This is a review, partly by Tweet, of Baby Driver (2017)
More views of - or before - Cambridge Film Festival 2017 (19 to 26 October)
(Click here to go directly to the Festival web-site)
3 July
This is a review, partly by Tweet, of Edgar Wright's Baby Driver (2017)
Baby Driver (2017) palpably cannot be about what it seems, any more than is writer / director Edgar Wright's The World's End (2013), but did the audience seem to be missing that* ?
Here, there is a quantity of humour - wry, grim, and worse - that, if one is too believing of the film as story, will perhaps not have one snorting, or shaking one's head, at the audacity of the film-making (i.e. concept / script / delivery)... which is unfortunate, because these shots, the quality and precision that Edgar Wright gives us in the framing, wording, and editing, deserve our respect for what they are, i.e. not just part of, say, another 2 Guns (2013).
No doubt that Wright's poking fun of - outright mocking ? - Drive (2011) and Gosling / Mulligan with the pseudo-psychology and 'Wanting out'— THE AGENT APSLEY (@THEAGENTAPSLEY) July 5, 2017
By contrast, Nicolas Winding Refn's Drive (2011) really does take itself so seriously [as does [ ] The Neon Demon (2016) ?], with Ryan Gosling (credited only as Driver, though one choice of garment** suggests that he models himself elsewhere) as the man who can not only be wholesome to Carey Mulligan*** (Irene = Greek for 'Peace'), but buck an approach to and use of violence based on retribution.
No delusion that this is 'Real', or the film-references chance :— THE AGENT APSLEY (@THEAGENTAPSLEY) July 3, 2017
At a significant time, one's in a laundrette where a painterly RYB rotates
Nerdist also picked up on that use of colour(s) in its posting about the film's trailer(s) :
If the trailers are any indication, it would seem Wright’s been itching at giving us some beautiful shots with vibrant color palettes and, in the moment Baby and his girlfriend are talking, a shot that just screams 'EDGAR WRIGHT NEEDS TO BE DIRECTING EVERYTHING !'
Centre right, Edgar Wright evokes a grander place than My Beautiful Laundrette (1985)
[...]
As in a musical, the songs of “Baby Driver” come first—it’s the digital version of a jukebox movie. https://t.co/d8dh17AU9o— The New Yorker (@NewYorker) July 4, 2017
[...]
End-notes :
* In Screen 1, at 6.30 on a Monday evening.
** As mentioned in the #UCFF review.
*** Also known as Mary Culligan... :
Interesting list. Who do you really rate if you're being metacritical? https://t.co/yaMrul8fgW— EastEndFilmFestival (@EastEndFilmFest) April 28, 2017
Mary Culligan : 'Her top rated films are Inside Llewyn Davis & An Education'— THE AGENT APSLEY (@THEAGENTAPSLEY) April 28, 2017
Not just compared to the latter, she's barely in the former ? https://t.co/9YwiYj7mrI
If you want to Tweet, Tweet away here
Unless stated otherwise, all films reviewed were screened at Festival Central (Arts Picturehouse, Cambridge)
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