The Driver

Hot movie insights during the driver: when Ryan o'Neal is driving he looks exactly like Ryan Reynolds. Solved the mystery of twincinema getting hot under the collar watching him handle those phallic shifts.

An effective demonstration of the fact that, when it comes to dialogue, the distance from minimalistic to bad is very short. It’s not difficult to see what Hill was going for, but there just isn’t much going on thematically and the actors struggle with the weak lines. No doubt the car stuff is above average, even if O’Neal’s expressionlessness behind the wheel almost starts to seem like a joke.

This movie featured a bunch of cars flipping over and/or crashing, and none of them exploded. What?! Gawd, so unrealistic!

Barry Lyndon gets into some good car chase scenes and, well, that's pretty much it. I liked it.

Walter Hill wrote this film with Steve McQueen in mind (Hill wrote the screenplay for "The Getaway", a lot of whose elements get recycled here), but O'Neal is very good. Isabelle Adjani has a large supporting role, and she's masterfully spooky. If I have one complaint, it's that I'm not so fond of Dern. I don't think it's really him as much as how his character is written. He's loud, bombastic and wordy and he kind of breaks the film's spell.

I love the kind of film where the main character's main attribute is that he's really, really, really good at driving. Man, look at him work that shift. Oooh, baby. Am I the only one getting hot in here?

A voguish, state-of-the-art exercise in style that takes the macho codes of honor and pares down to the most existential distillation of tone. The setting is tough as nails, characters are anonymous avatars without backstories, the performances cold as ice. But what is amazing is how right that is for this film. It's about essence. And it's essential in a lot of ways.

As lean and mean as its biggest progeny, Drive, but with that distinctly 1970s edge. It's not as pulse-raising as some later L.A. crime flicks, but it exudes professionalism from start to finish, and is bookended by a pair of absolutely fantastic car chases. The cowboy flourishes that define O'Neal's titular character seem a bit mannered, but are effective nonetheless. And hey, Ronee Blakely!

Few good chase scenes. Nothing more, nothing less.

The destruction of the Mercedes and the pickup truck chasing the Trans-Am are fantastic scenes. This part was made for Ryan O'Neal. I was less impressed with Dern and Blakley.

Not visually but in a lot of other ways, I preferred this to the 2011 remake. Bruce Dern is great and truly unlikable in his role. Ryan O'Neal tries but seems miscast to me.

A good original, but everone always says the old movies where the best, nah, the stories where- but not the script, acting was great but the script could be better and more music like, “literally me” in drive 2011

???????? - 1 ???????? - 1 ????? - 2 ?????????? - 3 ??????????? - 2 ?????????? ????? ???? - 2 ??????????? - 1 ????????? - 3 ?????? - 1 ????????? ???? - 2 ????????? - 1 ????????????? - 3 ?????? - 4 ???? - 3 ?????? - 3 ???? - 1 ???????? ?????? - 3 ??????? - 3 ??????? - 4 ?????? - 61 ????? - 60

Elegance and efficiency. I guess we will never see such beautiful car chases and driving sequences ever shot -- that scene in the garage, with Driver destroying the car piece by piece is just a bliss. A movie that is all about a deadly game being played, with the exception that we know nobody is gonna win it. Quiet and loud, slow-paced and relentless. What a masterpiece. Perhaps the most influential action film of the 1970s.

It's just so flat. The driver bits are OK, maybe groundbreaking for their time but done so much better elsewhere (The French Connection for example). The drama inbetween? Ooof. Not thrilling and plot holes I could power-slide through. Bruce Dern's cop is corrupt, unlikeable and useless, Ryan O'Neal is just there and Adjani struggles to exist. Dull non-surprise throughout. Worth seeing only for the references to better films, Drive and Baby Driver in particular.

Occasionally (and quite surprisingly!) sublime photography, but the plot just seems like French Connection fan fiction. Acting is quite good given that this is essentially pulp grindhouse, but it's ultimately a forgetable 70s crime thriller.

Kind of a soul less Melville with cool car chases.

Good atmosphere, but too empty of a film to really impress.

There was lots of driving in this film there was

A tough, highly stylized thriller with amazing sound design and car chases.

T.D has been described by some as an existentialist action picture in the vein of Le Samourai, or a Bresson film with car chases. It's not a bad description, as Hill pares down his already minimalist style to its bare essentials, but it doesn't quite rise to those lofty heights due to some minor problems like Adjani's bad acting and a lack of thematic ambition.Thankfully Hill delivers expertly chereographed action; the car chases are thrilling and O'Neil is surprisingly good in the titular role.

