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erotictransference:

First look at Ryan Gosling in Nicolas Winding Refn’s Only God Forgives

!?!?!

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HEJ CHARLIE, you should probably check this meme out.

(Source: swedishryangosling)

heygirlteacher:

submission: cabaretchatnoir

I am Ryan Gosling in this meme.

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ifc:

nervemedia:

Fanboys rejoice.

And here it is. I’m genuinely surprised I haven’t seen this in my neighborhood yet. I except all blonde guys with short hair in Williamsburg to be The Driver for Halloween.

WEAR THE JACKET. BE THE DRIVER.

(Source: thetvscreen, via quarantino)

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I just got back from seeing Drive. This is a great movie. It’s a return to the action movies of the seventies: Walter Hill’s The Driver, which has a similarly stoic and unnamed protagonist, also known as “the Driver”; Steve McQueen’s car chase films like Bullitt, which took their time in telling their plots; and even classic samurai films, which lull you into a false sense of security before cutting through the audience with harrowing, brutal violence. Drive washes away the CGI and ADD-addled Fast and Furious movies (full disclosure: I’ve never seen any of those) and brings old-school car-chase movies back with a vengeance, with some arty, European style thrown in for good measure.

There’s more to note, too. The cast turns in fine performances; they’re mostly a little stoic—though warmer than Gosling—but it makes sense given the material. Most interesting of all is Albert Brooks, who plays against decades of comedic roles as a ruthless gangster. An ’80s-influenced soundtrack—it sounds like M83, as a point of reference—pulsates throughout the film, complementing the neon-drenched L.A. streets and the swirly pink font of the opening credits. The opening sequence itself is a taut chase which is notable for relying less on car balletics and far more on tension, that gripping sensation of maybe being found out.

The first couple of acts are slower-paced, focusing on the nascent romantic relationship between the Driver and Irene, played by Carey Mulligan. But in the middle, the movie literally shoots you through the chest and hardly lets up. The violence in Drive is so fantastic because it’s got legs; this isn’t the cartoonish make-believe of Kill Bill or John Woo. It’s the real deal, even though most of it occurs off-camera. You’ll probably flinch due to how the film frames these sequences. It feels good, though, because there’s a thrill of not knowing what’s going to happen next that’s missing from most films in this genre.

Drive is an interesting marriage—the art-house meets the grindhouse—but it works very well. This will end up as one of my favorite films of 2011.

DEAN: Do you know what happened to that guy Walter?
Cindy makes hand motion
DEAN: You gotta do it like that?! 

(via francodave)

(via imfantasyparade)

enternechoplex:

Still from Blue Valentine.

This was excellent and is one of my favorite movies of 2010, alongside The Social Network (note that I haven’t seen any foreign movies so far this year!). Much like that movie, it gets better the more I think about it (the opposite happened with Black Swan). It’s raw, gritty and the acting was amazing! If you told me years back that one of the girls from Dawson’s Creek and the guy from The Notebook would be two of the best actors of their generation, I’d have laughed. But the thing is, they really are! Especially Michelle Williams, whom I now adore. Her portrayal of both a starry-eyed college student and a nurse whose relationship with her husband is at the point of no return was fantastic.

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Does anyone know if this is getting a wide release? I really want to see it! ;_; It if does, I’m dragging someone (Catherine!) to see it with me.