With a name like “Drive,” the first image that comes to mind is that of your average summer blockbuster film; complete with high-speed car chases, shoot-outs, and the usual good guys vs. bad guys plot-line. But “Drive,” the latest film by Nicolas Winding Refn, based on the novel “Drive” by James Sallis, delivers something completely unexpected.  Simultaneously extreme, yet slow-paced, violent, yet full of heart, “Drive” is not a film that is easy to categorize. It was also nominated for Best Sound Editing at the Academy Awards, but lost to “Hugo.” Definitely not intended for people just looking for their Saturday-evening thriller, “Drive” has a tendency to confuse you, clench your stomach, and tug at the back of your mind for many hours following, like an uncomfortable dream that won’t fade away. It is not for the faint of heart.

Our protagonist is never named in the film. Throughout, he is simply called “The Driver” (Ryan Gosling). He is a mysterious character, working three jobs, all of which are related to cars: a mechanic, a stuntman for Hollywood movies, and a getaway driver for heists. One day, he meets his neighbor Irene (Carey Mulligan) and her son, Benicio, and starts to form a friendship with them. He learns about Irina’s husband named Standard (Oscar Isaac), who has been in prison for committing burglary, and is soon to be released. It appears that, while in prison, Standard paid a lot of protection money, and now owes it to the mob. If he doesn’t pay it, they will come after Irene and Benicio. The Driver decides to help by acting as the getaway driver in a heist, which, if successful, will free Standard from his debt. In the process, he is caught up in a world of mobs, double-crossings, greed, and murder. Although trapped in the middle of this unexpectedly, he nonetheless keeps his focus, determined to overcome the odds, not for material gain, but ultimately for the protection of his own life and of the people he has come to care for.

“What do you do?” asks Irene when she meets our protagonist. “I drive” is the response. The Driver, as portrayed by Ryan Gosling,  is the epitome of the strong, silent type. Think of the Man With No Name from “The Good, the Bad, and the Ugly” or the Preacher from “Pale Rider.” The movie has even been likened to a modern western, replacing the old west with the back roads of modern Los Angeles, and the horse with the automobile. The often-repeating image, which is sometimes overdone, is that of The Driver sitting at the wheel of his car, driving through Los Angeles at night, quiet yet watchful. What exactly is hiding behind his stern, confident expression is never fully clear to the audience. Not once do we learn anything about his past, nor is it easy to predict his next move. Although seemingly a peaceful man, he will not hesitate to spring to action and do what is necessary in order to protect his life and that of the people he cares for. Gosling, a rising star with an already impressive line-up of films behind him, falls into this persona with an almost flawless performance. It is one of the highlights of the film.

With a star-studded cast, which also includes Carey Mulligan, Bryan Cranston, Christina Hendricks, Ron Perlman, and Albert Brooks; the movie pays tribute to older actors with a long history behind them, while simultaneously focusing on new, up-and-coming stars. Each character within the film fulfills an archetype, as if they are straight out of a Brothers Grimm fairy tale. We have the hero- The Driver; the damsel in distress- Irene; the ill-intentioned side player- Shannon (Bryan Cranston); and, of course, the dark villain with no heart- Bernie Rose (Albert Brooks). Brooks, in particular, gives a performance worthy of an Oscar nomination, although he was sadly left out when the nominations came in. The once stand-up comedian goes against type in this role, yet is able to portray a villain with surprising believability. Strong-willed, and also not afraid to act or to kill on impulse, Rose serves as a perfect contrast to Gosling’s Driver.

The film’s pace is lethargic and slow, which is quite unusual for a film named “Drive.” Nothing in particular happens for at least the first 40 minutes.  We are introduced to The Driver and to Irene, and see several montages of them getting to know each other. Then about halfway through, the film literally starts to pick up speed. We are thrown into a perplexing world which has suddenly been filled with murder and violence, followed by the only really entertaining car chase in the entire movie. But as soon as we are taken to a world of extremes, with often unnecessarily bloody scenes, we are taken back into the same slow, dragging pace as had been present in the first half of the film. It is a switch that is not easy to become accustomed to, and has the ability to make almost any viewer uncomfortable if they are not prepared with what is to come. The film’s music also lends itself to this polar contrast, as it is over-cast with tense, heartbeat driven repetitive beats during quiet moments, followed by 80’s-sounding dramatic ballads and overpowering classical pieces when the film starts to quicken its pace.

Like the cowboy who, after saving the day, rides off into the sunset, alone, the last image is of The Driver in his car, driving into the Los Angeles night, heading to an unknown future. The film is not at all what I expected, and although it has received good ratings, I found that it did not quite live up to the hype. Refn seems to try too hard to go against tradition. He has created an action film with almost no action; a “fairy tale” with an assortment of characters that attempt to fit into archetypal roles, but come across as unlikable and cartoonish; and a modern western that doesn’t remotely compare to your traditional cowboy on horseback. Although possessing a sort of unique creativity, I nonetheless came away from the film disappointed as a whole. Sometimes, it’s better to just stay within the box.