Search
Search results
Andy K (10821 KP) rated Baby Driver (2017) in Movies
Jan 21, 2018
When I first began watching this, I was not convinced it was going to be good.
I have to say, the fast pace, stylized action/music score scenes and the witty screenplay had enough to win me over. Very entertaining throughout other than maybe the ending was a little far-fetched I guess.
If Kevin Spacey is never going to act again (seems almost certain at this point) this film is a fitting swan song for him and his memorable list of acting credits.
Director Edgar Wright continues his streak of entertaining quirky hits like his previous films Shaun of the Dead and Scott Pilgrim vs. the World.
Going to iTunes now to download some songs!
I have to say, the fast pace, stylized action/music score scenes and the witty screenplay had enough to win me over. Very entertaining throughout other than maybe the ending was a little far-fetched I guess.
If Kevin Spacey is never going to act again (seems almost certain at this point) this film is a fitting swan song for him and his memorable list of acting credits.
Director Edgar Wright continues his streak of entertaining quirky hits like his previous films Shaun of the Dead and Scott Pilgrim vs. the World.
Going to iTunes now to download some songs!
Gareth von Kallenbach (971 KP) rated Scott Pilgrim vs. the World (2010) in Movies
Aug 8, 2019
Scott Pilgrim, played by Michael Cera, is a young man whose life is going nowhere fast. At 23, he describes himself as in between jobs and spends his free time playing bass in a struggling band. But Scott does have a girlfriend named Knives Chau (Ellen Wong), never mind that she is still in high school and things are about as chaste as they can get. Undaunted, Scott keeps plugging away despite the supportive taunts of his gay roomie Wallace (Kieran Culkin), and the members of his band.
Things change for Scott when he meets a girl named Ramona (Mary Elizabeth Winstead), at a party. Ramona shows no interest in Scott but he’s inexplicably drawn to her and eventually gets the roller blading delivery girl to go out with him, despite the strong protests of his sister Stacey (Anna Kendrick), and his drummer/ex-girlfriend Kim (Allison Pine). The upswing Scott’s life takes at meeting the girl of his dreams and his band’s shot at a recording deal is tempered by the complications of choosing between Knives, who is becoming more clingy, and Ramona, who brings with her a lot of angry baggage.
This baggage actually comes in the form of seven evil exes whom Scott must battle and defeat if he wishes to continue dating her. Scott accepts the challenge and finds himself in a life and death battle with some true psychos, all of whom have strange powers and appear out of nowhere to pummel Scott. I will not spoil the surprises but suffice it to say that the exes are played by some great names, and each one brings plenty of humor to go with the action.
Action and music blend well with comedy and romance and the video game-inspired fight sequences complete with numerous inside jokes for gamers are truly a delight. The frantic sequences mix music, and over the top action with cartoonish gags and humor in a winning formula. Seeing Scott take flying leaps across a room to battle for Ramona and rebounding from one pummeling after another is great fun. Scott give as good as he gets, learning at times that brains will win out over brawn.
The film has a frantic pacing that Director Edgar Wright never lets get out of control. Like his great work in Shaun of the Dead, Wright keeps the characters and their relationships at the center of the film, making them not only relatable but easy to root for despite the bizarre scenario the characters find themselves in.
The film is based on a graphic novel by Bryan Lee O’Malley and delivers a fun adventure that should delight fans of the novel as well as video gamers everywhere. The film knows who its audience is and plays the zany plot with a wink and smile and does not get caught up with intricate plotlines and overly complex characters. Instead the movie keeps the attention on the action and the great cast of characters. Cera does his best work yet in the title role and Culkin nearly steals every scene he is in as does Wong. Jason Schwartzman shines as the uber villain Gideon and rounds out the effective cast in this pleasant surprise of the summer.
