Split-second ingenious unassailable guiltless reflexes, instinctively classifying delicate improvisation, piquant extemporization, serpentine spontaneity, the driver, driving the getaway vehicle, atavistic awareness vigilantly circulating extractions, an unprecedented impresario envisioned in wild heartlands brake swerve accelerate, coordinate chaos with implicit clandestine credulity, pulsating pumping propulsive paved impertinence, irreducibly reacting, to unpredictable explosive larceny.
Mad skills.
Variably exercised.
Character driven.
Edgar Wright's Baby Driver's hilariously character driven, with Ansel Elgort (Baby), Lily James (Debora), Bats (Jamie Foxx), Buddy (Jon Hamm), Darling (Eiza González), Joseph (CJ Jones), Griff (Jon Bernthal), and Doc (Kevin Spacey) each chauffeuring full-throttle eccentricities that make said characters their own.
The well-thought-out creatively choreographed romantically comedic yet harrowingly hardboiled script (Wright) supplies them with ample maneuverability.
In fact I'd argue this is Wright's best film.
There are two notable oppositions within that reflect different intellectual styles.
Baby and Doc's youthful and aged conversations provide the film with an executive frame as they reticently interact, Doc's nephew Samm (Brogan Hall) brilliantly expanding one of their sequences, while Bats and Buddy concurrently represent clever tenacious earnest hard work, as they durably discuss various subjects between jobs.
Nice to see Jamie Foxx rockin' it again.
Doc heartbreakingly embraces romance in the end, risking everything to aid young Baby and Debora as they wildly set off to matriculate on the run.
I've been focusing on the criminal nature of the film but it's also a warmblooded romance.
Baby owes Doc a large sum of money that he's been slowly paying off for some time.
He meets Debora at the diner where his deceased mom used to work and they hit it off, young adult love at its most endearing, hesitantly tender and shyly enthusiastic.
Since he engages in illicit activities quite frequently, however, the nogoodniks eventually terrorize their sanctuary, especially after they craft plans to escape, which unconsciously precipitate embroiled maturations.
Excellent film that's patiently yet boisterously detailed, the dedicated caregiving, the musical artistry, the Mike Myers gag, the paradoxical sense of coerced altruism, the relaxed quiet dignity, the wanton perplexed angst.
Realistic reverberations.
Sweet sweet summertime.
Breezy.
Showing posts with label Edgar Wright. Show all posts
Showing posts with label Edgar Wright. Show all posts
Friday, July 7, 2017
Wednesday, September 11, 2013
The World's End
12 pubs.
12 pints.
5 friends.
Grievances.
A youthful night of rambunctious drinking whose objectives were not achieved is revisited later on in life after 4 of 5 friends have embraced occupational stability, its chaotic contours representing the other friend's liveliest memory, after a lifetime of nurturing mind-altering nullifications.
The goal is to finish The Golden Mile, drinking a pint at each of Newton Haven's 12 pubs, sticking together as a team, revitalizing a wayward sense of indestructibility.
Gary King (Simon Pegg and Thomas Law) somehow manages to quickly convince his old friends to join him, once being the leader of the pack, compassion, pity, and camaraderie functioning as motivating factors, the beast gassed up and ready to flux capacity.
But a paradigm shift has occurred in peaceful Newton Haven, and although familiar faces remain, things are no longer quite what they seemed.
A challenge to the evening's nostalgic embroileries unravels a sinister intergalactic plot to colonize the Earth and eat organic food, against which the 5 friends must then contend, while continuing to pursue their dipsomanic agenda.
To the World's End.
Is The World's End a diabolical delusion taking place solely within the demented mind of Mr. King, or have people indeed been replaced with glad handing automata, in search of healthier lifestyles?
The improbability suggests the answer is a simple yes, but the film's extracurricular exhibitionism begs the question, if this is merely obstetric, why does it revel so collegially within its confines?
It does function as a response to Hot Fuzz, Simon Pegg and Edgar Wright examining their own encounters with the aging process.
Functions too similarly to Hot Fuzz.
Contemporary kings they may be, I didn't see This is the End, and don't want to compare them to anyone else, my intuition transmitting that these comedic constabularies have intercepted an apocalyptic discourse.
Smart script though, the situations themselves often funnier than what takes place within them, which, I suppose in my case, is also a sign of age.
I would probably only be able to drink 8 pints.
If I didn't have to work for the next two days.
And had several cans of minestrone soup available at home.
12 pints.
5 friends.
Grievances.
A youthful night of rambunctious drinking whose objectives were not achieved is revisited later on in life after 4 of 5 friends have embraced occupational stability, its chaotic contours representing the other friend's liveliest memory, after a lifetime of nurturing mind-altering nullifications.
The goal is to finish The Golden Mile, drinking a pint at each of Newton Haven's 12 pubs, sticking together as a team, revitalizing a wayward sense of indestructibility.
