Ryan Gosling films


The Guardian - G2 - - Front Page - By Ryan Gil­bey


The Place Be­yond the Pines 2012

Or: The Place Be­yond SelfPar­ody. Gosling de­scends into mum­bling method madness as a tat­tooed fair­ground stunt rider re­con­nect­ing with an old flame (played by his real-life wife, Eva Mendes). There is just too much self-aware­ness here: he is weirdly un­able to sug­gest the char­ac­ter’s dopi­ness with­out wink­ing at the au­di­ence.


La La Land 2016

This mu­si­cal was Gosling’s third film with Emma Stone, but de­liv­ers one an­ti­cli­max after an­other: the open­ing traf­fic-jam show­stop­per is like a poor man’s Fame. But Gosling, who plays a pig-headed pi­anist earn­ing a crust play­ing easy-lis­ten­ing stan­dards, gets one of the high­lights to him­self, casually singing the ten­ta­tive City of Stars as he strolls along a pier at night.


Half Nel­son 2006 Think of this as Drugged Po­ets So­ci­ety: as a crack­ad­dicted teacher, whether he is grand­stand­ing in class or slip­ping into in­ac­ces­si­ble cor­ners of his own mind, Gosling gives a fraz­zled but nu­anced per­for­mance. His at­tempts to save a pupil (Sha­reeka Epps) from a lo­cal dealer pro­vide the core of the drama, but the film is alive with cu­ri­ous, dev­as­tat­ing de­tails.




“What do you do?” some­one asks. “I drive,” comes Gosling’s zen re­ply. In his sig­na­ture role, as a name­less stunt­man-cumget­away-driver, he gets a long way on his mute charisma – those fea­tures so un­likely for a male ac­tion­hero ac­tion hero – and look­ing good in a snazzy sil­ver jacket. But the film is all flashy body­work and no gas in the tank.

By Num­bers


Eye- catch­ing early psy­cho-work from Gosling and Michael Pitt as young stu­dents con­spir­ing to com­mit the per­fect mur­der. San­dra Bul­lock is on their tail in this par­tial re­tread of the Leopold and Loeb case that also in­spired Rope, Com­pul­sion and Swoon.


Blue Valen­tine


Gosling and Michelle Wil­liams lived to­gether while pre­par­ing to play these lovers on the rocks. Derek Cian­france’s frag­men­tary struc­ture al­lows them to in­habit the op­ti­mism of their salad days as em­phat­i­cally as the de­spair that later over­whelms them. It’s as plea­sur­able watch­ing them fall in love as it is ex­cru­ci­at­ing to see them fall apart.



This mod­ern­day Ham­let, set among US ex­pats in Bangkok, re-teamed Gosling with direc­tor Ni­co­las Wind­ing Refn. The ac­tor plays an im­po­tent would-be avenger, un­able to kill his brother’s mur­derer. Gosling’s per­for­mance is an ex­er­cise in stud­ied blank­ness: you can­not tell if he’s act­ing or un­der anaes­thetic.


The Nice Guys


Gosling and Rus­sell Crowe had both played shaven-headed fas­cists early in their ca­reers, but by the time they teamed up in Shane Black’s comic thriller, they couldn’t have been more dif­fer­ent. Gosling was now del­i­cate and goofy, Crowe an un­gainly lump; it’s this mis­match that lends the film its spark.


Blade Run­ner 2049


Gosling’s haunted, sor­row­ful face is a good fit for this moody se­quel. He also has some pleas­ing chem­istry with his blade-run­ning pre­de­ces­sor, Har­ri­son Ford, with whom he trades point­less punches be­fore Ford fi­nally says: “We could keep at this or we could get a drink.” The men duly drop their fists and re­pair to the bar. Would that more movie dust-ups ended that way.


The Be­liever 2001

A call­ing- card role that drew a line be­tween Gosling’s Mickey Mouse Club past and his adult fu­ture. Noth­ing could have done the job bet­ter than this in­tense psy­cho­log­i­cal thriller based on the real case of a Jewish neo-Nazi. It dis­played early, in­con­tro­vert­ible ev­i­dence of the Gosling USP: an abil­ity to hold a char­ac­ter’s con­tra­dic­tions and con­flicts in view at all times.

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