Baby Driver

Director: Edgar Wright
Starring: Ansel Elgort, Kevin Spacey, Jamie Foxx, Lily James, Jon Hamm, Eiza Gonzalez, Jon Bernthal, CJ Jones, Sky Ferreira, Flea, Big Boi, Paul Williams
Running Time: 113 min
Rating: R

★★★ ½ (out of ★★★★)

For anyone ever wondering what would happen if Quentin Tarantino made a musical, Baby Driver is just about the closest we're going to get.  While it's instead directed by Edgar Wright, it's impossible to watch without thinking his fingerprints are, at least in some small way, all over it.  And that's not necessarily a bad thing, especially considering this is likely a lot less chatty and self-referential than his version would be. But the common ground they both find is in the music, which in this case is literally and figuratively driving the action forward at a breakneck pace. From the opening title sequence, during which our music-loving protagonist is lip syncing and dancing down the street to Jon Spencer Blues Explosion's "Bellbottoms," we know we're in for something a little different. And that's exactly what's delivered, as this story about a quiet getaway driver in over his head is underlined with car chase scenes that look and feel like real car chases, mostly because they are.

The astonishing contradiction within Wright's overstylized, hyped-up universe is that it's grounded in a reality that feels authentic, even when it seems ridiculous. And there's plenty of ridiculousness. But it's never boring, as its nearly two hour run time flies by, until arriving at a third act that isn't quite as inspired as what preceded it, but undeniably exciting nonetheless. The calm center of this violent storm is Ansel Elgort's charismatic but low-key performance as the title character, officially marking his arrival as a major star, but more importantly, a talented actor worth watching.

Breaking one of the key rules of a lead character, we watch as everything happens to and around him, until he realizes his survival depends upon taking action. Despite a myriad of influences, Baby Driver never feels like a replication of anything, and that's praiseworthy in itself, proving a productive soundtrack can do more than provide background noise. Here, it's the foundation on which the entire film is built. Inseparable from the first frame, the music informs the action and that action returns the favor ten-fold.

Essentially a good kid who made a dumb choice, Baby (Elgort) is a getaway driver in Atlanta, behind the wheel for a crew of armed robbers assembled by criminal mastermind Doc (Kevin Spacey), who he's indebted to after stealing one of his cars. He's also really skilled wheel man expertly helping Doc's gangs continually evade capture after some big robberies. Blasting the music from his many iPods to drown out the humming in his ears caused by a childhood car accident that killed his parents, Baby anticipates his last job may finally be on the horizon.

Being free from his his debt could offer Baby the opportunity to properly look after and provide for his deaf foster father Joseph (CJ Jones), as well as cut ties with a seedy criminal underworld of thugs like the impulsively dangerous Bats (Jamie Foxx), former banker turned robber Buddy (Jon Hamm), and his wife, Darling (Eiza Gonzalez). And it's just when he appears to be done and grows closer to friendly diner waitress Debora (Lily James), he realizes there is no "out" with Doc. Or at least until he helps pull off one last big heist. But with volatile personalities and unanticipated complications involved, he'll have to make a choice between protecting those he loves and escaping alive.

For as comical and clever the dialogue is and the amount of fun, thrilling high-speed car chases there are, it's surprising just how much of the film is driven by fear and tension. The baby-faced hero has unwillingly entered a world in which he just doesn't fit and has been thrown into for reasons we know are at least partially his doing. There's a fragility to the character as Baby silently takes in Doc's carefully orchestrated plans and his makeshift band of thugs do their best to intimidate and bully him at every turn. It doesn't work. Or does it? We're not quite sure, which is one of the more intriguing aspects of the character, who makes mixtapes out of conversations and basks in the classic R&B pumping through his earbuds . There's a part of you thinking he must be scared out of his mind, while entirely different aspect to Elgort's performance is still suggesting this kid's been through too much in his life to even care.

Wright crafts a clever backstory, sporadically shown through flashbacks, that hints at this and offers up an effective explanation for his ipod obsession, while also working really well as tech nostalgia for viewers. After making gigantic impressions in The Fault in our Stars and even Men, Women and Children, Elgort takes it to a new level here, which isn't to suggest he does anything that's over the top. It's just the opposite, as so much of what he conveys is through silence and facial expressions, with most of his talking being with Debora, as they bond over their shared musical tastes. There's an easy rapport between the two that's never too schmaltzy or eye-rolling, and while it's easy to argue Lily James is saddled with a limited girlfriend role, at least she excels at it, sharing great chemistry with Elgort and becoming more important to the narrative as the film wears on.

