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Lee (2222 KP) rated Bad Times at the El Royale (2018) in Movies
Oct 16, 2018 (Updated Oct 16, 2018)
Nice mystery thriller
The El Royale is a bi-state establishment. A painted red line runs straight through the centre of the car park and right through the centre of reception, leading to a jukebox. One half of this hotel lies in Nevada, the other half in California. The rooms on the California side are a little more expensive because.... well, because it's California!
A number of guests arrive in reception - Jon Hamm is a vacuum cleaner salesmen, keen to stay in the honeymoon suite, Jeff Bridges is a priest and Cynthia Erivo a singer. They chat a while as they wait for somebody to return to the reception desk so that they can check in. And then another woman arrives, played by Dakota Fanning. She's not so chatty.
They all head off to their rooms and begin behaving in very different and mysterious ways. One is taking the room apart, removing microphones and phone taps, another is lifting up floorboards, another is singing into the mirror while another is bringing in a body from the boot of a car.
There's not a lot else that can be said without giving things away but much of the movie is spent exploring each of these characters and what they're all up to. We go back in time days, even years, exploring their past a little and discovering what brought them all to the El Royale. Stories within the hotel overlap and affect each other, with twists and turns revealing different motives for various people. It's all very mysterious, very well executed and very enjoyable.
Where I felt the movie falters is in the latter third, with the introduction of Chris Hemsworth. I didn't really buy into his character at all and that's when the pacing, the mystery and the enjoyment fell apart somewhat for me. It picks up with a couple more twists and surprises towards the but at 141 minutes, I feel the movie could have easily benefited from losing 20-30 minutes from its run time. Overall though, this was an enjoyable bit of fun.
A number of guests arrive in reception - Jon Hamm is a vacuum cleaner salesmen, keen to stay in the honeymoon suite, Jeff Bridges is a priest and Cynthia Erivo a singer. They chat a while as they wait for somebody to return to the reception desk so that they can check in. And then another woman arrives, played by Dakota Fanning. She's not so chatty.
They all head off to their rooms and begin behaving in very different and mysterious ways. One is taking the room apart, removing microphones and phone taps, another is lifting up floorboards, another is singing into the mirror while another is bringing in a body from the boot of a car.
There's not a lot else that can be said without giving things away but much of the movie is spent exploring each of these characters and what they're all up to. We go back in time days, even years, exploring their past a little and discovering what brought them all to the El Royale. Stories within the hotel overlap and affect each other, with twists and turns revealing different motives for various people. It's all very mysterious, very well executed and very enjoyable.
Where I felt the movie falters is in the latter third, with the introduction of Chris Hemsworth. I didn't really buy into his character at all and that's when the pacing, the mystery and the enjoyment fell apart somewhat for me. It picks up with a couple more twists and surprises towards the but at 141 minutes, I feel the movie could have easily benefited from losing 20-30 minutes from its run time. Overall though, this was an enjoyable bit of fun.
JT (287 KP) rated Richard Jewell (2019) in Movies
Mar 10, 2020
Richard Jewell (Paul Walter Hauser) is a softly spoken, overzealous university campus security guard whose heart is in the right place and is dedicated to his job – maybe a little too much.
When he discovers a backpack containing a pipe bomb at a celebratory music concert at the 1996 Summer Olympics in Atlanta, his quick thinking saves countless lives. Unfortunately for Richard, he becomes the prime suspect in the investigation and with it, his life is turned upside down as he’s thrust into the media spotlight.
Directed by Clint Eastwood Richard Jewell follows in similar vein to films like American Sniper and The 15:17 to Paris where the central characters struggle with the media attention they receive in the aftermath of events.
The scene during the concert is recreated with meticulous precision and attention to detail and there is genuine tension as you realise that at any point the bomb is going to explode. The investigation is led by FBI agent Tom Shaw (Jon Hamm) who with little to go on places Richard in the spotlight and will stop at nothing to prove his guilt, using every trick in the book to get Richard to confess.
Atlanta Journal-Constitution journalist Kathy Scruggs played by Olivia Wilde was portrayed unfairly for implying that she traded sex for stories. Having died in 2001 she was not around to defend herself, which is a black mark for Eastwood on an otherwise very well directed film.
The journal ran the story much to the delight of Scruggs, but it painted Jewell as the villain causing considerable pain to him and his mother Bobi (Kathy Bates) who delivers another acting masterclass in her supporting role. Scruggs realised her error later on but it was too little too late as the damage to Jewell’s reputation had already been done.
One of the highlights of the film is the relationship between Richard and attorney Watson Bryant (Sam Rockwell). It’s very heartwarming as Watson stood by him until the end even right up to the point of passing on that the real bomber, Eric Rudolph, had confessed to the crime. Richard Jewell is not a gripping film outside of the first half but it’s a powerful watch heightened by excellent acting.
When he discovers a backpack containing a pipe bomb at a celebratory music concert at the 1996 Summer Olympics in Atlanta, his quick thinking saves countless lives. Unfortunately for Richard, he becomes the prime suspect in the investigation and with it, his life is turned upside down as he’s thrust into the media spotlight.
