Edgar Wright's BABY DRIVER

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Edgar Wright's BABY DRIVER

Postby TheButcher on Sun Mar 12, 2017 2:57 am

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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Fri Mar 17, 2017 5:21 pm

Edgar Wright lives! :D

The premise of Baby Driver sounds really, really, really dumb (young man has tinnitus from a tragic car crash that killed his parents, so he became a getaway driver-for-hire who needs to listen to music all the time, which... makes him the best driver in the world?). But I have a feeling this is going to mostly be an exercise in style, and with the level of talent in front of the camera and Edgar Wright behind it, I will almost definitely be there to check it out.
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Sat Mar 18, 2017 10:22 am

aren't we unfair as viewers/consumers the way we will predispose ourselves to either like or dislike a movie before we see it based on a name attached to it? this is an aspect of perspective that i think is overlooked often that i have been known to rail against here, starting with the infamous X3 vs Superman Returns war.....after which of course I was eventually proven correct when X3 kicked SR's ass at the BO :-P :wink:

seriously, I believe our judgement is obviously affected by a predisposition of like or dislike of who produces creative material, music/movies/etc., and we are unable to truly judge material objectively if we have that predisposition going in.
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Re: Edgar Wright's BABY DRIVER

Postby TheBaxter on Sun Mar 19, 2017 1:17 am

baby driver? how do you a drive a baby? they don't even have steering wheels.
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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Sun Mar 19, 2017 12:33 pm

Peven wrote:aren't we unfair as viewers/consumers the way we will predispose ourselves to either like or dislike a movie before we see it based on a name attached to it? this is an aspect of perspective that i think is overlooked often that i have been known to rail against here, starting with the infamous X3 vs Superman Returns war.....after which of course I was eventually proven correct when X3 kicked SR's ass at the BO :-P :wink:

seriously, I believe our judgement is obviously affected by a predisposition of like or dislike of who produces creative material, music/movies/etc., and we are unable to truly judge material objectively if we have that predisposition going in.


I don't know, I don't think it's that weird to look forward to a movie made by someone who's made other movies you like (or the opposite for bad films). It doesn't mean I never end up disappointed, sure (see: Superman Returns), but until they pull a Shyamalan and go into a ten-year slump, I'm willing to give people the benefit of the doubt. I do my best to leave all that baggage at the door when I watch something, but I'm sure it affects my opinion somewhat. I agree with you that walking into a film with no expectations whatsoever is probably a purer experience, but I can't help it: I love the anticipation game too much to give it up.
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Sun Mar 19, 2017 4:59 pm

i didn't say it was "weird", just the opposite, it seems to be a very human thing to do, and don't try to tell me that personal like or dislike of a director or lead actor doesn't affect many people's perception of a movie as they are watching it and no matter how good it is they won't give the movie its due because they hate the actor/director so much. Ben Affleck is a perfect example, anything he does has to first overcome the knee-jerk anti-Affleck reflex of the cinema crowd. Mel Gibson could direct the best movie ever made and there would be people who wouldn't want to admit it was even good. right, Bax? :wink:
Last edited by Peven on Sun Mar 19, 2017 9:31 pm, edited 1 time in total.
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Re: Edgar Wright's BABY DRIVER

Postby Fievel on Sun Mar 19, 2017 8:03 pm

One person's predisposition is another person's hope for a quality product.
I subscribe to the latter.
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Sun Mar 19, 2017 9:33 pm

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Re: Edgar Wright's BABY DRIVER

Postby Fievel on Sun Mar 19, 2017 10:03 pm

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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Sun Mar 19, 2017 11:29 pm

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Re: Edgar Wright's BABY DRIVER

Postby TheBaxter on Sun Mar 19, 2017 11:46 pm

Peven wrote:i didn't say it was "weird", just the opposite, it seems to be a very human thing to do, and don't try to tell me that personal like or dislike of a director or lead actor doesn't affect many people's perception of a movie as they are watching it and no matter how good it is they won't give the movie its due because they hate the actor/director so much. Ben Affleck is a perfect example, anything he does has to first overcome the knee-jerk anti-Affleck reflex of the cinema crowd. Mel Gibson could direct the best movie ever made and there would be people who wouldn't want to admit it was even good. right, Bax? :wink:


find me a quote of me saying something negative about one of Mel's movies, and maybe you'd have a point. i'm probably the worst example you could pick. heck, i even liked Passion of the Christ (see?), and i don't even believe in that shit. but it was a fantastically made film. i have plenty of bad things to say about Mel as a person, but generally speaking i've enjoyed most if not all of his films i've seen.

