![]() Think of Paul Verhoeven’s mischievous satires RoboCop and Starship Troopers. Nicolas Winding Refn, a Danish director best known for the Pusher trilogy and 2008’s thug-opic Bronson, is proof of the fact that American pulp is sometimes much better done by Europeans. But it also has a sequence of a man having his cranium reduced to a bloody pulp by an enthusiastically deployed boot à la Gaspar Noé’s Irreversible, someone gets a fork shoved in their face, and a good portion of it is shot in slow motion. Drive is very much like Shane, in that it has a strong, silent hero, determined to do right by the innocent while struggling against his character which, as Heraclitus so pithily put it, is also his fate. Alan Ladd's 1953 classic Western Shane is a tale of a man who, trying to escape his past, turns up at a homestead and, in trying to save a woman and her child from black-hats, finds himself drawn inexorably back into the violence he has tried to escape.
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