Directed by Clint Eastwood Richard Jewell follows in similar vein to films like American Sniper and The 15:17 to Paris where the central characters struggle with the media attention they receive in the aftermath of events.
The scene during the concert is recreated with meticulous precision and attention to detail and there is genuine tension as you realise that at any point the bomb is going to explode. The investigation is led by FBI agent Tom Shaw (Jon Hamm) who with little to go on places Richard in the spotlight and will stop at nothing to prove his guilt, using every trick in the book to get Richard to confess.
Atlanta Journal-Constitution journalist Kathy Scruggs played by Olivia Wilde was portrayed unfairly for implying that she traded sex for stories. Having died in 2001 she was not around to defend herself, which is a black mark for Eastwood on an otherwise very well directed film.
The journal ran the story much to the delight of Scruggs, but it painted Jewell as the villain causing considerable pain to him and his mother Bobi (Kathy Bates) who delivers another acting masterclass in her supporting role. Scruggs realised her error later on but it was too little too late as the damage to Jewell’s reputation had already been done.
One of the highlights of the film is the relationship between Richard and attorney Watson Bryant (Sam Rockwell). It’s very heartwarming as Watson stood by him until the end even right up to the point of passing on that the real bomber, Eric Rudolph, had confessed to the crime. Richard Jewell is not a gripping film outside of the first half but it’s a powerful watch heightened by excellent acting.
Ross (3282 KP) rated Black Mirror - Season 2 in TV
Jan 15, 2018
Series 2 includes 4 more episodes (three plus a Christmas special) of the cult Charlie Brooker series exploring the use of technology and extrapolating it to show where society could be headed.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
We explore the use of our online personalities to recreate ourselves after we die (though this quickly became more about robots than the differences in our personalities between online and the real world so for me a trick missed to an extent).
We see a post-apocalyptic world where one woman wakes up to be haunted by people filming her on mobile phones while she runs from psychopaths trying to kill her. This is a look at how obsessed the world is with filming and documenting everything, even unpleasant events happening to other people, and voyeurism as a whole. There is a massive twist at the end which makes what was a jarring, inconsistent episode (as in doesn't fit in with the rest of the series) into an exceptional look at an aspect of the world (spoiler avoided).
I found the Waldo episode to be incredibly irritating. As if a rude, cartoonish character with tiny hands could ever really be taken seriously in the world of politics?! Waldo shows an echo of Ali G's rise to fame but takes it to the next level. While I don't think we are meant to actually find Waldo funny, I found him very annoying and a step too far. Weirdly he reminded me of the banter comedy in Nathan Barley (it turns out this story was originally written for Nathan Barley).
The Christmas special was possibly my favourite of the episodes, Rafe Spall and Jon Hamm (Don Draper) living in awkward circumstances in a cabin. We are led to believe they are working at a remote mining operation or some such and finally start to bond over Christmas dinner and open up. They share stories about their lives before they moved, all three showing the benefits and perils of the technology whereby people can stream their lives to others (and get real-time dating advice) but can also block others from their lives (whereby they are pixelated to you and vice versa). Parts of this story were truly harrowing, how a happy relationship could quickly turn sour and the technology mean years of upset that could be avoided.
Gareth von Kallenbach (965 KP) rated Minions (2015) in Movies
Jun 19, 2019
Those lovable and mischief filled Minions are back and this time they have a new solo adventure that chronicles their history.
The film chronicles the minions through the ages as they have followed their compulsion to find a master to serve which always results in hilarious misfortune for the Masters.
After a recent setback, the Minion tribe takes refuge in an ice cave and builds their society over the passing years. Unfortunately, depression seeks in as the Minions are missing their basic drive and as such, an inspired member named Kevin decides he will venture out to find a new Master for them to follow.
Kevin is joined by Stuart and Bob and after a long trip; they find themselves in New York in 1968. Of course the city that never sleeps is an ideal place for them to get into all sorts of mischief and also allows them to view and underground television broadcast promoting a Villain Con in Orlando.
Inspired, the trio sets off and makes some dubious travel companions along the way, yet eventually arrive at their destination.
At the convention they encounter Scarlett Overkill (Sandra Bullock), and in a twist of fate, become her new apprentices. Kevin decides to call the tribe and tell them to head to London to start serving their new master, who is as unstable as she is evil.
Scarlett and her husband Herb (Jon Hamm, have devised a plan so cunning and diabolical that nothing can stop them from carrying it out, nothing that is save for the Minions.
The film takes a bit of time to get up to speed but is as charming and funny as you would wish for. The Minions generate plenty of laughs and there are tons of Pop Culture gags that fill the entire film.
For me the 3D animation was a nice touch and really added to the enjoyment of seeing the lovable characters in action and the new cast members did a great job adding to the lore of the Minions.
The film moves along at a steady pace and keeps the laughs coming throughout. With “Despicable Me 3” due in 2017, it is not out of the realm that we could see more solo minion outings in the future. This is a move that would bring plenty of smiles, as there is much to like about this film.
http://sknr.net/2015/07/07/minions/
The film chronicles the minions through the ages as they have followed their compulsion to find a master to serve which always results in hilarious misfortune for the Masters.