Quite straight-forward and doesn't waste any of its minimalist script, making this a solid and often engaging thriller-action, with quite the effective yet subdued style (the cool factor increased by Ryan O'Neal's hardly-changing face). The car chases that open and end this film are incredible (proves how much more effective sound design is over music), and there's a pretty amusing car scene in the middle as well.

gözler bir genç newman ya da redford arıyor ama onun dışında her şey tadı damakta bırakarak ilerliyor. suç filminde sürece çok odaklanmadan suça dair ufak sorgulara girişmek, bunu hem görsel olarak -edward hopper var lan filmde adeta- hem de anlatı olarak stilize biçimde ve keyif vererek kotarmak... hayran bırakıyor.

It's a beautifully tight and well-constructed piece of work. Famously a lot was cut but watching the finished product I'd say none of it was needed.

Not terribly exciting outside of two nifty car chases that bookend the movie. The characters don't have particularly strong motivations, but the idea of a rundown, world-weary career criminal (Ryan O'Neal) is an interesting one and is explored to greater effect in 2011's DRIVE, which this film clearly influenced.

It's a wonderfully atmospheric film with some great car chases. Not complex but it does what it sets out to really well.

Cool é a palavra que define bem esse filme. Pontos a mais pelas personagens femininas aqui apresentadas, especialmente Ronee Blakley, que diferem das donzelas que normalmente aparecem em filmes com elevada testosterona - mas isso é uma característica do Hill, ele sempre coloca personagens femininas fodonas em seus filmes. Sem falar que ele também se supera com antagonistas irritantes, aquele Bruce Dern é um pé no saco aqui.

Solid Hollywood entertainment about a professional getaway driver. Good car chase scenes, including a "slow" chase. Ryan O'Neal not only doesn't ruin the film, but he's not bad in this. Still, I think with different casting (replacing O'Neil and Dern), and this could have been better. A pleasant discovery.

Somehow Walter Hill skims all cinematic excess off the top of the story and it still has its own distinct flavor. And: some truly audaciously choreographed car chase scenes.

Ryan O'Neal is a name and face I instantly recognize, but I just realized this is the only movie I've ever seen him in. And in it, he gets one upped by Bruce Dern, but that's forgivable.

Amerikan suç filmi klişelerini lehine kullanmayı başaran, çok iyi çekilmiş araba-takip sahnleri olan iyi bir seyirlik. Tabii bi de, femme fatale rolündeki Isabelle Adjani faktörü var.

Kinda fun, but cheesy. None of the acting was very good - especially Adjani, but she doesn't seem to ever be able to act. The dialogue was a little cheesy-noir at times as well. Not really amazing or anything special, but still fun.

75.625.

I don't know, it's not like I actually dig the non-tempo, distant, isolated, cold vibe of Walter Hill movies...but it's alright.

Worth watching, however there's nothing that really distinguishes this from any other average crime film. Two great car chases doesn't make a movie good, and the rest of the film is not particularly interesting.

Ryan O'Neal. Snore.

Some great car chases, cool nighttime LA locations and Bruce Dern redeem this from O'Neal's wooden performance.

Fine piece of 70's crime cinema, with excellent car chases, nice sound effects and Ryan O'Neal looking cool throughout.

It's a pretty cool movie. It doesn't have a sexy soundtrack or gorgeous cinematography, but I liked it.

Tries really hard to be a city version of Vanishing Point, but Ryan O'Neal just doesn't have the charisma to pull it off. Great car chase scenes though.

The Driver is very good light entertainment, unlike some action movies of its day that are boring. It has very well choreographed car chases, smooth editing, great rhythm, a good cast featuring the outrageously gorgeous Isabelle Adjani and other lookers who can also act. The winding plot is clear and easy to follow, although much of the characters' behavior is contrived and implausible. It's serviceable fun.

A minimalist, chase-filled tale of obsession that appears to be a tribute to the understated but intense crime thrillers made by French director Jean-Pierre Melville.

Alright. Plot could be better, acting could be better, car chases could be better.

The minimalism that was supposed to make this so interesting never really surfaced for me, but just came off as half-assedness.

Exercise in genre minimalism disguised as just another action picture

I've seen this multiple times and it remains an enjoyable, solid piece of 70's action which should be better known. There are some cool car chases, lines of bad-ass dialogue and great shots of night-time L.A. O'Neal is the driver, Dern is the detective and Adjani is the player. That's all we need to know about the characters, and there is no point in searching for deeper meaning. That is also what's keeping this film from rising to bonafide classics of it's era. And that's just fine.

Some memorable moments.