“˜Driven’ doesn’t crash, but it’s stuck in cruise control

  Franchise Pictures Sylvester Stallone
and Burt Reynolds star in Franchise Pictures’
high-tech drama, "Driven."

By David Holmberg
Daily Bruin Staff

If “Driven” were a car, it would be losing the race.
While not completely out of the running, the best this uncommitted
film could hope to place is a distant second. And given its
competition, that is not saying much.

The film begins as all movies of this genre must: with cars
racing and fans adoring. The ubiquitous rookie driver is
immediately introduced as Jimmy Blye, who is played with genuine
naiveté by Kip Pardue. The just-as-necessary “bad
guy” driver arrives with no less speed, with Til Schweiger
filling the role of Beau Brandenburg. The pleasant Estella Warren
plays his girlfriend, Sophia Simone.

The next cliché is the classic “talented rookie who
only needs guidance to succeed,” which leaves the question of
who will teach this floundering student.

The owner of Blye’s car, Carl Henry, played by the
surprisingly imposing Burt Reynolds, believes only a veteran,
someone who knows the game, can tame him and make him a winner.

Time for Sylvester Stallone to step up. In his best performance
in years, Stallone takes the role of seasoned race car driver Joe
Tanto, and does so with serious determination. Stallone is an actor
who has tremendous honesty and strength of character, and is
terrific if given the right role.

Despite his sometimes questionable choice of films, he generally
latches on to characters that have a troubled past, giving them
some purpose. “Driven’s” Tanto is no exception,
and Stallone fills him with the worn and weary disposition of one
who has been to the top and then landed right back where he
started.

In a departure from many other car films, “Driven”
attempts to capture more of the driver’s perspective in the
heat of the battle. Computer graphics have the ability to do this
like never before, but the results are inconsistent. The frequent
car crashes are spectacular, and in themselves worth seeing, but it
is hard to believe most of the drivers could walk away from the
wrecks.

More often than not, the unrealistic computer-generated effects
give the impression of a big video game unfolding on the
screen.

Besides a distinct separation from reality, the video game
nature of “Driven” also causes the film to merely
hydroplane over its already thin plot, instead of trying to get
inside the drivers.

Although frequent close-ups of the drivers’ eyes try to
burrow inside their persona, it is more frustrating then insightful
because it breaks the action and removes the audience temporarily
from the race.

Moderately successful are the attempts to show the overwhelming
fame and unwanted publicity that inevitably arrives with
Blye’s wins. Conflict continually arises between Blye and his
manager-brother Demille Blye (Robert Sean Leonard). Today’s
world of sports is clearly one where the import of advertising
beats talent, and winning becomes everything because the media
makes it that way.

The fawning crowds also give a touch of realism, although it
would seem only overweight men and knockout blondes in tight shirts
frequent these racing events.

Like a car lacking fuel, the film appears to coast from start to
finish, revving its engine only once in a spectacular albeit
unnecessary race through downtown Chicago. There are never any
chances taken, which results in an ultimately lackluster film. A
relationship between Blye and his foe’s girlfriend, Sophia,
almost happens, but when it is avoided all is forgiven.

Tanto has feelings for the reporter (Stacey Edwards), who is
doing a story on racing, but apparently there is no problem with
the conflict of interests so they continue with their would-be
taboo relationship.

What the film really needs is some integrity; it needs Robert
Duvall. “Days of Thunder,” arguably the best, if not
only, actual Hollywood racing film, has Duvall’s valuable
presence, as does the recently overdriven “Gone in Sixty
Seconds.”

While themselves not perfect, both films have the Duvall factor
to propel them to the line.

What Tony Scott’s “Days of Thunder” also has
is actual racing excitement. There are not any computer generated
additions to this 1990 Tom Cruise classic, and the adrenaline feels
real. Plus, a tense love story, which “Driven” sorely
lacks, between Cruise and now ex-wife Nicole Kidman, gives
relevance to the off-the-track story.

In the case of last year’s “Gone in Sixty
Seconds,” Duvall is about all the film has on its side, that
and hot cars and equally fiery women, most notably Angelina Jolie.
While it fails to live up to its potential, the film is focused on
a single goal, something of which those behind “Driven”
needed to take note.

Although a veteran himself, action director Renny Harlin
(“Cliffhanger” and “The Long Kiss
Goodnight”) seems content to just let the film drive itself.
Stallone wrote the script, which, although it has moments of
sincerity, lacks the passion and truth of his best work,
“Rocky.” Another underdog film, it was a more brutally
realistic view of trying, and failing, to win against all odds. But
instead of a title, he learns something more valuable about himself
in the process.

“Driven” may not crash and burn, but at such low
speeds it is impossible to do much damage. Despite its serious
flaws, it is sadly still one of the better racing movies to date.
The only future this tiresome genre can have is an upstart rookie
coming from no where to take the lead, but perhaps even this
time-tested cliché cannot rescue the lagging competition from
the video store wasteland.

FILM: “Driven” is now playing in
theaters nationwide.