After a recent setback, the Minion tribe takes refuge in an ice cave and builds their society over the passing years. Unfortunately, depression seeks in as the Minions are missing their basic drive and as such, an inspired member named Kevin decides he will venture out to find a new Master for them to follow.
Kevin is joined by Stuart and Bob and after a long trip; they find themselves in New York in 1968. Of course the city that never sleeps is an ideal place for them to get into all sorts of mischief and also allows them to view and underground television broadcast promoting a Villain Con in Orlando.
Inspired, the trio sets off and makes some dubious travel companions along the way, yet eventually arrive at their destination.
At the convention they encounter Scarlett Overkill (Sandra Bullock), and in a twist of fate, become her new apprentices. Kevin decides to call the tribe and tell them to head to London to start serving their new master, who is as unstable as she is evil.
Scarlett and her husband Herb (Jon Hamm, have devised a plan so cunning and diabolical that nothing can stop them from carrying it out, nothing that is save for the Minions.
The film takes a bit of time to get up to speed but is as charming and funny as you would wish for. The Minions generate plenty of laughs and there are tons of Pop Culture gags that fill the entire film.
For me the 3D animation was a nice touch and really added to the enjoyment of seeing the lovable characters in action and the new cast members did a great job adding to the lore of the Minions.
The film moves along at a steady pace and keeps the laughs coming throughout. With “Despicable Me 3” due in 2017, it is not out of the realm that we could see more solo minion outings in the future. This is a move that would bring plenty of smiles, as there is much to like about this film.
http://sknr.net/2015/07/07/minions/
Lee (2222 KP) rated Richard Jewell (2019) in Movies
Jan 15, 2020
Richard Jewell tells the true story of a security guard, hailed a hero for spotting a suspicious package at the 1996 Olympic games in Atlanta, before going on to be accused of masterminding the whole thing and having his life turned upside down by the media and the FBI. Directed by Clint Eastwood, Richard Jewell is another one of those stories from recent history that I knew very few details about, other than there was a bombing at the Olympics, and it's a story that clearly deserves to be told.
We start by getting to know a bit about Richard Jewell (Paul Walter Hauser) and how he eventually found himself working security at such a high profile event. When we first meet Richard, he's working as a supply clerk for a public law firm in 1986. He meets attorney Watson Bryant (Sam Rockwell), who can be heard from across the other side of the office loudly and angrily shouting at somebody on the phone. He's not much friendlier to Richard when he puts the phone down either, discovering that Richard has very kindly replaced some stationery in his desk drawers, and even added some more Snickers bars in there after noticing empty wrappers in Watson's bin. But the pair do eventually build up a good rapport, even sharing an interest in playing video games at a local arcade during their lunch breaks.
Richard eventually leaves the firm to become a security guard at a college. With dreams of some day working his way up into law enforcement, Richard takes his role a bit too seriously, resulting in a number of complaints being made to the dean and his subsequent dismissal. Having moved in with his mother Bobi (Kathy Bates) in Atlanta, Richard lands a job working security at the Olympic games, working alongside police officers in Centennial Park during a number of events. His mother joins him to enjoy a Kenny Rogers concert one night, and then a few nights later Richard gets to work while his favourite group are playing. It's during that time, while trying to move on a group of drunk and rowdy boys, that Richard notices a suspicious backpack beneath a nearby bench. Police are alerted, and the backpack is determined to be carrying a bomb. As Richard and the police officers try to disperse the crowd, the bomb detonates and casualties are much lower than they could have been. Richard is hailed a hero.
As Richard quickly begins appearing on TV, and being offered book deals, the FBI begin their investigation. Agent Shaw (Jon Hamm) was there when the bomb went off and feels responsible for something that happened on his watch, so is determined to find the man responsible. It's not long before they decide that Richard fits the profile of previous bombers - a wannabe police officer who carries out attacks and then seeks fame and glory by helping out his victims. The situation isn't helped when ballsy reporter Kathy Scruggs (Olivia Wilde), who will go to any lengths to get her story, including sleeping around, publishes a front page story declaring Richard to be prime suspect with the FBI. From there, Richard's life, along with his mothers, is sent into turmoil and Richard is forced to contact old friend Watson Bryant to see if he'll help defend him as his lawyer.
The dynamic between Richard and Watson is what really made this movie for me. They're old friends, but clearly two very different people - Watson doesn't take any crap from anyone while Richard is a kindly, thoughtful man who just wants to help everyone, so ends up not doing himself any favours. On one occasion, Watson tells Richard not to say a word while the FBI are searching his home, and then Richard proceeds to talk to them all about anything and everything, blissfully ignorant of the glares he's receiving from Watson. There's a lot of humour in Richard Jewell, which I wasn't really expecting, and while it did make for an enjoyable movie, I felt it detracted a little from the drama and tension at times. Outside of that, both Jon Hamm and Kathy Bates were perfect in their roles, Kathy Bates this week receiving an Oscar nomination for her performance.