Roman Polanski's a child molester, but i still think Rosemary's Baby is one of the greatest horror films ever. Woody Allen is probably a child molester too, but i won't deny the quality of his films. Naked Gun is still fucking hilarious, even if it stars a double murderer. and Bill Cosby is a serial rapist, but i never liked the Cosby Show anyway.

i might not pay to see films by those people because i don't want to put money in their pockets, but when i end up seeing it eventually i don't have a problem separating the film from the director. actors are harder (that's what she said) because you have to look at their face the whole time as a constant reminder. and i'll freely admit that any movie that forces me to watch michael cera or jesse eisenberg has a hard time to overcome with me. but i hated the parts of Batman vs Superman without Eisenberg pretty much just as much as the parts with him, so that's enough about that.

but hey, papa johns' could make the world's greatest pizza* and peven would still say it tasted like homophobic crap, so everything evens out in the end.




* j/k papa johns could never make good pizza
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Mon Mar 20, 2017 10:01 am

well, for starters, pizza isn't art :-P
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Re: Edgar Wright's BABY DRIVER

Postby TheBaxter on Mon Mar 20, 2017 11:35 am

Peven wrote:well, for starters, pizza isn't art :-P


http://www.complex.com/style/2013/06/ar ... -by-pizza/
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Mon Mar 20, 2017 2:00 pm

does Pap Johns market and sell their pizza as art? right.

have there been reports of Gibson pushing for lower wages and rights for people who work on movies? has he donated millions of $$ for political efforts to curb g@y rights? see, these are REAL issues, not someone saying some things that are offensive. by buying Papa John's, no matter how good it is, i would be literally supporting anti-worker and anti-g@y activism. sorry if you are unable to tell the difference between things tangible and otherwise :-P :wink:
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Re: Edgar Wright's BABY DRIVER

Postby TheBaxter on Mon Mar 20, 2017 5:30 pm

Peven wrote:does Pap Johns market and sell their pizza as art? right.

have there been reports of Gibson pushing for lower wages and rights for people who work on movies? has he donated millions of $$ for political efforts to curb g@y rights? see, these are REAL issues, not someone saying some things that are offensive. by buying Papa John's, no matter how good it is, i would be literally supporting anti-worker and anti-g@y activism. sorry if you are unable to tell the difference between things tangible and otherwise :-P :wink:


oh yeah, right, i forgot racism, anti-semitism and domestic violence aren't "real issues".
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Re: Edgar Wright's BABY DRIVER

Postby TheButcher on Sat May 27, 2017 4:08 am

Edgar Wright Jokingly Plans Simon & Garfunkel Movie Universe
Edgar Wright, Rian Johnson, Marc Webb and others jokingly plan the hottest new movie franchise: Simon & Garfunkel’s discography.
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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Wed Jul 05, 2017 2:35 pm

I will see this movie and probably like it, but in the interests of fairness, here is a critical review from The New Yorker:

BABY DRIVER: An Artificially Sweetened Hollywood Film

What musicals are is obvious—movies in which people sing and dance—but from the advent of talking pictures, there has been the special genre of the virtual musical, in which there’s so much music featured in the course of the action that, even without production numbers or musical performances, the movie feels as substantially determined by the music as any actual musical. Edgar Wright’s “Baby Driver” falls into that category—its protagonist, a twenty-ish man called Baby, almost constantly listens to music on one of his many iPods (he has a different one for each mood or occasion, he says); the music that he listens to, sampling fifty years’ worth of pop, is pasted from his ears onto the soundtrack; and he bounces, twitches, exults, and, above all, drives to that music. As in a musical, the songs of “Baby Driver” come first—it’s the digital version of a jukebox movie.

