Doraibu

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.

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.

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.

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?

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.