As the movie progresses, the injustice of it all is truly incredible. Just by Watson walking the route from the phone-booth where the warning call originated and the location where Richard was when the bomb went off, it was clear that he couldn't have done it. He even passed a polygraph test and yet he still continued to be hounded in the absence of any other leads or suspects, as he was just an easy target. It's an enjoyable watch, and certainly an important story, but because of the humour I described earlier, it just didn't have enough intensity or drama to make a bigger impact on me.
We start by getting to know a bit about Richard Jewell (Paul Walter Hauser) and how he eventually found himself working security at such a high profile event. When we first meet Richard, he's working as a supply clerk for a public law firm in 1986. He meets attorney Watson Bryant (Sam Rockwell), who can be heard from across the other side of the office loudly and angrily shouting at somebody on the phone. He's not much friendlier to Richard when he puts the phone down either, discovering that Richard has very kindly replaced some stationery in his desk drawers, and even added some more Snickers bars in there after noticing empty wrappers in Watson's bin. But the pair do eventually build up a good rapport, even sharing an interest in playing video games at a local arcade during their lunch breaks.
Richard eventually leaves the firm to become a security guard at a college. With dreams of some day working his way up into law enforcement, Richard takes his role a bit too seriously, resulting in a number of complaints being made to the dean and his subsequent dismissal. Having moved in with his mother Bobi (Kathy Bates) in Atlanta, Richard lands a job working security at the Olympic games, working alongside police officers in Centennial Park during a number of events. His mother joins him to enjoy a Kenny Rogers concert one night, and then a few nights later Richard gets to work while his favourite group are playing. It's during that time, while trying to move on a group of drunk and rowdy boys, that Richard notices a suspicious backpack beneath a nearby bench. Police are alerted, and the backpack is determined to be carrying a bomb. As Richard and the police officers try to disperse the crowd, the bomb detonates and casualties are much lower than they could have been. Richard is hailed a hero.
As Richard quickly begins appearing on TV, and being offered book deals, the FBI begin their investigation. Agent Shaw (Jon Hamm) was there when the bomb went off and feels responsible for something that happened on his watch, so is determined to find the man responsible. It's not long before they decide that Richard fits the profile of previous bombers - a wannabe police officer who carries out attacks and then seeks fame and glory by helping out his victims. The situation isn't helped when ballsy reporter Kathy Scruggs (Olivia Wilde), who will go to any lengths to get her story, including sleeping around, publishes a front page story declaring Richard to be prime suspect with the FBI. From there, Richard's life, along with his mothers, is sent into turmoil and Richard is forced to contact old friend Watson Bryant to see if he'll help defend him as his lawyer.
The dynamic between Richard and Watson is what really made this movie for me. They're old friends, but clearly two very different people - Watson doesn't take any crap from anyone while Richard is a kindly, thoughtful man who just wants to help everyone, so ends up not doing himself any favours. On one occasion, Watson tells Richard not to say a word while the FBI are searching his home, and then Richard proceeds to talk to them all about anything and everything, blissfully ignorant of the glares he's receiving from Watson. There's a lot of humour in Richard Jewell, which I wasn't really expecting, and while it did make for an enjoyable movie, I felt it detracted a little from the drama and tension at times. Outside of that, both Jon Hamm and Kathy Bates were perfect in their roles, Kathy Bates this week receiving an Oscar nomination for her performance.
As the movie progresses, the injustice of it all is truly incredible. Just by Watson walking the route from the phone-booth where the warning call originated and the location where Richard was when the bomb went off, it was clear that he couldn't have done it. He even passed a polygraph test and yet he still continued to be hounded in the absence of any other leads or suspects, as he was just an easy target. It's an enjoyable watch, and certainly an important story, but because of the humour I described earlier, it just didn't have enough intensity or drama to make a bigger impact on me.
Bob Mann (459 KP) rated Bad Times at the El Royale (2018) in Movies
Sep 28, 2021
Why is everyone not raving about this movie?
Imagine a ménage à trois of Agatha Christie, Alfred Hitchcock and Quentin Tarantino at the Overlook Hotel with a banging 60’s soundtrack. Got that unpleasant vision in your mind? Good! You’re halfway there to getting the feel of “Bad Times at the El Royale”. And they really are bad times!
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
The Plot
It’s 1969 and an oddball set of characters arrive at the faded glory of the El Royale hotel at Lake Tahoe: “a bi-state establishment” straddling the Nevada/California border: so describes the manager-cum-bellhop-cum-bartender-cum-cleaner Miles Miller (Lewis Pullman, soon to appear as Maverick in the “Top Gun” sequel). The motley crew include Laramie Seymour Sullivan, a vacuum cleaner salesman (Jon Hamm); Father Daniel Flynn, an oddly-acting priest (Jeff Bridges); Darlene Sweet, a struggling Motown-style singer (Cynthia Erivo); and Emily Summerspring, a rude and abrupt hippy-chick with attitude (Dakota Johnson). But noone is quite who they seem and their twisted and convoluted lives combine in a memorable night of surprise and violence at the El Royale.