It’s also a mild, teen-friendly crime movie, about a young man whose peculiar past has locked him into a life of crime. Orphaned and injured as a child when his parents were fighting in the front seat of the car and crashed into a stopped truck, Baby grew up to have preternatural criminal skills and an obsession with cars. After stealing one that belonged to a crime boss called Doc (Kevin Spacey) that was loaded with loot, Doc compelled him to make restitution by serving as his on-call getaway driver. Now, nearing (he thinks) the end of his obligations, he’s got one more job to drive for, and he’s ready to make plans for his life. First, a job; his foster father, Joe (CJ Jones), an elderly deaf man who uses a wheelchair and with whom Baby speaks in sign language, suggests that he become a pizza-delivery driver (and this, Baby does). Also, the taciturn Baby meets Debora (Lily James), a waitress at a diner where his mother (a singer) also worked, and they quickly plan to leave town together. But just when Baby thought he was out, Doc pulls him back in, and when the final job doesn’t go as smoothly as the others did he comes into mortal conflict with several of his partners in crime, including Bats (Jamie Foxx) and Buddy (Jon Hamm).

It’s a tightly constructed story that starts with a single psychological factor—overcoming the loss of his parents and, as much, the legacy of marital conflict (in particular, his father’s loud aggression) that led to it. Baby wants to be a good man despite being a bad guy and discovers, American-style, that the only way to expiate his complicity in violence will be by way of violence. This story is admirably coherent, if simplistic; above all, it’s classical, built on a distillation of the Hollywood-studio-style heist film. It is, in other words, an imitation of generation’s worth of imitations (most conspicuously, those of Quentin Tarantino’s neo-heist-ism), each of which exists solely as a vehicle for the personal obsessions and originality of style with which a director infuses it. As such, it is a stringent test of a filmmaker’s art and temperament.

Unfortunately, Wright’s apparent commercial success in his enterprise (“Baby Driver” sold thirty million dollars’ worth of tickets in its opening weekend) contrasts with—and perhaps depends on—a conspicuous lack of artistic vision. “Baby Driver” plays like a Disneyfied version of an action film—rated R for, I suppose, its sanitized violence and middle-school cussing. Wright’s sense of style is movement in quantity rather than in detail. The camera whips and gyrates, generically sensationally, around and with Baby as he steps to the beat of his music. Elaborate car chases are edited to emphasize jolts and skids and crashes while almost never yielding a distinctive angle or provocative perspective. I was surprised to learn, after watching the movie, that its car chases were filmed as stunts, not assembled as C.G.I., because hardly a moment in the film actually feels viscerally frightening or thrilling. (The brief car chase in “Transformers: The Last Knight” offers more startling points of view and high-speed experiences than any in “Baby Driver.”) Editing to music as if he had just discovered vintage MTV, Wright cuts images together quickly, too quickly to let much be seen. The action is, in short, thin yet heavy, burdened with a pointless complexity that serves, above all, to mask—with music and quick cuts—the insignificance, impersonality, and indistinctness of each of its elements.

Wright’s sense of style mainly involves splashes of color that feel neither conspicuously artificial nor serendipitously found; its bright tastefulness has no emblematic power akin to James Dean’s red jacket in “Rebel Without a Cause” and no overwhelming dazzle as in Sofia Coppola’s “Marie Antoinette” or any frame ever filmed by Wes Anderson. The closest thing to a catchy concept is a scene set in a laundromat, where Baby keeps Debora company while she’s doing the wash; all of the dryers behind them are spinning with colorful clothing tumbling in them. But the dialogue in the scene is minor, forgettable, and insubstantial; it had me recalling the other great laundromat scene of yearningly romantic youth, the one from “Masculine Feminine,” filmed in 1965 (one of the subjects was Bob Dylan).

In Tarantino’s films, the characters have something to say about the pop culture that obsesses them; for that matter, in life, people have something to say about the pop culture that obsesses them. In “Baby Driver,” no one has anything to say about anything. The prevailing gentility of “Baby Driver” depends on its absence of substance. It has an admirably diverse cast, but its characters remain undefined, identity-free, generic. (It’s exactly the sort of ahistorical blanking-out of personal traits and cultural experience that Jordan Peele so successfully satirizes in “Get Out.”) The dialogue is almost entirely functional, advancing the plot without illuminating any ideas or subjects beside the characters’ missions and goals, and that dialogue is festooned with cheap verbal gaud that passes for wit and lands with sub-Catskills thuds, as when one member of the gang, called Darling (Eiza González), is challenged by another, Bats (Jamie Foxx), about her name—he asserts that it’s only her nickname, or “moniker,” and insists that she tell him her real name—which is Monica; or when one plotter, buying masks, mistakes Mike Myers of “Austin Powers” for Michael Myers of “Halloween.”