Jon Hamm is given his best and most substantial big screen showcase to date as the smooth but dangerous Buddy, playing way against type in a villainous role he probably couldn't wait to sink his teeth into. Jamie Foxx is suitably scary, unpredictable and intimidating as Bats, a certifiable, button-pushing lowlife you just can't wait to see get his. There's also a fantastic cameo by Paul Williams (yes, THAT Paul Williams) that should have fans of his grinning from ear-to-ear at its sheer lunacy.

While it feels strange eulogizing the career of a still living actor, there's no avoiding the giant elephant in the room that is Kevin Spacey, since this could be the last time we see him featured this prominently in a top project. Luckily, it's a good one that reminds us how skilled he is at played sleazy schemers in positions of power. Make what you will of that statement, but supporting roles like this won't be nearly as interesting without him in them. The scenes wheres he faces off with Elgort are among the most memorable and the characters' working arrangement doesn't go completely as predicted.

The real star here are the chase scenes and soundtrack highlighted by a seemingly endless stream of 70's hits and non-hits. When the plot's heists go exactly according to plan, it's a joy to watch the mechanics of it all unfold, but when it doesn't, that's when things really get fun and the excitement comes in seeing the characters scramble and improvise. That's essentially the entire last act, highlighted by a sequence in which Wright brings the same propulsive energy and seamless stunt choreography of the car chases to one that takes place entirely on foot. That's impressive, but you get the feeling that little of it would be possible without that soundtrack, which ends up not only being the co-lead and star, but so much more a part of Baby's DNA than any superficial trait a lesser filmmaker would have concocted for him.
         

Scott Pilgrim vs. The World

Director: Edgar Wright
Starring: Michael Cera, Mary Elizabeth Winstead, Kieran Culkin, Ellen Wong, Alison Pill, Mark Webber, Johnny Simmons, Anna Kendrick, Brie Larson, Eric Knubsen, Aubrey Plaza, Satya Bhabha, Chris Evans, Brandon Routh, Jason Schwartzman
Running Time: 108 min.
Rating: PG-13

★★★ (out of ★★★★)

Talk about biting off more than you can chew. Scott Pilgrim vs. The World is so ambitious that at moments I wasn't even sure what I was watching. I didn't really care what happened to the protagonist, it doesn't work as an action adventure, super-hero, romance, coming-of-age movie, or an indie comedy and seems to have nothing important to say. It does work as a comic book and video game, but considering it's based on the former and literally interprets the latter that isn't exactly a huge surprise. Yet something clicks. It probably has something to do with the film existing in its own self-contained universe that seems to make up its own rules as it goes along, giving me something I can't honestly say I've seen onscreen before. That's the hardest thing possible for a filmmaker to do so it's a credit to writer/director Edgar Wright that the world he creates for this 108 minute stretch that feels more like 5, occupies that special space. It's such an unusual accomplishment you're almost tempted to just go with it and forgive its many flaws because even the flaws are kind of endearing as would be expected when the aim is this high. Taking a battering ram to conventional storytelling, it's also as relentlessly annoying, overly hip and juvenile as its lead actor has been accused of being so in a way it's the ideal vehicle for him. Call it the era-defining Michael Cera since none of his movies have as accurately captured the enigma and ongoing debate over his skills as a performer. It's kind of a big deal so all his haters should brace themselves because they're in for their worst nightmare. I've always fallen down the middle on Cera so it's almost appropriate I fall right down the middle on this also, respecting the hell out of what it's trying to do, while still realizing it doesn't quite get there.

Awkward, mop-haired 22 year-old Canadian Scott Pilgrim (Cera), bass guitarist for the garage band "Sex Bob-omb," hasn't exactly had the best luck in relationships of late, mourning his painful break-up with rocker Envy Adams (Brie Larson) by dating overly enthusiastic high schooler Knives Chau (Ellen Wong), much to the shock and disapproval of his friends. That is until he literally meets the girl of his dreams in rollerblading Amazon.ca carrier Ramona Flowers (Mary Elizabeth Winstead) who changes boyfriends as often as she does hair color. Smitten and obsessed, he's convinced himself she's "the one" and is wiling to do anything, including breaking up with Knives, to win her affections. During a concert he's attacked by the first of Ramona's ex-boyfriends, Matthew Patel (Satya Bhabha) and discovers that in order to officially date her he must defeat seven evil exes (or X's) in video game style fights. If he can he'll then earn the honor of being her nicest boyfriend, even if he's not exactly sure that's a compliment.

How I describe this, the whole plot almost seems sensible and straightforward, but it's far from that in presentation, almost as if Wright took TRON, Eternal Sunshine of the Spotless Mind, (500) Days of Summer, The Wizard and a teenage version of Crank and threw them all in a blender to see what would happen. What happens is a glorious mess that's impossible to take your eyes off of but gets tiresome after a while and makes little sense. The film appears to exist in a normal reality and while no one's sucked into a video game per se, the entire film and the protagonist's daily life functions as one. Complete with title cards, 1960's Batman "Bam!" and Pow!" graphics and meters indicating characters' bodily functions as well as their thoughts and feelings, it's all an extension of Scott's existence rather than something that just comes into play when he meets Ramona and faces his challenge. Some will say the ending is garbled (and it is) but that's actually being kind since everything is a garbled mess from beginning to end, but just too much fun visually that you forget you're supposed to care.