Gary King (Simon Pegg and Thomas Law) somehow manages to quickly convince his old friends to join him, once being the leader of the pack, compassion, pity, and camaraderie functioning as motivating factors, the beast gassed up and ready to flux capacity.
But a paradigm shift has occurred in peaceful Newton Haven, and although familiar faces remain, things are no longer quite what they seemed.
A challenge to the evening's nostalgic embroileries unravels a sinister intergalactic plot to colonize the Earth and eat organic food, against which the 5 friends must then contend, while continuing to pursue their dipsomanic agenda.
To the World's End.
Is The World's End a diabolical delusion taking place solely within the demented mind of Mr. King, or have people indeed been replaced with glad handing automata, in search of healthier lifestyles?
The improbability suggests the answer is a simple yes, but the film's extracurricular exhibitionism begs the question, if this is merely obstetric, why does it revel so collegially within its confines?
It does function as a response to Hot Fuzz, Simon Pegg and Edgar Wright examining their own encounters with the aging process.
Functions too similarly to Hot Fuzz.
Contemporary kings they may be, I didn't see This is the End, and don't want to compare them to anyone else, my intuition transmitting that these comedic constabularies have intercepted an apocalyptic discourse.
Smart script though, the situations themselves often funnier than what takes place within them, which, I suppose in my case, is also a sign of age.
I would probably only be able to drink 8 pints.
If I didn't have to work for the next two days.
And had several cans of minestrone soup available at home.
Sunday, May 15, 2011
Hot Fuzz
Wow. Ever been worried that the warm and friendly atmosphere blossoming in your small town is being sinisterly manufactured in order to preserve an antiquated way of life? Ever considered that beneath the pristine picturesque pastimes coordinating your daily pastoral activities lies a determined sect dedicated to ensuring that those activities will remain unchanged, forever?
Edgar Wright and Simon Pegg sure have and the result is a chilling satirization of life in the country, complete with down home cute and cuddly clementines and the infrequent honk of a rebellious swan.
Or Hot Fuzz for short.
Police officer Nicholas Angel (Simon Pegg) excels at his job. But he performs beyond exceptionally thereby alienating most of the force.
This results in his transfer from London to Sandford.
His dedicated uncompromising bullet proof rectitude also frustrates many in Sandford, but not before he acknowledges that he may have a problem and also befriends partner Danny Butterman (Nick Frost).
The two form an unlikely duo determined to prove that a series of recent deaths are in fact the product of murder, Simon Skinner (Timothy Dalton) being their principal suspect.
Should Angel proceed with the traditional traction that has failed to serve him well professionally, or should he relax his pursuit of justice in order to make a more homely fit in his new town?
The answer enriches the ultimate battle of good versus evil, sublimely crafted and ridiculously executed, truly one for the ages.
If you like watching well-written films wherein characters are given seriously comedic room to maneuver, films which seem like they're unconcerned with their narrative's meticulously researched playfully cohesive structure, films which set up over the top stereotypes in opposition and then provide them with plenty of ammo, films where representatives of law and order break down and descend into total chaos, while still upholding the law, you'll likely enjoy Hot Fuzz's bizarre relationship with tradition and redemption, give or take a theoretical posture regarding communal individuality.
Obsessed unyielding conviction. Authority and a pledge of trust. Guns.
Hot Fuzz.
Edgar Wright and Simon Pegg sure have and the result is a chilling satirization of life in the country, complete with down home cute and cuddly clementines and the infrequent honk of a rebellious swan.
Or Hot Fuzz for short.
Police officer Nicholas Angel (Simon Pegg) excels at his job. But he performs beyond exceptionally thereby alienating most of the force.
This results in his transfer from London to Sandford.
His dedicated uncompromising bullet proof rectitude also frustrates many in Sandford, but not before he acknowledges that he may have a problem and also befriends partner Danny Butterman (Nick Frost).
The two form an unlikely duo determined to prove that a series of recent deaths are in fact the product of murder, Simon Skinner (Timothy Dalton) being their principal suspect.
Should Angel proceed with the traditional traction that has failed to serve him well professionally, or should he relax his pursuit of justice in order to make a more homely fit in his new town?
The answer enriches the ultimate battle of good versus evil, sublimely crafted and ridiculously executed, truly one for the ages.
If you like watching well-written films wherein characters are given seriously comedic room to maneuver, films which seem like they're unconcerned with their narrative's meticulously researched playfully cohesive structure, films which set up over the top stereotypes in opposition and then provide them with plenty of ammo, films where representatives of law and order break down and descend into total chaos, while still upholding the law, you'll likely enjoy Hot Fuzz's bizarre relationship with tradition and redemption, give or take a theoretical posture regarding communal individuality.
Obsessed unyielding conviction. Authority and a pledge of trust. Guns.
Hot Fuzz.
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