Baby Driver (2017) Review

     Edgar Wright is a god damn artist. The writer-director of Baby Driver has made other incredible films in the past, but here. Here. The man has ascended to the entirely other level. What should’ve been standard genre fare has been delivered to us as one of the best films of the year, bar none. 

     After suffer from a terrible car accident as a child that left him with tinnitus, Baby (Ansel Elgort) is the best getaway driver out there. Using music to drown out the ringing in his ears, he masterfully navigates the streets to pay off his debt to Doc (Kevin Spacey). But with one more job left and a beautiful waitress (Lily James) giving him purpose, he quickly learns that there are no clean getaways. 

     Edgar Wright has always been the kind of fimmaker who both embraces and skews the conventions of any given genre be it Shaun of the Dead, Hot Fuzz, or Scott Pilgrim vs. The World the man’s love of filmmaking is embedded into every single frame of the films he makes. 

     I can’t recall any recent film where the editing is so meticulously put together to the soundtrack of the movie. I mean everything from gunshots, to revving engines to even the actor’s body movements are all precisely timed to the soundtrack. It just manages to suck you in and without even trying, gets you to focus on the story’s unfolding of the events. 

     All of this shit, as fucking incredible as it is, wouldn’t mean anything if it wasn’t for the acting that’s on display here. Jamie Foxx is subtly terrifying as an unhinged member of the crew. Spacey just effortlessly commands every single scene he’s in. I don’t know another actor that comes off so confident. 

     Esgort’s Baby comes through perfectly written, believable, sweet especially in scenes with James’s Debora but the relationship that gave the movie an unexpected depth and warm heart was Baby’s relationship with his foster father Joseph played by CJ Jones. It was this storyline that made me root for Baby and for him to ride off into the sunset. 

     Maybe a lot of people won’t care that the movie is a throwback to the 70s line of heist films, but no one can deny that the movie is thrilling, funny as hell, and the best car chases I’ve seen in years. And you can actually see them too! No shaky cam bullshit. The film is fresh and original and I need that soundtrack in my life. 

So… About The Dark Universe… A Mummy (2017) Review (Rant)

     I’ve been thinking about this for awhile. A long while. Its going to come off as ranty, it doesn’t matter. Shared Universes in film is chic now, and Universal Studios wants a cut of that Avengers money. This time with their horror properties. This is literally nothing new for them, they did this back in the 40s for Christ’s sake, but now they want to jump in with this version of The Mummy (not Dracula Untold ) to kick start “a new world of gods and monsters”

     Well it fucking sucks. 

     I don’t know where to even begin with this. I guess the movie at hand. 

     The Mummy in this iteration, doesn’t know what it wants to be. The tone is all over the place, thinking it’s the 1999 The Mummy, and An American Werewolf in London. One is an action film and the other a deeply macabre comedic horror film. 

     The Mummy fails on both counts. 

     The plot this time around involves Nick (Tom Cruise) being a scavenger who comes across an ancient tomb and his ass gets cursed. So he awakens Ahmenet (Sofia Boutella) who wants to cloke the world in darkness or some such shit. And Dr. Jekyll (Russell Crowe) is in. Seriously. He’s the head of a shadow organization that tracks these monsters. (Alright, that is cool).

     The first problem here is with the main narrative arch of Nick. This guy is supposed to be a scoundrel, a guy who has a corrupt moral compass. The guy does nothing throughout the movie to reinforce that trait. Nothing. There’s this supposed redemptive arch that made me laugh. What’s he got to redeem? Han Solo is a badder mother fucker than this guy. 

     The Universe building on display is just sloppy. Nothing comes off cheaper than an “organization” that keeps track of monsters and the like. Its sloppy because you can just throw in a bunch of references to other characters without any actual effort. Did the filmmakers really expect me to lose my shit because there were vampire skulls or the Gill Man’s fucking gill hand? Eat shit. 

     I do have to admit that Russell Crowe as Dr. Jekyll was an inspired bit of casting because he is Dr. Jekyll. I don’t think the man knew he was even making a movie. And as a side note, Jekyll was never a Universal Monster, but I love that he is now. Kind of. 

     One of the most confusing missteps was setting the movie in modern day. Who the hell thought that was a good idea??? The Victorian look and feel is what gave the originals that sense of dread and atmosphere since it seems so foreign, like a whole other world. I think it took ke around 15 minutes before I realized this this is supposed to be present day. That’s how muddled this movie is! How difficult is it to clearly establish your timeline?

     The Universal Monsters were one of my first exposures to the world of horror so this means everything to me.  The monsters ranging from Dracula to Frankenstein’s Monster were just so cool, creepy, and even a little tragic. It was the first shared universe on film, and man it was so cool to see Frankenstein take on the Wolf Man, I don’t care how contrived it was. 

     But this? This is so boring. I kept hoping that Universal studios were going to bring back the fun, and perverse joy to seeing straight up iconic monsters fucking each other up. But no. It’s all about that Avengers money. I’m not a fool, I know that this is how studios operate, but I was just hoping that there was someone in charge that had the same level of love, passion, and adoration that I have for these creatures. Because we all deserve better than this, fan or not. 

     Bride of Frankenstein better not fucking suck. 

Cars 3 (2017) Review

     Over this past decade I have actually come to have an affection for the Cars series (thanks to my nephew). Yes, even the much reviled Cars 2. But now we’ve come full circle with Cars 3 and I can see it being a bittersweet entry for the fans who grew up with Lighting McQueen. 

