Drive [4K UHD]

Product Information

This is stylized in this way; it gives the movie a filmic look and an almost '70s look which I really like. Like a sort of mash-up of Robocop, Iron Man and Lethal Weapon with added Kung Fu, this unashamed hybrid genre piece will keep you hooked with its thrill a minute pace and fabulous science fiction premise. There is one scene that runs the gamut from deeply moving first kiss, to bone crunching destruction and violence, to crushing remorse in a 60 second window and the full rollercoaster of emotions is displayed with never a word uttered. Anyone expecting a 90 minute Car chase movie in the realm of Fast and the Furious and to some extent the classic Vanishing Point will be dissapointed though. The footage was recorded to HDCam-SR tape in ProRes 4:4:4 format, with real-time color correction performed via a FilmLight Trulight On-Set system.

This Ultra HD Blu-ray delivers a glorious 4K presentation, Dolby Vision HDR graded by the film's original colourist. Second Sight’s standard 4K Ultra HD release of Drive is UHD only, with a Region B Blu-ray version released separately.If anything though, this movie feels like something Michael Mann might have directed in the eighties – all about colours and tones, perfectly framed shots, heavy stylisation, striking visuals and diegetic/non-diegetic electric beats, rich in symbolism and carrying a palpable atmospheric energy. It’s a lesson to other filmmakers that good pacing doesn’t necessarily require keeping things moving at all times.

A bit weird to see in a 4K scan of the negative, but not all that distracting and alarming throughout the presentation. In this new interview, Tobin describes how he ended up being an extra in the film and how his perception of Hollywood success has changed over the years. Second Sight's 4K of Drive enjoys simultaneous standard and limited edition releases, with the main extras remaining identical across the two, but a number of premium packaging exclusives coming in the limited edition, including; a gorgeous box with 3D embossing on the outside and on the slide-out compartments; a 240-page hardcover book with new essays by Travis Crawford, Hannah Strong, Alison Taylor, Matthew Thrift, Simon Ward, Thomas Joseph Watson and Emma Westwood; exclusive written interview with Drive author James Sallis by Matthew Thrift; and a gallery of original storyboards, stills and behind the scenes photos, completed with a copy of the original novel with exclusive new artwork by AllCity, and 7 collectors' art cards.Drive is a magnificent modern classic, a landmark indie production; a low-key B-movie framework made striking by unexpected plot deviation and narrative subversion, unusual often against-type characterisation from an ensemble cast who all provide tremendous performances (Gosling, Bryan Cranston, Carey Mulligan, Albert Brooks, Ron Perlman, Oscar Isaac, Christine Hendricks), breathtaking visual energy, a stunningly sublime soundtrack, richly evocative symbolism and imagery, and an effortlessly cool style. Anyone who has watched his infamous dialogue with William Friedkin will attest to the first part of that statement.

This would cover any potential low-bit-rate moments and any ability to resolve film grain in poorly lit scenes. It didn’t look like damage to the transfer or to the source material, but rather some generation loss that must have been inherent in the source they pulled from. I hope you're a company like Kino Lorber; they take criticism well and have changed the way they transfer their movies on 4K. The sparse dialogue leaves huge portions of the story that stand and fall on the acting ability of the cast.And it is one of the better western releases emulating the Hong Kong action scene (with a weird sci-fi gimmick), all the way to the strange comedic undertones and buddy-cop esthetic. Gunshots and explosions are given some decent height, plus the score gets a nice and commanding presence. It’s only the background details that sometimes show the limitations of the 1080p capture, with grass and other vegetation looking softer and less defined. The simple fact of DRIVE is that this film was the purest expression of the language of cinema that came out of 2011.