4 years since the pub crawling finale to the Cornetto Trilogy, Edgar Wright returns with an adrenaline soaked beauty.
Wright is back with his signature stylish/comic aptitude and this time applies his directorial genius to a project with bigger action and bigger thrills. Atlanta becomes a playground for him as he shows off a satisfying masterful handle on the genre of heists, car chases and Bonnie and Clyde-esque dramatics.
Baby (Ansel Elgort) is a smooth, superstar getaway driver who’s tied to working for shady Doc (Kevin Spacey) who brings together differing personalities to carry out robberies. It happens that Baby is permanently listening to music winding up the likes of Bats (Jamie Foxx) and others but this trait of his is no weakness and also helps him strike up conversations with waitress Debora (Lily James) who could end up in danger the closer she gets to the mysterious music man.
Usually I leave the music chat til later on and focus in on plot and style, but this movie isn’t anything (or much of note) without the music it offers. The soundtrack is one of pure delight and boosts the movie an incredible amount of energy. The effortless car choreography is amped up further thanks to the loud and proud songs throughout. It’s no lie to say that every escape moment whether on foot or behind the wheel made me sit up and smile like a buffoon because they’re just so fun to watch with a finesse that’s hard to ignore.
That’s not to say that if the songs were wiped off then the movie would be terrible, it would just be mediocre and quite possibly forgettable. It’s the choice of the iPod playing such excellent music that this film is the stylish marvel it is. The editing too must be mentioned because it’s like every motion is clipped and fitted to coincide with the change of artists from T.Rex to Queen.
Detail is everything in Edgar Wright movies, he displayed that in ‘Scott Pilgrim vs. the World’ with comic book styling adding a zany and cartoonish look to almost every frame. This is the case again, for example, the opening credits feature Baby on route to fetch coffees and the song lyrics playing in his buds litter the backdrop from posters to graffiti in such a cool way. The look of the film is very retro America, from the locations and fashion. The characters are outlandish and cartoony but also provide a very real sense of threat when the movie needs to shift to the necessary air of tension and drama.
Strangely, amongst all the skids, sirens and shots fired in this killer feature, there is a sweetness to be found in the central relationship between Baby and Debora. It does admittedly feel left out sometimes and grows to a love before you know it but it softens up the film nicely and Lily James helps give a radiant glow amongst the sharper carnage of every other character. Hell, there’s sweetness to be found with Baby and his foster father.
The only teeny critiques I have with the film is there were a couple of times it lulled. The ending was perhaps twee and could have ended a slight nudge earlier and it is mostly the music that makes this film. It’s no five star baller but it’s so damn close.
Elgort is a tip toe away from arrogance that you don’t like him but there’s enough charm and intelligence to his character that you keep on his side. James as mentioned gives the movie a romantic and soft touch, the scene with her and Baby in a laundromat is another creative and stylish moment that stands out and sets up their connection nicely. Foxx is cool but clearly unhinged and provides the narrative its more tense moments. Spacey flits between good and bad and heck if you know what his motives are as only Spacey could in such a confident manner. Jon Hamm and Eiza Gonzalez are a perfect crazed Romeo and Juliet of weaponry and love. Everyone has a moment to shine with a script by Wright that is funny and fierce.
Go see this because it’s truly something you won’t be seeing anything like for the rest of the year. It’s a jacked up joy ride and one you’ll enjoy being in the backseat for. Hold on tight!