A Driver (Ryan Gosling) who acts as both a criminal wheelman, a film stuntman and a mechanic finds himself embroiled in a heist gone wrong with mob connections.

The opening thirteen minutes of Drive are perfect. We see the distinctive pink lettering of the opening credits, we hear the Driver’s speech to his current customer where he explains they have a five minute window of his time, the music throbs (“Tick of the Clock” by the Chromatics) in the background as we see the Driver weaving through city streets at night. He places his watch on the steering wheel, turns on a police scanner and places a toothpick in his mouth. Then we have the chase. Cat and mouse with a police helicopter and squad cars trying to hunt him down before his final ruse to escape. Cue the credits and “Nightcall” by Kavinsky as we see more night time driving shots. We know everything that we need to know about this B movie. It is dripping with style and its leading protagonist has ice cold water running through his veins. A criminal with a code and few words.

When not working as a criminal wheelman our Driver works for garage owner and stunt coordinator Shannon (Bryan Cranston). Shannon is a naïve dreamer who associates with criminals far more dangerous than he seems to understand. He seems to implicitly trust criminal kingpin Bernie (Albert Brooks) despite the leg brace and limp he has been permanently left with thanks to his partnership with a similar criminal enterprise. But he still sees a way out. With his Driver behind the wheel and Bernie’s money he could make a legitimate living on the track.

Everything changes though when our mysterious protagonist meets his neighbour Irene (Carey Mulligan) and her son Benicio. They quietly fall in love. Irene sees a gentle, quiet man who slots into her family unit who can be her protector. But their relationship remains platonic because Irene’s husband Standard (Oscar Isaac) is released from prison shortly after and his links with crime immediately put Irene and Benicio in danger. Standard asks for help and what follows is a heist gone wrong and a spiral of ultraviolent revenge.

Drive is an absolutely phenomenal film and one that I return to regularly. It oozes style, has a phenomenal cast, focuses both on character and car chases, features a superb score and synth soundtrack and delivers a truly satisfying ending shrouded in the myth of its leading character.

At its heart it is a B movie. The car chases and stoic leading man feel like 1968’s Bullitt with Steve McQueen. The driving shots, its gritty crime element and the fact that Albert Brooks has a prominent role reminds me of 1976’s Taxi Driver. Whilst the essence of cool and a plot that focuses on criminals reminds me of films like Out of Sight and Pulp Fiction. But this is not just an amalgamation of other films and ideas. Drive is a film that will inspire future film makers and itself be a blueprint for them.

Ryan Gosling is at the top of his game here. His protagonist has no backstory and shows two distinct sides to his personality. When he is with Irene and Benicio he seems kind, sensitive and almost childlike. When he sees them threatened by the criminal underworld that he inhabits he is unflinchingly violent whilst still seeing himself as protector. Gosling delivers what he always does in his best performances, subtle but powerful facial expressions and physical movements that convey volumes of emotion. It helps that he effortlessly pulls off a jacket with an embroidered scorpion on the back.

The supporting cast are to die for as well. Carey Mulligan is sweet and innocent as the woman that makes our protagonist want to be better. Oscar Isaac is a criminal with a heart of gold. Bryan Cranston is a father figure who keeps making mistakes. Ron Perlman is an impulsive psychopath. Christina Hendricks conveys fear expertly in a small cameo. But the supporting plaudits must go to Albert Brooks who delivers a role completely against type as a softly spoken and incredibly scary criminal.

Add to all of the above some short, sharp action sequences and realistic car chases and you have a perfect action movie.

Now I think I need to go and listen to “A Real Hero” by College & Electric Youth from the soundtrack again and just revel in that perfection.