Things change for Scott when he meets a girl named Ramona (Mary Elizabeth Winstead), at a party. Ramona shows no interest in Scott but he’s inexplicably drawn to her and eventually gets the roller blading delivery girl to go out with him, despite the strong protests of his sister Stacey (Anna Kendrick), and his drummer/ex-girlfriend Kim (Allison Pine). The upswing Scott’s life takes at meeting the girl of his dreams and his band’s shot at a recording deal is tempered by the complications of choosing between Knives, who is becoming more clingy, and Ramona, who brings with her a lot of angry baggage.
This baggage actually comes in the form of seven evil exes whom Scott must battle and defeat if he wishes to continue dating her. Scott accepts the challenge and finds himself in a life and death battle with some true psychos, all of whom have strange powers and appear out of nowhere to pummel Scott. I will not spoil the surprises but suffice it to say that the exes are played by some great names, and each one brings plenty of humor to go with the action.
Action and music blend well with comedy and romance and the video game-inspired fight sequences complete with numerous inside jokes for gamers are truly a delight. The frantic sequences mix music, and over the top action with cartoonish gags and humor in a winning formula. Seeing Scott take flying leaps across a room to battle for Ramona and rebounding from one pummeling after another is great fun. Scott give as good as he gets, learning at times that brains will win out over brawn.
The film has a frantic pacing that Director Edgar Wright never lets get out of control. Like his great work in Shaun of the Dead, Wright keeps the characters and their relationships at the center of the film, making them not only relatable but easy to root for despite the bizarre scenario the characters find themselves in.
The film is based on a graphic novel by Bryan Lee O’Malley and delivers a fun adventure that should delight fans of the novel as well as video gamers everywhere. The film knows who its audience is and plays the zany plot with a wink and smile and does not get caught up with intricate plotlines and overly complex characters. Instead the movie keeps the attention on the action and the great cast of characters. Cera does his best work yet in the title role and Culkin nearly steals every scene he is in as does Wong. Jason Schwartzman shines as the uber villain Gideon and rounds out the effective cast in this pleasant surprise of the summer.
Kevin Phillipson (9958 KP) rated Last Night in Soho (2021) in Movies
Dec 2, 2021
Anna Taylor- joy (4 more)
Thomasin mckenzie
Matt smith
Diana rigg
Music
Downtown
I've been wanting to see this movie all year and I'm glad I did. Am a fan of Edgar wright's movie from shaun of the dead to Scott pilgrim vs the world but this one is his attempt at straight horror and it is brilliant movie. Everything about it the music I can't get downtown out of my head the two leads are Brilliant Anna Taylor- joy can't do no wrong and thomasin mckenzie as elloise just as exceptional also got to mention the suppling cast matt Smith big fan since doctor who days good but I mustn't forget Diana Rigg in her last role who was such a 60s icon who will be missed. There is so much about this movie the 60s setting London itself the way they cut between the actress by showing them in the mirror at the same time. Overall I would say this is one of Edgar wright's best works highly recommend go out and see it also contender for my film of the year
BankofMarquis (1832 KP) rated Last Night in Soho (2021) in Movies
Nov 5, 2021
Unique
Writer/Director Edgar Wright has developed into one of the more unique film makers working today with a stylistic look, feel and sound to all of his films. Long known as the Director of the Simon Pegg/Nick Frost comedies (SHAUN OF THE DEAD, HOT FUZZ and AT WORLD’S EDGE), Wright started coming into his own with the under-rated SCOTT PILGRIM vs. THE WORLD and the marvelous BABY DRIVER and with his latest film, the trippy thriller LAST NIGHT IN SOHO, Wright has graduated - in my eyes - as a Director who’s work is “must watch” whenever they come out.
LAST NIGHT IN SOHO is unique, stylized, stunning - both visually and aurally - mind-bending, tense and satisfying. A truly unique film by a unique filmmaker.
To tell the tale of LAST NIGHT IN SOHO is to spoil it. The less you know about it, the better. But, as the trailers suggest, a modern young fashion student is in London and is transported into the “swinging ‘60’s London and ends up living, vicariously, the life of another. That’s all I’ll say. I would recommend just going in and let the story wash all over you - both through the eyes and through the ears - which is why I would recommend this film been seen in a theater (or, at the very least, on a set-up with a killer sound system).
