Drive (2002) User Reviews (7)

A Madcap, Karmic Joyride

[reelreviewsandrecommendations · 7/10 · 6 April 2023]

Asakura is an uptight, obsessive salaryman suffering from excruciating migraines, which a doctor says are related to a trauma from his past. One morning, while idling in traffic, three masked men infiltrate Asakura's car, forcing him to be their driver. They are bank robbers, hot on the tail of the fourth member of their criminal troupe, who double-crossed them at the last minute, absconding with their loot. As Asakura chauffeurs the thieves around, it becomes clear that fate destined the four men to meet; and that karma has a surprise in store for each of them.

Written and directed by Sabu, 'Drive' is a wild crime comedy that takes viewers on a philosophical thrill-ride into the absurd. Fast-paced from the beginning, and boasting lots of weird and wonderful dialogue, Sabu's narrative operates under the familiar thesis that- whether or not we realize it- everything happens for a reason. Karma- and by extension, fate- is the most powerful factor in the lives of Asakura and the others, dictating their experiences. Sabu's characterization is such that the four main characters have individual arcs and karmic journeys to undergo within the overall narrative. Though their impact varies, these interconnected but individual tales make for entertaining viewing- and a couple even verge on the profound.

This is not to say, however, that 'Drive' doesn't suffer from flaws. The narrative loses steam in the last act, and proceedings descend into a lengthy and confusing - though beautifully photographed- action sequence, which the brilliant ending only partially redeems. Furthermore, the karmic journey the youngest of the three robbers goes on isn't as humorous or as emotionally resonant as the other two; and feels hastily concluded. Additionally, the story concerning the fourth robber and a hole in the ground isn't particularly compelling or rewarding, though it does provide some entertainment value.

'Drive' showcases the surreal and stylish cinematography of Kazuo Sato, who collaborated with Sabu on his previous film 'Monday'. As was the case with that project, Sato utilizes bright colors, dynamic angles and inventive lighting to create a vivid contrast between the mundane and the extraordinary. His inventive camera-work throughout- be it of a Buddhist punk rock concert, or a battle with ghostly Samurai- keeps proceedings feeling fresh and off-beat. Sato's cinematography enhances the eerie tone and heady atmosphere of 'Drive', making it a real visual treat.

As well as an aural one, for 'Drive' features a terrific, funky soundtrack from Toshihide Bando and Yasuhisa Murase that adds to the humour and energy of the film, as well as compounding the emotion in dramatic moments. Similar to the soundtrack of 'Monday', the film uses songs by various artists that Sabu contrasts with Sato's surreal visuals. This creates a strange, otherworldly atmosphere that matches his bizarre narrative and quirky characters, while also heightening the film's odd tone.

'Drive' finds Shin'ichi Tsutsumi starring as Asakura, delivering an understated, nuanced performance that ranks alongside his very best. Tsutsumi has starred in at least six of Sabu's films over the years, most recently in 'My Blood & Bones in a Flowing Galaxy' from 2020. Here, as Asakura, he demonstrates a boundless comedic talent, while also making the fellow wholly believable and sympathetic. Alongside him, Ren Ôsugi, Susumu Terajima and Masanobu Andô do consummate work as the robbers, neither over nor underplaying it. They give three pitch-perfect supporting performances that entertain, beguile and leave an indelible impression on the viewer.

With its fast-paced, nonlinear, genre-bending narrative full of quirky and colorful characters- as well as its eclectic soundtrack and assured visual style- 'Drive' is an utterly unique film showcasing Sabu's distinct talent and surreal vision. It is a strongly-acted and well-directed film that, despite some pacing and structural issues, deserves to be recommended as a madcap karmic joyride in every sense.

