raygo

    Maybe Jett’s piece is a bid for planting the seed of reverse psychology in voter’s minds.

  • Chase Kahn

    I agree with bobbyperu, people who aren’t cinephiles or genre whores don’t really respond to it all that well, and even the hardcore film community seems somewhat split on it.

    I would love nothing more than to see it sneak a nomination or two in some unsuspecting categories, but I don’t see it happening as of right now.

  • Hard to win oscars… but I am looking forward to seeing Drive.

  • MarkVH

    There is no f’ing way Drive gets a BP nomination, and if it does then it’ll be a bigger travesty than King’s Speech winning last year. It’s not a good movie – at all. It spends its entire running time self-consciously aping 80s Mann, Hill and Friedkin movies without coming CLOSE to understanding what made those movies good, or cool. It completely baffles me that Jeff can sing the praises of this crap while taking Tarantino to task for his soullessness, or writing the following about The Artist:

    “Repeat after me for the 17th or 37th time — The Artist is all about re-creation, backward visitation and reflective surfaces. It possesses and radiates nothing that is truly its own, except for a desire to give entertainment-seekers a nice pleasant time.”

    That’s Drive in a nutshell.

  • AlexG

    OH PLUZZZEE! Enough with Drive! it’s not what it cracked up to be. Walter Hill did the exact same premise 1000 times better in 1978 with The Driver with Ryan O’ Neal

  • the400blows

    Right on, MarkVH. I think the only moviegoers who liked DRIVE were the Gen X & Y–kids who were too young to see the classics of the 70s and 80s. DRIVE was derivative–plain and simple. It was sorta like TAXI DRIVER without the character development.

  • JR

    Umm…I am in my 50s (thus a baby boomer), and I am a lifelong movie fan, and I loved Drive…some of you guys are really full of shit.

  • Rashad

    Right on JR.

    And as much as I like Thief, Drive is better. Sure it doesn’t have Tangerine Dream but it makes up for it.

  • eddie mars attacks

    DRIVE is not better than THIEF.

  • French Ant

    DRIVE is the best movie of 2011.


  • The Reek

    DRIVE is the most overrated film of 2011.

  • The Thing

    I don’t get the these “extreme violence” arguments against drive. I’ve seen much more violence and gore in other movies, some of which got Oscar nominations. What is it, a total of 9 people are killed? And I’d say you only see 4 of them as visibly overtly violent. The difference is that, rather than make it “movie-like”, Refn decided to make it “life-like” and shock the audience by the violence, so it only appears to be incredibly graphic.

    Will it win? Probably not. But it sure as hell will win a few nominations, including a BP nod

  • Mgmax, le Corbeau

    There are very good things about Drive, but fundamentally it never convinces you that puppy-eyed Forrest Gump and steel-eyed Le Chevy Samourai are even the same person.

  • CitizenKaned4Life

    Movies are often about the subtle push-pull of buildup and payoff between the creative talent (mainly behind the camera) and the audience (in front of the screen), and the fact of the matter is Drive blows its collective wad after an absolutely stellar (credit where credit’s due) 15+ minute opening sequence.

    If it would have been one of those BMW shorts they shot about 10 years ago, I would have literally ranked it as one of the very best in that format. As it stands now, though, it’s bloated even at 100 minutes and the pacing’s extremely wonky, even for something that’s “supposed” to be languid and deliberate.

    Great concept, great score, and undoubtedly some great moments (elevator scene comes to mind), but just way too much dead space. And trust me — this is coming from someone who fucking loves dead space in movies when appropriate (Jackie Brown).

    It really kills me to say this, but — given all of the talent involved here — I think it’s ultimately a bit of a misfire.

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