The film is fully-loaded with talent like Anna Kendrick as Scott's gossipy sister, Alison Pill as  bandmate Kim Pine and Chris Evans as one of Ramona's more memorable exes, a big name actor action star, and a perfectly cast Jason Schwartzman is Gideon, the centerpiece of "The League of Evil Exes" who wields more control over Scott's fate than he'd think.  We also have an Arrested Development reunion of sorts as Mae Whitman appears alongside Cera again as Ramona's fourth evil ex, the "bi-furious" lesbian ninja Roxy. But the two actors who most impress are Kieran Culkin as Scott's gay roommate  and an unrecognizable Brandon Routh as the most arrogant of Ramona's exes, a vegan bass player with psychic powers. With his brillaint brilliant delivery of the housekeeper dialogue Routh deserves a free pass to continue playing Superman for the rest of his life. Both do the most while seemingly trying the least, which is no small feat in a movie starring the most apathetic actor of them all.

At the risk of beating an already tired issue into the ground, Cera is Cera again in this but his droll, deadpan delivery finds its comfiest home yet amidst all the craziness surrounding his character. He'll never win any Oscars but as I've said before there is something admirable about his refusal to stretch dramatically and just stick to his strengths, as well as a comfort in knowing exactly what we'll get from him. After teasing us with a departure of sorts in Youth in Revolt (a smarter, more mature film than this actually) he's back to his old tricks again and if nothing else he's always been consistent, giving us the choice to either take him or leave him. His reward for not stretching at all? Co-stars like Mary Elizabeth Winstead, who returns to the screen after a three-year absence, which is a relief since I was worrying she didn't survive that encounter with the mechanic at the end of Death Proof. After that and her role in Live Free or Die Hard, this feels like a regressive move. It's really a high school part even though Ramona Flowers is supposed to be 25 (truthfully, both leads are too old for their roles) but what it does at least offer her is the first on screen opportunity to convey emotional depth and inner turmoil, and she does, to the extent it's allowed. Hidden behind crazy hair, her usually obvious beauty for once isn't the centerpiece. Still, another variation on the unattainable "Manic Pixie Dream Girl" character feels beneath her, even having not really gotten a read on her full talents as an actress. But at least she's back and can hopefully use this increased exposure as a stepping stone to better roles.

It's easy to see why this flopped. This is aimed squarely at two niche groups: Comic-book geeks and hipsters (key target age for both: 25 and under). So as someone failing to meet the age requirement or fall exclusively into either category, this turns into a film I can respect from a distance rather than love. Is the movie making fun of people who like these kinds of movies or is this really supposed to be that kind of movie? Does it even matter? But those groups are passionate viewers that deserve great movies made for them because even if their impact is sometimes overestimated in terms of box office drawing power, they've got great taste. Those who read Bryan Lee O' Malley's graphic novels would know better than I how true this is to it, but judging from the cult response to the film, I'm guessing that in spirit and tone it probably did. But even I can tell there are a number of people who will really connect with this. It's fun, but I can't claim it had anything important to say, at least to me. And that's fine. For many it'll feel as if it were made just for them. But I already had that movie this year, so the biggest joy watching Scott Pilgrim will have to be in knowing it's someone else's favorite movie of the year and recognizing they owe me no explanation as to why.

Hot Fuzz

Director: Edgar Wright
Starring: Simon Pegg, Nick Frost, Jim Broadbent, Timothy Dalton, Bill Nighy
Running Time: 121 min.
Rating: R

*** (out of ****)

Hot Fuzz is a comedy that takes your expectations and reverses them. I went in expecting a buddy cop picture about a no nonsense police sergeant who gets paired with the exact kind of fat, bumbling partner who would have been played by Chris Farley if he were still alive. But that's not what we get at all. This isn't a slapstick farce, the bumbling cop isn't as stupid or incompetent as we think he's going to be and the movie is a lot smarter and subtler than I expected.

Judging from the trailers and commercials the film looks like it's going to be one hilarious sight gag after another for two hours, which would have probably been fun, but not nearly as interesting as what we end up getting. The movie comes from the team of Edgar Wright and Simon Pegg who gave us the zombie spoof Shaun of the Dead, which I've never seen but everyone keeps telling me is hysterical. After this, I'm more willing to believe they're right.

