The Drive: Another Review. By Thomas Tobutt.
This review contains spoilers for the main narrative – discussing the film without addressing it would have been vague and difficult.
There are very few events throughout history that have truly rocked the entire world, regardless of beliefs or opinions. But of those few, many would picture the event itself and how it would have played out. The Drive (2026) takes that perception and flips it on its head, depicting one of America’s darkest moments from a different angle – John F. Kennedy’s assassination.
With a seemingly bright opening highlighting a routine school carpool, things drastically change once the tyres start rolling. The regular drive soon turns sour with explicit imagery being described on the radio. Having children present in the back seat, our lead Liz (Amber Paul) has no choice but to turn it off.
As the short runtime progresses, The Drive (2026) manages to tell an efficient story through facial expressions, limited dialogue, and the audience’s knowledge of history. Amber Paul’s quiet performance highlights the sudden and shocking news that struck all the US’s citizens, as well as those worldwide. From living a normal day of her life, to not knowing the fate of her country’s future would be terrifying, and her performance (whilesimultaneously protecting the children) displays that distress.
The premise is very simple yet clever, with David Arrow’s direction enhancing that potential. With the assistant of costumer designer Leon Dobkowski, and cinematographer Mark Raker, The Drive (2026) transports the viewer straight back to the 1960’s to feel this tragedy with the characters. Their contribution (alongside Amber Paul’s) is essential to generating a response to the narrative. With the majority of the short’s events taking place within the car, it could easily be tough to craft a sense of unease or suspense.
The Drive (2026) is a much quieter depiction of a global tragedy. By switching to the focus of your ‘everyday civilian’, it is easier to develop a personal attachment and relatability. Furthermore, the commitment to an accurate depiction of the 1960’s helps ensure you have been transported back to a moment in history, where such big events wouldn’t reach the whole public instantaneously. By dumping the viewer straight into the thick of it, this twelve minute short leaves an immediate impact.