The turns
I’ve often expressed my admiration for the Screen Actor’s Guild Awards and their category of “Best Ensemble Cast”: at a time when there are controversial suggestions of additions to the Oscars, this is one I would like to see (along with a “Best Stunt Team” award that I’ve previously lobbied for). And here is my second serious candidate for the “Best Ensemble Cast” Oscar in 2018, my first being “Three Billboards in Ebbing, Missouri” (which in their books would count as 2017 anyway!) Everyone really works hard on this film and the larger than life characters suck you into the story because of the quality and intensity of their performances.
Out in front of the pack are the simply brilliant Jeff Bridges and Cynthia Erivo, an actress new to me who has a great voice and made a big impression. Scenes between the pair are just electric. Jon Hamm is as quirkily great as ever and Dakota “not Fanning” Johnson is far better in this film than any recent stuff I’ve seen her in. Another standout was another newcomer to me – young Cailee Spaeny as Rose, looking for all the world in some scenes like a young Carey Mulligan. While we’re on lookalikes, Lewis Pullman (best known to me for “Battle of the Sexes“) looks very like Tom Holland in some scenes.
The Review
I found this film to be just enormously entertaining. It is very Tarantino-esque in its claustrophobic nature (compare it with “The Hateful 8” in that respect) and with its quirky episodic flash cards (compare with “Pulp Fiction” or “Kill Bill”) but for me was much more appetising since – although very violent – it never stooped to the queasy “blow your face off” excesses of Tarantino, that I personally find distasteful. Where it apes Hitchcock is in its intricate plotting: the story regularly throws you off-balance with some genuinely surprising twists and turns that you never see coming. And the interesting time-splicing and flashbacks also keep you on your mental toes. To say any more or to give any examples would be a spoilerish crime, so I will refrain. This is a dish best served cold (so avoid the trailer if you can).
The film has a marvellous sense of place and time and key to establishing that is some superb set design; some brilliant costumes; and – most of all – an exquisitely chosen song catalogue. The great Michael Giacchino is behind the music, and he does a truly fabulous job, not just with the song selection but also with the background music. This never seems to intrude noticeably until the end titles, when you realise it’s been insistently working on you all the time: the best sort of soundtrack.
There are some films that make you marvel how someone sat at a keyboard and got a screenplay down on paper so satisfyingly. While it could be accused of aping Tarantino somewhat, for me this is still one such film. The writer/director Drew Goddard has come from the J.J. Abrams stable of “Alias” and “Lost”, and has previously written the great screenplays for films including “Cloverfield”, “The Martian” and “World War Z“. His only previous directorial feature was “The Cabin in the Woods” (which I’ve not seen), but after this he is definitely on my movie radar: his next film will be “X-force”: a “Deadpool 2” follow-on with Ryan Reynolds, Josh Brolin and Zazie Beetz, and I can’t wait to see that.
If there’s a criticism it’s that at 141 minutes its a tad long. It never to me felt like a film that long, such was the entertainment value, but while I just loved the development of character just a few of the scenes felt a little leisurely and superfluous. Trim 10 minutes off the running time – no more – and it might have felt tighter still.
I didn’t mention one star name in “The Turns” section, and that’s Chris Hemsworth. He actually does a great job in his demanding Messianic role of Billy Lee, but I just had trouble equating the “Thor” star as being “all kinds of bad”: this felt like a slight misstep in the casting to me.
Summary
This film is without a doubt going to storm into my Top 10 for the year. It’s an entertaining delight, full of twists, turns, deliciously wordy dialogue and a satisfyingly open ending. I can’t believe this film hasn’t been top billing in multiplexes up and down the country for WEEKS on end. If you get the chance, my advice would be to seek this out before it disappears.
Bob Mann (459 KP) rated Baby Driver (2017) in Movies
Sep 29, 2021
A summer film so cool that air-con is optional.
Sorry for the lack of posts folks…. with a holiday in sunny Portugal, I’ve not been to the pics for weeks!
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
There’s something inherently appealing about the concept of a getaway driver. A skillful ‘bad-boy’, but not normally bad enough to actually DO the nasty crime stuff…. merely be an active accomplice to it. As a result, it’s a subject that the movies have returned to time after time. I’m old and crusty enough to remember being wowed at seeing Ryan O’Neal in Walter Hill’s “Driver” on the big screen in 1978. And well before that, as a kid, my poor departed mother used to be driven crazy by me begging her to take me to see “The Italian Job” (the original 1969 version) YET again… probably the greatest getaway chase in movie history: I must have seen that film at least 20 times in the cinema. Of course more recently we’ve also had Ryan Gosling and Carey Mulligan in “Drive” on the same theme. Any I’ve forgotten?
But with Edgar Wright at the helm, a big name cast and an enticing trailer, I had high expectations for “Baby Driver” – and boy was I happy! This is such a seriously cool film on so many levels.
