"Drive … cannot be a subject of film criticism specifically, let alone of a review, the convention of identification already stands in the way, since it claims a film from a film and a director as an auteur. The author is the screen itself: God sive Screen, Screen sive Nature. It is not about coup de maître, but about par excellence. Is Drive a film, i.e. what is (such) a film today? What is the interest, the singularity of its emptiness? It seems to be more crystalline, more polished, more subtracted, more self-reflexive, more paradigmatic, consciously and conscientiously committed to "the consciousness industry." Winding Refn is very straightforward: "I am a fetish filmmaker." Drive is pop, absolute advertising as information, "a complete combinatorial, which is that of the superficial transparency of everything," a video, where differentiating between art-experimental and commercial appears as mere moralizing; it is a fashion/designer video, which continues to be, and is ever more so, the cultural dominant," – Marko Bauer.