Basically a feature length version of the fake trailers at the start of Tropic Thunder. 100 minutes of utter insanity.
The Safdies’ stylistic flourishes - psychedelic lighting, zoom lenses isolating marginalized characters even in the midst of urban chaos, pounding soundtrack courtesy of a Pitchfork darling - are all here, and they still work in exciting ways, even if the immediacy of Heaven Knows What is missing from this thematic retread. The film is relentlessly entertaining, and does manage to tuck at something new during the brief middle act with Taliah Webster - the one time the Safdies expand their…
Hey, did you guys know that Edgar Wright likes music? That's pretty cool, huh? After spending his entire career making brilliant movies that demonstrated this fact without getting pushy about it, Wright has now created a film dedicated to nothing but restating it over and over again - and boy does it get tiresome real fast.
Baby Driver has a lot of smart, charming musical sequences but spends too little time setting up its characters and too much time attempting…
A few scattered thoughts:
I remain eternally confused by the widespread assertion that the notions of Richard Linklater as
a) someone who makes movies with a shallow, predominantly white male perspective
b) one of the great American filmmakers working today
...would somehow have to be mutually exclusive. By all means, we should never stop holding his feet to the fire for the former. A privilege-tinted lens however, can still reveal - often ugly - truths. This is a great, complicated…