Opening with a bank heist followed by a kick-ass car chase, we follow ‘Baby’ (Ansel Elgort, “Allegiant”, “The Fault in our Stars”) as a tinnitus-suffering, music-infused getaway driver under the thumb of the criminal overlord Doc (Kevin Spacey, in icy Frank Underwood mode). Doc recruits an ever-changing mix-tape of villains for each job, including the psychopathic and appropriately named ‘Bats’ (Jamie Foxx, “Sleepless”), the chillingly dangerous Buddy (Jon Hamm, “Mad Men”, “Keeping Up With The Joneses”) and his “Bonnie-style” wife ‘Darling’ (Eiza González) and the moderately incompetent JD (Lanny Joon) (who changed his neck tattoo of “HATE” to “HAT” since it improved his job prospects… LOL…. “everybody loves a hat”!).
Baby’s life gets more complicated when the hoods become aware of his fledgling relationship with fellow-orphan Debora (Lily James) a waitress in a diner and another lever to keep Baby locked into the job that he is just so, so good at.
On the surface this might be perceived as being just another good excuse for a lot of CGI-driven car stunts in the style of “The Fate of the Furious”. But no. Firstly, as Edgar Wright declared before the special screening I saw, all of the car stunts were actually performed for real on the mean streets of Atlanta (and hats off to the film’s stunt coordinator Robert Nagle and his team for these). And secondly, the car scenes are almost secondary to the fabulous story and character development in the film. The script (also by Edgar Wright) is just brilliant. There are genuinely laugh-out loud moments in the movie, with one of the highlights for me being JD tasked with procuring Michael Myers “Halloween” masks for a heist. If you don’t find this scene hilarious, you are not human – official.
The only misstep for me in the script was an unbelievable event (both in terms of likelihood and – particularly – timing) during a closing car park fight***.
Elgort is really strong in the lead role, and suggested to me that if the role of the young Han Solo in the upcoming Star Wars spin-off hadn’t already gone to Alden Ehrenreich, then here was a very strong contender. All of the supporting roles are strong (as you would expect from such a stellar cast) with Jon Hamm being a standout, appearing truly demonic in the closing scenes. The one role I was less sure about in the film was that of Lily James, whose performance as the ‘sweet as apple pie’ waitress seemed a little too “animated” for the big screen in the early scenes – I remember an acting class by Michael Caine where he advised that given the size of movie screens it’s often the case that “stillness is good”. What works well on the small screen (I am a big fan of her roles in historical TV dramas like “Downton Abbey” and the impeccable “War and Peace”) perhaps sometimes needs modifying for the wide-screen experience. I greatly warmed to her portrayal in the action sequences later on though: she’s a great actress and one that this film can hopefully now propel into the higher echelons in Hollywood.
Another star of the film is the fabulous soundtrack coordinated by Oscar-winner Steven Price (“Gravity“) featuring (amongst many other classics) Queen’s “Brighton Rock”, Golden Earring’s “Radar Love”, the Simon and Garfunkel classic (obviously) and Bob & Earl’s “Harlem Shuffle”, all used to brilliant effect. This latter track leads me on to some early Oscar predictions: if this film doesn’t get nominated this year for Oscars for Best Editing (Jonathan Amos and Paul Machliss, “Scott Pilgrim vs the World”) and Best Sound Editing (Julian Slater), then there is no God! The “Harlem Shuffle” coffee run sequence is a masterclass in editing and direction. Starting off with what I thought might turn into a tribute to “Saturday Night Fever”, the scene neatly takes on a style all of its own. It’s use of – erm – “subtitles” is just brilliant.
The often subtle, and occasionally not so subtle, edits between scenes are also truly masterful, making this moviegoer laugh-out-loud with delight periodically at the movie-making skill on display.
All of this is orchestrated by Edgar Wright as director who – for me – has been a little inconsistent over the years (loved, loved, loved “Shaun of the Dead” and “Hot Fuzz”; “The World’s End” – not so much). Here, he delivers in spades and this film rockets immediately into my Films of the Year list for 2017. Awe inspiring.
Beg, steal, borrow, rob a bank – – do what you have to, but make sure you catch this film on the big screen.
Daniel Boyd (1066 KP) rated Bad Times at the El Royale (2018) in Movies
Oct 24, 2018 (Updated Oct 24, 2018)
Good ensemble cast (2 more)
Cool set design and use of space
Nice cinematography
Enjoy Your Stay
In this day and age, it is becoming increasingly difficult to go into a movie without already knowing a bunch of information about it. Somehow Bad Times At The El Royale managed that. Even though I was a week late to seeing this movie, I was still able to go into it with very little knowledge about what was going to unfold. That in and of itself is an impressive feat in 2018.
I had a great time with this movie. I loved the cast here, Jeff Bridges and Jon Hamm are among my favourite actors working in Hollywood and I though that Chris Hemsworth did a fantastic job playing the villain for a change. The rest of the cast were fantastic too, other than Dakota Johnson, who was pretty wooden, (as we have come to expect from her.) As an aside, Cynthia Erivo's voice completely blew me away, I know that she has done some Broadway shows in the past, but she sounded incredible in this and I liked the way that her singing was tied in with the plot.
Bad Times is written and directed by Drew Goddard, who was also behind Cabin In The Woods and there are some similarities here, if you swap the horror elements out for mystery. I have also seen multiple reviews compare this to a Tarantino movie. There are obviously similarities in the structure that this film uses and the out-of-chronological-order structure that a Tarantino movie tends to follow, but I'd argue that Bad Times has it's own distinct and unique style.