Because of the highly stylized and “go with it” feel of this film, the performances have a tendency to move to the background, but they are very well done. Thomasin McKenzie (JOJO RABBIT) is a strong choice as the Fashion Student who has this “adventure” (to say more is to spoil), she brings the right amount of reality and “unreality” to her character. Anya Taylor-Joy (THE QUEEN’S GAMBIT) is superb as Sandie, the object of the “adventure”. She isn’t asked to do much more than be mysterious - and she does it well.
Wright, wisely, fills the rest of the film with strong supporting players - Matt Smith (DR. WHO), the great Terence Stamp (THE LIMEY) and, most importantly, Dame Diana Rigg (Emma Peel in THE AVENGERS in the 1960’s, in her final film role before her death in September 2020), all bring their “A” game to the festivities and fill their roles well.
It’s not a perfect film, the beginning drags on a bit before things start to get good (and weird) and their is a superfluous subplot involving some “Mean Girls” at the Fashion School that our heroine attends in today’s world - a subplot that never really goes anywhere. The ending, also, does go “over the top”, but by that time, I was swept up in the style of this film and forgave it it’s flaws.
I ended up having LAST NIGHT IN SOHO-type dreams, and indication that this film struck a chord with me and is going to stay with me for awhile - and is probably worth a re-watch (it certainly is one of those types of films that can be different upon a re-watch).
Well worth the effort to check it out on the Big Screen - certainly the visuals and sound will make it worthwhile.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
LAST NIGHT IN SOHO is unique, stylized, stunning - both visually and aurally - mind-bending, tense and satisfying. A truly unique film by a unique filmmaker.
To tell the tale of LAST NIGHT IN SOHO is to spoil it. The less you know about it, the better. But, as the trailers suggest, a modern young fashion student is in London and is transported into the “swinging ‘60’s London and ends up living, vicariously, the life of another. That’s all I’ll say. I would recommend just going in and let the story wash all over you - both through the eyes and through the ears - which is why I would recommend this film been seen in a theater (or, at the very least, on a set-up with a killer sound system).
Because of the highly stylized and “go with it” feel of this film, the performances have a tendency to move to the background, but they are very well done. Thomasin McKenzie (JOJO RABBIT) is a strong choice as the Fashion Student who has this “adventure” (to say more is to spoil), she brings the right amount of reality and “unreality” to her character. Anya Taylor-Joy (THE QUEEN’S GAMBIT) is superb as Sandie, the object of the “adventure”. She isn’t asked to do much more than be mysterious - and she does it well.
Wright, wisely, fills the rest of the film with strong supporting players - Matt Smith (DR. WHO), the great Terence Stamp (THE LIMEY) and, most importantly, Dame Diana Rigg (Emma Peel in THE AVENGERS in the 1960’s, in her final film role before her death in September 2020), all bring their “A” game to the festivities and fill their roles well.
It’s not a perfect film, the beginning drags on a bit before things start to get good (and weird) and their is a superfluous subplot involving some “Mean Girls” at the Fashion School that our heroine attends in today’s world - a subplot that never really goes anywhere. The ending, also, does go “over the top”, but by that time, I was swept up in the style of this film and forgave it it’s flaws.
I ended up having LAST NIGHT IN SOHO-type dreams, and indication that this film struck a chord with me and is going to stay with me for awhile - and is probably worth a re-watch (it certainly is one of those types of films that can be different upon a re-watch).
Well worth the effort to check it out on the Big Screen - certainly the visuals and sound will make it worthwhile.
Letter Grade: A-
8 stars (out of 10) and you can take that to the Bank(ofMarquis)
Gareth von Kallenbach (971 KP) rated The World's End (2013) in Movies
Aug 6, 2019
This summer’s movie lineup has been crammed full of sophisticated robots, vampires and even a recently passed billionaire genius. And then you have The World’s End (“TWE”), which might simply be the best and most creative of the bunch. Having a much smaller budget than these bigger movies, and being set in England, Edgar Wright shows that it’s not all about money and tropics in this hilarious romp.