Hot Fuzz is an interesting curiosity as a comedy as it focuses more on character and plot development than just funny gags. It starts off very slowly and just builds the rest of the way through until the last thirty minutes when the action and hysterics really kick in. I was literally in pain laughing over what unfolds in the film's final act and at times I couldn't even believe what I was watching. Still, the movie is way too long and could have used a good twenty to twenty-five minute trim in the editing room. There's no reason a comedy of this nature should ever be this long especially when most of the first hour is just set-up. The movie does earn bonus points though for actually having a smart script featuring two main characters we actually care about and a hilarious supporting turn from an actor I thought had disappeared from the face of the Earth.

Segeant Nicholas Angel (Simon Pegg) is a great cop. In fact, he's so great he's making everyone else on the force look bad. To solve this problem his superiors, much to his chagrin, promote and send him off to the small, idyllic country suburb of Sandford. Upon his arrival he immediately lays down the law in a funny scene where he realizes nearly everyone drinking in the local pub is underage. His iron hand of justice approach isn't respected and is often mocked by a laid back town that's never had any real crime, but plenty of unfortunate accidents. The clueless and idiotic Chief Inspector Butterman (Jim Broadbent) pairs Angel with his even more clueless and idiotic son Danny (Nick Frost) who's see way too many action comedies and spends most of his time eating cake and bombarding Angel with ridiculous questions ("Have you ever fired a gun in a high speed pursuit?") When it appears there may actually be a rash of real murders occurring in the town, Angel faces an uphill battle convincing anyone of it despite the evidence and bodies piling up by the second.

One of the funniest aspects of the film is the townsfolk's inability to admit the obvious even when gruesome murders occur right in front of their faces at the hands of a cloaked maniac who hilariously looks like he escaped from a direct-to-video I Know What You Did Last Summer sequel. Everyone, including, the Chief Inspector, just writes these off as "accidents." There was no crime before Sergeant Angel came to town so they sure as hell won't be any now. A major suspect in these murders presents himself very early and obviously in the form of scheming supermarket manager Simon Skinner (Timothy Dalton!) and I love how the movie spends most of the first hour blatantly pointing him out as a suspect. He drops comments and hints almost directly to the viewer and it's great seeing the M.I.A. Dalton again (one of the more underrated Bonds we've had) in such a cool role and having this much fun with it. That was the highlight of the entire movie for me.

Aside from the most bizarre production of Romeo and Juliet you've ever seen captured on film, the first hour of this movie really doesn't contain that many laugh out loud moments and kind of drags its feet, but there's good reason for it. When it's finally revealed who's behind these murders and why, the revelation, besides being hysterical, is actually a really clever piece of comic writing that required some thought and makes sense. You could go back and watch the movie a second time and see all the seeds slowly being planted and building to its uproarious, over-the-top climax. It's rare you see that much thought put into the actual plot of a comedy and the characters' motivations rather than the jokes themselves, which tend to spring organically out of this bizarre situation.

The last half hour knowingly spoofs just about every action movie made under the sun in the past 15 years, a fact the film gleefully acknowledges when our two main characters watch a double-feature of Point Break and Bad Boys II. The finale explodes with a hailstorm of bullets likely made that much more effective by the film's leisurely, laid-back pace up until that point. Anyone going into to this expecting laughs in every scene for 2 hours will be disappointed, but if you like amusing comedy that tells a good story with interesting characters you'll be satisfied. The real belly laughs don't kick in until the last half hour.

If Hot Fuzz has a problem it's that it's probably too smart for it's own good and could have stood to be a little stupider, if that makes any sense. No matter how good the payoff may be later, no comedy should need to spend an entire hour revving its engines before it gets going and I have a feeling a lot of viewers may lose patience. The script may be too clever and developed for the kind of movie people are expecting, but wouldn't it be nice if all comedies had that problem?

I have the feeling this film was made for a specific group of moviegoers that would appreciate its dry humor. That group probably includes everyone who saw and enjoyed Shaun of the Dead and Wright's intention here was obviously for this to do for action spoofs what that did for horror. Having never seen Shaun of the Dead I can still see here Wright's gift for mixing horror and comedy, two genres that are difficult enough to pull off separately, but nearly impossible together. His choice of a ubiquitous ballad on the soundtrack during a grisly crime scene is a particular standout for me.

Pegg is smart enough as an actor to play this ridiculousness almost completely straight, while Frost couldn't be more perfectly cast as the rotund, bumbling partner. Wright also squeezes some nice cameos out of Bill Nighy and an uncredited Cate Blanchett (who you'll have MAJOR problems recognizing, if you can at all). Dalton all but completely steals the movie as Skinner. Hot Fuzz may not be the kind of instant gratification mainstream comedy audiences are expecting, but it's a smart film that offers plenty of laughs for those who prefer their humor with some intelligence and don't mind waiting a little bit until it arrives.