     Lightning McQueen (Owen Wilson) seems to be on his last legs. With a new racer named Jackson Storm (Armie Hammer) who is just plain faster than McQueen, causes him to question whether he can still cut it in today’s racing. With help from Cruz (Cristela Alonzo) a new trainer to help him back to the top. 

     I am such a sucker for the apprentice becomes the teacher stories, especially in franchises. The story has come full circle (hilariously) as McQueen trains his trainer. 

     Gone this time around is the grand scope of the previous film, and a return ro the small, intimate nature that gave the original its charm. Its more retrospective, even a little sad as Doc (Paul Newman) is referenced throughout the film and it brought the real theme of time fleeting. 

     Speaking of Paul Newman, Cars 3 did evoke some memories of The Color of Money a sequel to The Hustler. Now, Lightning McQueen was never disgraced like Fast Eddie Felson was, but the passing of the torch was reminiscent of it.  

     This is by no means a perfect film and Pixar has obviously made much better films, but the movie is light, inoffensive, and quite frankly, a little deeper than it had any business being. I finished the movie with a smile and that’s a lot more than most films this summer. 

Wonder Woman (2017) Review

     There, DC. Was that so hard?

     Who knew that adapting a single character and faithfully staying to the core fundamentals of said character would, you know, make a great movie? I mean, this is a game changer people! 

     Diana of Themyscira (Gal Godot), daughter of Hippolyta (Connie Nielsen) and Zeus leads a carefree life until a man, Steve Trevor (Chris Pine), somehow manages to crash onto the island and warns of the War to End All Wars. Diana takes it upon herself to go to our world and put an end to her brother Ares, finally ending the Great War. 

     Everything that DC did wrong with their last three outings, Man of Steel, Batman v. Superman: Dawn of Justice, and Suicide Squad; Wonder Woman gets right in pretty much every way. First off, here’s a story with an actual beginning, middle, and end. Yes, a fully formed story that isn’t just a set up for another movie or a “Universe.”

     I thought it was illegal to do that in comic book movies nowadays. 

     Second, there was an actual focus and care on developing a character. One. Character. You know, to understand and care about them and their motivation, instead of just throwing them in a blender and wonder what went wrong? 

    The whole movie is contingent on the performance of Gal Godot as Wonder Woman, and I  sincerely cannot imagine anyone else in the part. She’s got the asskickery down, no question, but between bashing people’s heads in, she exhibits a warmth, an innocence that adds to her strength, not diminishes it. Do you have any idea how difficult it is for an actor to pull that off???

     Yeah, there is a love story here involving Steve and Diana, and its easily the best relationship of the DC Universe films (yep better than Lois and Clark). The chemistry between Pine and Godot is genuine, and natural to the story. Makes me smile thinking about it. 

     The supporting cast of Saïd Taghmaoui, Ewen Bremner, and Eugene Brave Rock as Sameer, Charlie, and Chief respectfully, just knock it out of the park. These three actors know the value of supporting their lead, and have their moments to shine, but never overshadow Godot in any way. I actually remembered their characters names without looking at my notes, what does that tell you?

     Director Patty Jenkins has made something truly special here. It shouldn’t be, but it is. Having seen 2005’s Electra, and 2004’s Catwoman which are unbelievable pieces of shit, female superheroes were never the fucking problem. Shitty writing, acting, directing, etc. were the problem. Those films were disrespectful to the source material, and to filmmaking in general. 

     Like Diana at the start of the film, maybe I am much too naive in how the way the world works. I finally got to see the story of one of the greatest superheroes ever up on the big screen. It never, ever, should have taken this long for it to happen. Fuck it, I’m just so happy it was done this well. 

Pirates of the Caribbean: Dead Men Tell No Tales (2017) Review

     I  thought that by the 4th sequel to a 15 year old franchise would make you want to question your life choices. Considering that the last one, On Stranger Tides, was a bland, uninspired affair. Maybe it’s the fact that my bar was lowered in every respect, it was delightful that Dead Men Tell No Tales is easily the best of the sequels. 

     The adventure this time around involves Henry Turner (Brenton Thwaites) the son of Will Turner (Orlando Bloom) who has made it his mission to break his father’s curse. The only way to do it is to find the trident of Poseidon. And yep, only Captain Jack Sparrow can find it along with a woman named Carina (Kaya Scodelario), and of course, Captain Barbossa (Geoffrey Rush). And what tale wouldn’t be complete without some unbridled vengeance against Sparrow, by Captain Salazar (Javier Bardem)?

     Every Pirates movie features some young punk on some quest for something (Davey Jones’s Locker, a coin, pussy) but this time around its something fans of the series are actually invested in: the freedom of Will Turner). It almost felt like all the previous movies were just a build up to this one. When referencing the legends told about Jack, we know these tales because we saw fucking saw them ourselves. It just added to the experience instead of making up some bullshit adventure, involving some bullshit character, for some bullshit reason. This time we actually give a shit. 

     Bardem’s Salazar is a foe worthy of his vengeance, and the first villain that actually creeped me out. A charming rogue with a clear and relatable motive. And the humor is actually funny this time around (who knew humor had to be funny to work), with Depp’s Sparrow actually coming off as inspired, rather than picking up a pay check. His would be execution scene pretty much set the tone that this movie is going to be silly. Really fucking silly. 

     Even looking back on it now, and the others, I realized that Dead Men Tell No Tales is going to be the installment that I’m genuinely going to watch more and more. Seriously, who knew that it took 4 more films for the series to get great again. I know, because I seen it!