I cannot honestly think of a better way to wrap up the Cornetto Trilogy then the story told in TWE. For those that don’t know there’s a joke behind the Cornetto name, in that a report brought up that a Cornetto ice cream wrapper was featured in each of the first two movies. Shaun of the Dead and Hot Fuzz make up the first two movies, and TWE rounds out what eventually became the Cornetto Trilogy. Ice cream Easter egg aside, all the films in the trilogy share the same cast and crew. They star Simon Pegg and Nick Frost, written by Pegg and Wright, and directed by Wright. The films are chock full of inside jokes that go back as far as this incredible groups humble beginnings with the TV show Spaced. Beyond these connections, though, each films stands on its own as a unique story.
While Shaun of the Dead was the group’s take on zombie films, and Hot Fuzz visited the buddy cop genre, TWE is a comedic riff on films like Invasion of the Body Snatchers. If you have somehow made it this far without having the full plot spoiled for you, do try and keep it that way. The key things you need to know is that there are robots, creepy “YOLO” kids, and the story centers on Gary King, a man who never quite grew up.
Gary (Pegg) is a disaster of an adult male. He’s wild, rambunctious, trying to constantly relive his youth, and irresponsible to boot. This demeanor has not done any good for him as an adult on the far side of 40, but he’s delusional and is not aware that he has not succeeded in life. This actually adds to his charm.
Gary gets a bug up his you know what, and wants to relive one of his last greatest days of his youth. A day when he and his four best friends decided to celebrate finishing school by tackling the town-famous golden mile. Newton Haven has 12 pubs spread along a mile path that Gary manages to convince his friends Steven (Paddy Considine), Oliver (Martin Freeman), Peter (Eddie Marsan) and former best friend Andrew (Frost) to attempt again just like they did all those years ago. The pub crawl concludes at the film’s namesake: The World’s End.
As the evening goes on, and the beers start going down, the five begin to discover that something is off. Between rounds and pubs, the group starts to discuss whether or not the town has changed, or they have. This leads to a fight with the creepy “YOLO” kids that is reminiscent of Chinese Kung Fu movies the likes of Jackie Chan would be found in. As the mates progress from pub to pub, more and more of the mystery of Newton Haven begins to unravel.
The film starts in a deceiving way and hides its true nature underneath a veil of middle-aged men trying to reconcile their present with their past. Gary very much represents the past as he still dresses the way he did when he was 18, still drives the same car, complete with the same cassette tape of music given to him more than 20 years ago by Steven. Gary is a loser, but thinks he is the hero of every story, which causes a love/hate relationship with the group of friends. Then it all changes! Wright and company manage to do a complete 180 and combine a very believable mid-life crisis film with a robot invasion. And it works!
Pegg absolutely nails the role of Gary, from his movements to his banter with the others in the film. There is an air of desperation hidden under his free spirit persona. But surprisingly, it is Frost that steals the movie this time around. Andrew is the most well-rounded character he has portrayed, even through his transformation from a stiff professional into the atomic elbow dropping fighter he needs to become.
As I mentioned earlier, the fight scenes are very reminiscent Chinese Kung Fu movies. The choreography is amazing and the actors have no problem keeping up with the action and bringing the air of humor that the Kung Fu films bring as well. It is impressive watching Frost, a small man by no means, nimbly dispatch several foes. Meanwhile, Pegg is constantly thwarted by enemies as he unsuccessfully attempt to enjoy a pint. For a film billed as comedy, the few fight scenes are among the best of the summer.
As good and Pegg and Frost are though, it all comes back to the man behind the camera… Wright. He has a style that is distinctive and unique. He has shown his range over the years with shows like Spaced and films like Scott Pilgrim vs. the World. And his attention to detail is bar-none. Nothing is included in a shot if it doesn’t have some sort of meaning. Wright is a master film maker in his own right.