Low-speed car chase into the absurd

[king_foo · 8/10 · 20 January 2003]

Three bankrobbers chasing the fourth man who has obviously run off with the loot. One man with a headache and a compulsion for traffic rules. They meet, they drive. But first they'll have to wait for a green light. At first this movie starts out as sort of a light comedy, but towards the end sabu twists it into something more serious, using many characters from the spirit world to punish those who let themselves be driven by greed, and reward the pure of heart. This is the second sabu film I have seen(first being Monday) and it meets all my expectations. Although not quite as cynical as Monday, it still delivers good humour and a solid moral. And if you have the chance to see this, it's well worth your money. It's a pity, though, that sabu movies tend to be hard to get for the home user(I live in Northern Europe, don't know how easy you have it in the States), but keep an eye out for it at film festivals.

Remember to buckle up.

[lost-in-limbo · 7/10 · 21 March 2006]

After visiting a doctor to see what was causing his constantly bad headaches, Asakura Kenichi an obsessively mild-mannered salary man is hijacked by three bank robbers while sitting in his car waiting at some traffic lights. Where they order him to chase after that of the fourth robber who took off in their getaway car with all of the stolen money. But these guys have picked the wrong car to hijack and they found out the hard way with them having a night they won't forget.

There's some offbeat, but highly original stuff making its way out of Asian cinema in the last couple of years. And I'm glad say that this one follows the same pattern. I see that the few other user comments here are talking up Sabu, and this being my first experience of his work, I must say this is not one to pass by on. 'Drive' is a more than unusually brash adventure/chase film that has no real target, or destination behind it, but to watch karma take its course in these character's lives. After a somewhat pretty sedate opening it makes way for some unexpected, wild turns with a dash of energy coming from a diverse range of personalities. The car ride throughout the film might be far from bumpy, but what eventuates when they're out of the car is a different story. The first half of the film is filled with a high level of comic relief with the constant squabbling, wry humour, a dose of irony and a pinch of slapstick, but that suddenly changes in the latter half were some dark, surreal and genuine moments creep up into the picture, before it comes to its somewhat drawn-out conclusion. The story does at times preach a bit too much as it focuses heavily on the morality of life and how we should valve our inner well being over materialistic obsession (in this case that's the stolen money). Sure, it does sag in parts, but still altogether its hugely entertaining and what keeps in going is that you don't know what's coming up next. The story and script beautifully evolves each character in helping them find their true calling and when they're given the opportunity, they seize it will both hands with there life changing for the better. Basically, the whole awkward and torrid mess they go through is fate doing its job.

The performances are very good from Shin'ichi Tsutsumi, Ren Osugi, Kou Shibasaki and Masanobu Ando. The four naturally gel impeccably with their amusing interplay and throughout the story we're always learning something knew about them and that of their psyche make-up. Even when there's no dialog, we can read that of the impulsive actions and expressions to understand what they really feel, especially that of Shin'ichi Tsutsumi's placid character Asakura. These four may seem hilariously whacked out during moments, but there are some supporting roles (Asakura's aunty) that make the central ones seem more stable. The soundtrack breaths affection in its dreamlike state and the film's imagery is mesmerizing… well maybe it's not overtly stylish, but from what you see, you just can't believe what's happening and also it's hard not to be interested in how it all turns out. The highlight sequence definitely goes to a fluky (or was it) death scene in a restaurant. There's such an eagerness to provide something out of the ordinary here with its spiritual honour and air of sensation that seem to push all the right buttons.

An amusingly cerebral chase film that clicks together with one pleasurable set-up after another and a real oddity of characters to equal one heart-warming experience.

Wild and imaginative! Sabu's best film!

[HarryWarden · 14 December 2003]

It's a shame that more people haven't seen Sabu's movies. He's one of the greatest filmmakers of our time. DANGAN RUNNER, UNLUCKY MONKEY, POSTMAN BLUES, MONDAY... all blistering, hyperactive chase films packed with unforgettable characters and originality.

DRIVE continues that tradition and is not only the best Sabu film yet, it's one of the greatest films made in the past 15 years. Forget 'Crouching Tiger.' Screw 'Hana-bi.' THIS film is the prime example of the heart, soul and imagination that makes Asian cinema so wonderful.

It's a story that hits the ground running and takes you on a wild ride that goes places you never suspect. No genre is left unexplored. No emotion left untouched.

