Nicolas Winding Refn’s Drive feels like some sort of postmodern mash-up of To Live and Die in LA, Thief, and Miami Blues, which is a very good thing. Rich in atmosphere. Tonally lean and mean but somehow literary. Raw and vicious in a way unlike other recent violent films, it feels like a film out of time in how it marries elements old and new. Somehow it all works as Refn’s cocktail of 80′s synth pop and hypnotic overhead shots of Los Angeles lull the viewer into a rich and dangerous world where life is cheap and an iconic Hollywood stunt driver is the baddest cat on the block.