Drive is a rarity in cinema. It’s a no-holds barred, shocking, adrenaline filled ride. The film is brimming with its own unique style of slow, brooding noir with splashes of brutal violence that with each additional scene becomes increasingly unsettling. After sitting through this one, you’ll want Ryan Gosling as your driver every time.

From the top-down, this is a film that deserves a lot of credit. I’ll start with Director Nicolas Winding Refn, who first demanded attention with his stunning 2008 film Bronson. Refn has created a compellingly atmospheric film down to the last detail, it is his attention for detail and eye for new, exciting direction that earns him the praise he deserves, mainly for winning Best Director this year at Cannes Film Festival.

From the start Refn is in control, as the film begins with an opening several minutes that are probably the best I’ve seen all year, we’re thrust headfirst into the tone, atmosphere, and brilliance of Drive, detailing Driver’s (Gosling) impressive skills and Refn’s eye for a quiet excitement that never ceases. We’re introduced to Driver, as Gosling sets the tone for the movie in his characters silent and stoic confidence. Driver is a loner, a Hollywood stunt driver who moonlights as a getaway driver whenever his boss, Shannon, played by the equally impressive Bryan Cranston (Breaking Bad), can land him a gig.

When Gosling begins a friendship that is clearly something more with his neighbor Irene (Carey Mulligan, An Education) and her son, the story really begins to take shape. Irene has a husband in prison, who gets released early into the film and sends their lives spiraling out of control. The husband, Standard (played by Oscar Issac), is not a a clear cut crook, and he clearly is trying to redeem himself. As it turns out Standard owes some guys money from protection he got in prison. It is here when the story turns ugly.

To avoid spoiling you any further, this is where I shall stop covering the plot, despite the fact the trailer shows much, much more. I will say that the chemistry between Gosling and Mulligan is astounding. It is quietly poignant, their feelings expressed between a shared glance, rather then declarations of love or some other more “hollywood” stereotypical love story. This film avoids almost all of them, refusing to follow a conventional storyline.

There is no over-acting here, as Driver hardly says more then a few words here and there, the acting is in the silence. In fact, the majority of the dialogue comes from the supporting characters, particularly the films mobster’s, played superbly by Ron Perlman (Hellboy) and Albert Brooks (Broadcast News). Even Mad Men’s Christina Hendricks provides a small, but important, part as Blanche, a woman who gets in over her head.

Refn weaves in startling violence through the almost stiflingly calm and building pace, as the adrenaline slowly builds until it is unleashed with a jarring fury. In fact, while the action is not center stage, I can’t help but praise the films main “chase” scene, which pushes the bar in terms of its technical and visual achievement, you can’t help but sit back and forget all else for few minutes and enjoy.

Cliff Martinez’s score is perfectly compatible with Refn’s vision, as one particular scene was so much so that is has stuck with me particularly strong. Driver stares out of his stolen speedster with a clam, thoughtful gaze, the scene is uncomfortably quiet. The scene is then pierced with a gun shot. It is so startlingly loud that much of the theater jumped, we then wait a beat and it continues. This is the type of unleashing that perfectly fits the film. It happens over and over again, but no matter how prepared you think you are, it does its job as being a major, shocking contrast within the film.

Drive is pure cinema and impeccably created entertainment. No, it is not your average action movie, because it goes against the Hollywood grain. Perhaps it is channeling past classic films or styles, but really it is something entirely new. As I was leaving the theater, giving my reaction to the studio representative, I heard a man complaining to them about a particular “unnecessarily violent” scene. Yes, it was violent. But in thinking it should be taken out of the film, I think he’s missing the point.

Grade: A