I also thought that the cinematography was very effective throughout the film. The opening scene was very well shot, as was the scene when Hemsworth's character was introduced. The score also worked well with the plot and the dialogue and script were well written too.
The main negative that affected my enjoyment of the movie, were the decisions made regarding the pacing. The movie is split up so that we see things happen out of sequence or they are seen more than once from a different perspective. We are introduced to each new character and then we are given their backstory via a flashback. The main issue with this structure is that the flashbacks break the momentum of the events happening in the current story. Without spoiling too much, towards the end of the movie, everything comes to a head and an intense fight/shootout breaks out. Then, for some unknown reason, the filmmakers decide to slam on the brakes and give us another arbitrary flashback. It totally broke the immersion and intensity of the shootout sequence for me.
Overall, I had a good time watching Bad Times. I had no expectations going in as I didn't know much about the movie other than what had been shown in the trailers and I enjoyed witnessing what the movie had to offer. If you are looking for an exciting, suspenseful thriller, then you could definitely do worse than spending a stay at The El Royale.
I had a great time with this movie. I loved the cast here, Jeff Bridges and Jon Hamm are among my favourite actors working in Hollywood and I though that Chris Hemsworth did a fantastic job playing the villain for a change. The rest of the cast were fantastic too, other than Dakota Johnson, who was pretty wooden, (as we have come to expect from her.) As an aside, Cynthia Erivo's voice completely blew me away, I know that she has done some Broadway shows in the past, but she sounded incredible in this and I liked the way that her singing was tied in with the plot.
Bad Times is written and directed by Drew Goddard, who was also behind Cabin In The Woods and there are some similarities here, if you swap the horror elements out for mystery. I have also seen multiple reviews compare this to a Tarantino movie. There are obviously similarities in the structure that this film uses and the out-of-chronological-order structure that a Tarantino movie tends to follow, but I'd argue that Bad Times has it's own distinct and unique style.
I also thought that the cinematography was very effective throughout the film. The opening scene was very well shot, as was the scene when Hemsworth's character was introduced. The score also worked well with the plot and the dialogue and script were well written too.
The main negative that affected my enjoyment of the movie, were the decisions made regarding the pacing. The movie is split up so that we see things happen out of sequence or they are seen more than once from a different perspective. We are introduced to each new character and then we are given their backstory via a flashback. The main issue with this structure is that the flashbacks break the momentum of the events happening in the current story. Without spoiling too much, towards the end of the movie, everything comes to a head and an intense fight/shootout breaks out. Then, for some unknown reason, the filmmakers decide to slam on the brakes and give us another arbitrary flashback. It totally broke the immersion and intensity of the shootout sequence for me.
Overall, I had a good time watching Bad Times. I had no expectations going in as I didn't know much about the movie other than what had been shown in the trailers and I enjoyed witnessing what the movie had to offer. If you are looking for an exciting, suspenseful thriller, then you could definitely do worse than spending a stay at The El Royale.
Gareth von Kallenbach (965 KP) rated Top Gun: Maverick (2022) in Movies
May 19, 2022
Back in 1987, Tom Cruise and Paramount released “Top Gun” and in doing so created a cultural phenomenon that launched Cruise into Superstardom and became an enduring classic.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.
Now after decades away and delays due to the pandemic, Cruise has returned to the franchise with “Top Gun: Maverick” and has crafted the rare feat, of a sequel that is not only better than the original but also gives audiences an edge of the seat summer event film when it is needed the most.
Cruise stars as Captain Pete Mitchell who after thirty years is not only haunted by his past but unable to shed his insubordinate and impulsive ways which have kept him from reaching the rank of Admiral and have moved him from one assignment to another.
After his latest action confirms his incredible aviation skills but infuriates the upper brass in the process, Mitchell is out of options as he is unwilling to retire, unable to be promoted, and out of posting options. He is tasked by an old friend with enough clout to watch out for him to return to the Top Gun program as an instructor. Mitchell is hesitant as his last attempt as an instructor did not last long and he believes he is better suited to fly versus teaching.
It is learned that an enemy faction is about to open a Uranium enrichment facility in violation of established law that would threaten the region, and Mitchell is tasked with training a team of Top Gun graduates in three weeks who can make what appears to be a near-impossible assault on the facility to destroy it before it becomes a threat.
While the assembled pilots represent a brash and talented group, Mitchell must contend with the ghosts of his past as one of the members Bradley ‘Rooster’ Bradshaw (Miles Teller), is the son of his deceased friend Goose and has a very fractured relationship with Bradshaw over their shared past.
With pressure on him from Admiral Simpson (Jon Hamm), Mitchell must somehow find a way to train the group in a small amount of time for what is considered by many to be an impossible mission due to the terrain, defenses, and location of their target.
The film is an edge-of-the-seat adrenaline rush that grabs ahold of you from the start and never lets up. From the opening music to the intense aerial sequences, the audience was hooked as gasps and cheers erupted frequently as the characters and action clearly connected with the audience.