TWE is steeped in originality and creativity, which is sorely lacking in many films that are released these days. Wright is a master of deconstructing a genre film to honor it and make fun of it at the same time. Pegg and Frost have an uncanny knack for translating Wright’s visions to the silver screen. The World’s End is another example of their shining chemistry, and also one of the best films of the summer.
I cannot honestly think of a better way to wrap up the Cornetto Trilogy then the story told in TWE. For those that don’t know there’s a joke behind the Cornetto name, in that a report brought up that a Cornetto ice cream wrapper was featured in each of the first two movies. Shaun of the Dead and Hot Fuzz make up the first two movies, and TWE rounds out what eventually became the Cornetto Trilogy. Ice cream Easter egg aside, all the films in the trilogy share the same cast and crew. They star Simon Pegg and Nick Frost, written by Pegg and Wright, and directed by Wright. The films are chock full of inside jokes that go back as far as this incredible groups humble beginnings with the TV show Spaced. Beyond these connections, though, each films stands on its own as a unique story.
While Shaun of the Dead was the group’s take on zombie films, and Hot Fuzz visited the buddy cop genre, TWE is a comedic riff on films like Invasion of the Body Snatchers. If you have somehow made it this far without having the full plot spoiled for you, do try and keep it that way. The key things you need to know is that there are robots, creepy “YOLO” kids, and the story centers on Gary King, a man who never quite grew up.
Gary (Pegg) is a disaster of an adult male. He’s wild, rambunctious, trying to constantly relive his youth, and irresponsible to boot. This demeanor has not done any good for him as an adult on the far side of 40, but he’s delusional and is not aware that he has not succeeded in life. This actually adds to his charm.
Gary gets a bug up his you know what, and wants to relive one of his last greatest days of his youth. A day when he and his four best friends decided to celebrate finishing school by tackling the town-famous golden mile. Newton Haven has 12 pubs spread along a mile path that Gary manages to convince his friends Steven (Paddy Considine), Oliver (Martin Freeman), Peter (Eddie Marsan) and former best friend Andrew (Frost) to attempt again just like they did all those years ago. The pub crawl concludes at the film’s namesake: The World’s End.
As the evening goes on, and the beers start going down, the five begin to discover that something is off. Between rounds and pubs, the group starts to discuss whether or not the town has changed, or they have. This leads to a fight with the creepy “YOLO” kids that is reminiscent of Chinese Kung Fu movies the likes of Jackie Chan would be found in. As the mates progress from pub to pub, more and more of the mystery of Newton Haven begins to unravel.
The film starts in a deceiving way and hides its true nature underneath a veil of middle-aged men trying to reconcile their present with their past. Gary very much represents the past as he still dresses the way he did when he was 18, still drives the same car, complete with the same cassette tape of music given to him more than 20 years ago by Steven. Gary is a loser, but thinks he is the hero of every story, which causes a love/hate relationship with the group of friends. Then it all changes! Wright and company manage to do a complete 180 and combine a very believable mid-life crisis film with a robot invasion. And it works!
Pegg absolutely nails the role of Gary, from his movements to his banter with the others in the film. There is an air of desperation hidden under his free spirit persona. But surprisingly, it is Frost that steals the movie this time around. Andrew is the most well-rounded character he has portrayed, even through his transformation from a stiff professional into the atomic elbow dropping fighter he needs to become.
As I mentioned earlier, the fight scenes are very reminiscent Chinese Kung Fu movies. The choreography is amazing and the actors have no problem keeping up with the action and bringing the air of humor that the Kung Fu films bring as well. It is impressive watching Frost, a small man by no means, nimbly dispatch several foes. Meanwhile, Pegg is constantly thwarted by enemies as he unsuccessfully attempt to enjoy a pint. For a film billed as comedy, the few fight scenes are among the best of the summer.