Why is it that generic, self-indulgent, pretentious art-house dramas find their way Stateside, when inventive masterpieces like this go unnoticed?

First Sabu Film

[pdmc-23460 · 6/10 · 5 February 2017]

friend suggested I watch Drive (2002) directed by Sabu and made references to Quentin Tarantino. I can see some similarities in violence and humor, as well as the episodic nature of this film calls to mind Pulp Fiction. This film about a salaryman office worker (Shinichi Tsutsumi gives a impressive performance) getting his car hijacked by bank robbers is a bit over the top withe the humor and has many fantastical elements that make it original but far from the more grounded in reality of Tarantino. I guess I found those fantastical elements necessary and distracting. However, there were enough positive elements in the film to interest me in seeing more films by Sabu.

Bumpy ride

[politic1983 · 5/10 · 24 July 2016]

'Drive' (not the Ryan Gosling one)is SABU's fifth film, coming two years after his most accomplished film up to that point, 'Monday'. With his first two films, 'Dangan Ranna' and 'Postman Blues', being full of ideas, yet inconsistent in execution, does 'Drive' show a director more in control of his films' final delivery?

A salaryman, parked in his car, minding his own business - apart from eyeing-up the piece of totty with the umbrella - suddenly has three bank robbers jump into his car and demand that he follow a fourth robber in another car. What follows is a comedy moment with the criminals demanding their driver speeds up to catch the car in front, though they picked the wrong car.

Asakura is a man that sticks to the rules, having never stepped out of line in his life. Shots of traffic lights turning red and road signs for speed limits flash on screen to show the cause of passengers' anger, as Asakura follows them by the book. Having now lost the car they were pursuing, the three insist Asakura keeps driving as they have now taken him hostage.

Following an amusing moment culminating in a biro to the neck, the four flee the scene, and it's from this point onwards that things get a little bizarre. Arai, Susumu Terajima's Buddhist monk, winds up on stage with a punk band, spouting scriptures to the band's music to a young crowd. This is a very odd scene, feeling very clunky, with Terajima's words just not feeling natural as they come out.

Arai now a filly-fledged member of the band, the remaining trio get back in the car, stopping for food at Asakura's aunt's, before Masanobu Ando's young Makato has car sex with his girlfriend before getting talent spotted with some baseball batting, in what can only be described as an Aston Villa-esque rash decision from the scout.

And then there were two, but not for long: Ren Osugi's Nishi taking his sick daughter home from hospital. Asakura then finds the fourth bank robber they had previously chased, lying on the floor after having got his arm stuck in the ground, having hallucinations throughout the film as he tries to break free. A bizarre fight scene with a samurai ghost, Asakura then returns the money to the bank from which it was originally stolen, minus his expenses for its return, of course.

As you can tell, there are lots of unusual scenes in this film, throwing in strange and rushed conclusions for each character along the way. Again, there are some good ideas on display here, but again they maybe don't completely cohesively work together when trying to make a coherent film. The use of cutaways and flashbacks works well here in building the characters' stories, but things just don't feel as well thought out. 'Drive' is another interesting film from SABU, though a slightly bumpy journey.

Quirky and disappointing

[poikkeus · 3/10 · 25 December 2006]

Unusual, but not completely successful. What happens when a salaryman is cursed by karma from his suicidal parents, and suddenly finds himself having to drive three thieves to pursue a confederate? The results are sometimes a bit spooky, always artsy, and surprisingly lacking in dramatic tension. DRIVE has low-budget/indie written all over it - which can be a good thing - but the plot (like the main character) is always well under the speed limit for this type of film. After a fascinating opening section on the possible headaches plaguing the main character (underplayed by Shin'ichi Tsutsumi), the plot unfolds unevenly and (like the main character) stops for overlong stretches of time. One character spends unnaturally long periods with his arm in a hole; another spouts Buddhist tracts during a heavy metal concert; yet another reconnects with a girlfriend. I can't say that many of the transactions between characters are particularly riveting.

On one hand, you end up rooting for DRIVE's indie spirit; on the other, you wish the film could have done more with it.