While the visual sequences are nothing short of spectacular, the film is a character-based story and there is a depth to Mitchell and many of the cast that goes much deeper than one would normally see in a summer action film.
Jennifer Connelly offers a great counter-point to Mitchell as a person from his past that has known him through several key moments of his career and helps him endure the turbulent emotions that he has.
From the solid characters and story to the rousing final segments of the movie, “Top Gun: Maverick” returns the Summer Event film in grand style and exceeded my expectations and the original in every way.
5 Minute Movie Guy (379 KP) rated Baby Driver (2017) in Movies
Jul 1, 2019
Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky thrill-ride of a movie, this is sure to be the ticket!
Edgar Wright’s Baby Driver is a pulse-pounding, jukebox-jamming blast! In this wildly entertaining crime thriller, a young man called Baby is the perennial pedal-pushing getaway driver for an Atlanta crime boss known as Doc. The two of them have worked countless jobs together, and in Doc’s mind, Baby is the only one worthy behind the wheel. Unbeknownst to Doc, however, Baby plans to wipe his hands clean and hit the road for good as soon as the opportunity arrives. Tensions steadily rise as this perfect getaway driver tries to find a way out and get away from his life of crime.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.
The premise in Baby Driver is a familiar one, although the movie itself is anything but. Sure, it features the cliché of one last job, but the motives here are a bit different and morality is a big focus. I’ll spare the details, but this crime movie has a heart and a conscience, and at its core, it’s really more of a love story, as Baby tries to make a daring dash for freedom all in the name of romance. After meeting a nice girl named Debora at a local diner, Baby has finally found a reason to want to break free from his past so he can live a life of love. With its romantic drive, its high-octane action, and its fresh and funky soundtrack, Baby Driver is an action thriller that would make for a perfect date night movie.
While I did very much enjoy Baby Driver, it did leave a worrisome first impression. One of the earliest scenes verges on the borderline of being a musical, and as well-crafted as the one-take scene may be, it sort of rubbed me the wrong way by making Baby look like a goofball. It was trying too hard to be cool and to me it ended up feeling pretty pretentious. Really what got me engaged in the movie was the film’s stellar supporting cast, led by Jamie Foxx, Jon Hamm, and Jon Bernthal, all of whom play bank robbers working for Doc. By the time the film’s second robbery rolled around, all else was forgiven, and I was eagerly strapped in for the ride.
The cast in this movie is outstanding. Foxx steals the show in every scene he’s in, playing a violent loose-cannon thug known as Bats. His intensity, wit, and strong distrust of others make Bats a character you won’t want to take your eyes off of. Hamm’s character Buddy is less abrasive, but no less intimidating when he’s angry. I really loved watching his nice guy façade crumble away when things got personal. Ansel Elgort, the teenage heartthrob from The Fault in Our Stars, has enough charm and coolness to make Baby an easy character to root for. Meanwhile, Kevin Spacey does a wonderful job balancing the complexity of his character, Doc. Eiza González is lovely and cool as Buddy’s girlfriend Darling, and Jon Bernthal truly makes the most out of his limited screen-time. All in all, I have nothing but praise for the actors as well as their well-written characters.
A big part of what makes Baby Driver so cool is its killer soundtrack, and it’s not just the music, but the way that it’s incorporated into the movie. The music itself is practically a character in the movie, as Baby is always playing songs through his iPod to drown out the ringing in his ears caused by a condition known as tinnitus. It’s used to great effect in terms of both plot and action. The movie’s eclectic music mix features over 40 songs, and much of the action is brilliantly synced up to the beat. The timing really ratchets up the fun factor and makes for a uniquely wild experience. I don’t know a good half of the songs in the movie, but this diversity helps give Baby Driver an identity of its own, and I look forward to taking the soundtrack for another spin.
Baby Driver is so fresh, fun, and entertaining that you’ve really just got to go see it for yourself. Edgar Wright has really made something special with his upbeat, funky crime thriller. The characters are compelling, the action is superb, and the comedy is hysterical. It’s one of the most laugh-out-loud funny movies of the year, but also full of edge-of-your-seat excitement. The movie builds tension so well, and it rarely takes its foot off the gas. I particularly loved the final act when Baby propels the intensity to new heights by taking charge of his own destiny, bringing forth an exciting and unpredictable turn of events. It puts an exhilarating and frantic twist on what is already a wild movie.
That’s not to say it’s a perfect movie, though. The ending itself left me feeling pretty unsatisfied. It forgoes the predictable ending for something different, and as respectable as that may be, it went on for too long and was a little too hokey and hard to believe for my taste. After riding high on Baby Driver’s adrenaline for so long, the ending botches the film’s momentum by devoting too much time to unnecessary explanation. While I even like the way the story concludes, I wish it could have gotten there a little more smoothly.
Bumpy start and finish aside, I really had a great time Baby Driver. It is an incredibly fun and energetic experience that the whole audience seemed to enjoy. It’s rhythmic, it’s stylish, and it’s not like any other film you’ll see this year. Baby Driver is simply the epitome of cool, and if you’re looking for a fun and frisky ride in theaters this summer, Baby Driver is sure to be the ticket.