As good and Pegg and Frost are though, it all comes back to the man behind the camera… Wright. He has a style that is distinctive and unique. He has shown his range over the years with shows like Spaced and films like Scott Pilgrim vs. the World. And his attention to detail is bar-none. Nothing is included in a shot if it doesn’t have some sort of meaning. Wright is a master film maker in his own right.
TWE is steeped in originality and creativity, which is sorely lacking in many films that are released these days. Wright is a master of deconstructing a genre film to honor it and make fun of it at the same time. Pegg and Frost have an uncanny knack for translating Wright’s visions to the silver screen. The World’s End is another example of their shining chemistry, and also one of the best films of the summer.
Sarah (7798 KP) rated It’s A Sin in TV
Feb 7, 2021
Outstanding drama
It’s A Sin is the latest drama from the mind of Russell T Davies, the man behind Queer as Folk, Cucumber and the revival of Doctor Who back in 2005. It follows a group of gay men and their friends in London from 1981 to 1991, depicting how the developing HIV and AIDS crisis impacted on their lives.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
The series concentrates on 5 friends who meet in 1981 and move into a flat together. There’s outgoing and smart Ritchie (Olly Alexander), shy and mild mannered Colin (Callum Scott Howells), flamboyant Nigerian Roscoe (Omari Douglas), sweet Ash (Nathaniel Curtis) and outgoing, responsible Jill (Lydia West). It’s A Sin follows the friends as they party and lead promiscuous lifestyles over the 80s, only for the AIDS crisis to slowly weave its way into their lives and affect friends and colleagues closest to them. Each deals with the developing crisis in their own way: Jill fights for AIDS awareness and help for those that are suffering, whereas Ritchie remains in denial and spreads conspiracy theories about AIDS. But by 1991, the lives of the group and their families have been irrevocably changed.
It’s A Sin is a powerful drama about an emotive and serious subject. While it is not based on a completely true story (only Jill is loosely based on a real person, Jill Nalder, a friend of Davies), Russell T Davies has based this around his and his friends experiences of the AIDS crisis in the 80s and watching this you can really believe that these sorts of events happened across the 80s and 90s. The attitudes and experiences shown here, from the hedonistic lifestyles to the rampant denial and conspiracy theories, are terrifying and sadly a true to life depiction of the attitudes at the time, and make for a rather emotional and sometimes harrowing watch.
Despite the serious subject, It’s A Sin isn’t entirely sombre. It starts out as a story of friendship and fun and there are a lot of heartwarming scenes and a surprising amount of laughs. Some might think the uplifting side of this drama detracts from the seriousness of the AIDS crisis, but personally I found the lighthearted scenes helped balance the rather sobering seriousness, especially as the episodes gradually become more and more grave as the crisis progresses. Even the gay sex scenes are fun and made mostly for laughs rather than any sort of eroticism. It’s impressive that Davies has managed to pull off a series that seamlessly blends lighthearted entertainment with a serious topic, without making light of such a harrowing crisis.
It helps that the cast are fantastic. Olly Alexander, who I knew nothing about other than recognising a few Years and Years songs, is an absolute star and a standout as Ritchie. He’s charismatic and engaging and when he’s on screen, you can’t take your eyes off him. The rest of the main cast too are just as good, especially this being their first major tv role in the case of Howells and Douglas. They’re ably supported by a host of seasoned veterans, including Neil Patrick Harris as Colin’s work colleague, Stephen Fry as a closeted MP that Roscoe meets, and Keeley Hawes and Shaun Dooley as Ritchie’s parents. Hawes and Dooley are especially moving and ultimately surprising in the later episodes, when their true attitudes as parents are revealed. My only real criticism of this series is so minor it’s barely worth mentioning, but I did get a little frustrated that Ritchie’s full name was Ritchie Tozer, as this is the same name as Richie Tozier from Stephen King’s IT. Admittedly a different spelling, but it did grate on me a little throughout the episodes as it’s not exactly a common name.
However despite my reservations on character naming, It’s A Sin is a fantastic heartwarming yet sobering drama that can’t be faulted. It’s been a long time since I’ve seen anything so engaging and emotional.
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.