It also boasts bona-fide stars acting against type in a shady LA-noir aesthetic, otherwise dressed up in neon pink with accompanying Eurovision pop music; for good measure, Gosling also sports an ever-present toothpick in homage to a Clint Eastwood Western.

In short, it’s an art-house flick masquerading as mainstream popcorn fair. This is epitomised by the opening stop/start getaway act, which with precision-editing creates more tension and excitement than the more conventional car-chase of later-on. A similar effect is present in the relationship of Gosling’s stunt-cum-getaway driver and young-mum Mulligan. Barely a word passes between them – and there’s nothing physical save a snatched kiss in a lift – but the note-perfect performances mean you understand their motivations intimately.

And it is directed with aplomb: the intensely sharp sound and visuals – with everything from a stock-car’s chassis to Gosling’s leather gloves festishised – ensuring Drive carries weight. Whether you’re watching a foot hammering down on a throttle, a fist hammering down on a face, or a mere snatched glance between Gosling and Mulligan – viewing is at-all-times a visceral, oppressive and yet spellbinding experience. It’s a film that will weigh down upon you for sometime afterwards – and that’s a weight you should welcome wholeheartedly. 

DVD Extras

There’s only one extra worth your time: a lengthy Q&A with Danish director Nicolas Winding Refn. You forgive the fact it’s appallingly shot – complete with unnecessary zooming in-and-out – because it gives you a much greater appreciation of the film’s style and meaning; something such press-junkets all-too-often fail to accomplish. Elsewhere, there’s a redundant trilogy of film trailer, TV spot and some stills.