Wright displays a strange sort of sincerity in “Baby Driver,” but it’s the sincerity of social striving; the movie feels as if it were directed by Zac Efron’s fallback comedic persona—smart, chirpy, personable, bounding with positive energy, creamy with charm, desperate to be liked, and hiding any stray threads of desire, obsession, or weirdness. The weirdness factor of “Baby Driver” is close to zero. The one exception emerges when Baby, who surreptitiously records the sounds of his life (on a vintage mini-cassette recorder), brings them home and elaborately remixes them, snipping out a salient phrase and creating a sort of hip-hop mixtape using one phrase as an incantation—and does so with an eye-catching array of vintage audio equipment. This, too, unfortunately, Wright edits to shards, leaving merely a suggestion of his activity and reducing it to a pair of related plot points. Wright doesn’t display any more visual or process-centered curiosity about Baby’s music than he does about Baby’s driving; both are mere aspirational emblems of Baby’s—and the movie’s—cool factor.

“Baby Driver” seems, above all, like the film of a smart kid who has grown up and, having found popularity, has learned to dress his movies better and breeze through campus with a good word for everyone. (This desperate need to be liked, and its digital-media-centricity, made for the very subject of Wright’s daringly conceived and imaginatively realized 2010 film, “Scott Pilgrim vs. The World.”) Though filmed on location in Atlanta, the movie is textureless; the city seems plasticized and simulated by the carefully planned yet plain and uninflected images. The two moments when Wright’s cinematic juices seem to flow are two moments of violence. One—showing, in a wink, an impalement—is the closest thing to gore that that film offers; the other, an agonizingly slow, if obvious, resolution to a climactic conflict, is its closest thing to sadism, to delight in injury and death. These moments suggest that Wright might really get off on some heavy Tarantino-esque or Peckinpavian violence, if only he’d let himself go.

Wright doesn’t let himself go, but his movie has still satisfied critics who are in love with the idea of Hollywood providing something that’s not based on a superhero franchise, providing something that, with its retro soundtrack and retro cleanness, reminds them of a Hollywood that no longer exists—even if some of its luminaries certainly do. Great directors of the New Hollywood of the seventies—an age when the studios put big money into ambitious filmmakers’ wide-release movies—are still working, with independent financing, lower budgets, and more limited releases, but more daringly and originally than ever; along the way, they have outrun the critics who love their early stuff best. The nostalgia of “Baby Driver” is more than a celebration of the past; it’s a repudiation of much of the best and most original filmmaking of the present day.
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Re: Edgar Wright's BABY DRIVER

Postby TheButcher on Thu Jul 06, 2017 4:28 am

THR JULY 05, 2017:
Edgar Wright Says Sony Has Approached Him About a 'Baby Driver' Sequel
Mia Galuppo wrote:Baby may be getting back behind the wheel.

In an interview with Empire's film podcast, director Edgar Wright said that "the studio" has approached him about writing a sequel to his latest film, Baby Driver. Sony's TriStar Pictures released the action pic over the weekend, along with production companies MRC and Working Title.

Sony had no comment on the potential of a Baby Driver follow-up.

Still, of the possible sequel's plot, the director explained (as noted by Vulture), "I sort of have an idea that if you did another one you would subvert his involvement in the crime in a different way so he’s not kind of the apprentice anymore.”

Baby Driver stars Ansel Elgort as a conflicted getaway driver with a stacked iTunes playlist and a rotating team of bank robbers. He is hoping to get out of the business and hit the open road with his waitress girlfriend Debora (Lily James) and some Barry White.

The Baby Driver sequel would be the first time that Wright attempted a follow-up to one of his films, which include the vaguely connected Cornetto Trilogy — Hot Fuzz, Shaun of the Dead and The World's End.

In a crowded summer box office, Baby Driver is one of the few movie options that is not a sequel or based on existing IP. It opened opposite Illumination Entertainment/Universal's third installment in the Despicable Me animated franchise and made $30 million at the domestic box office over the five-day holiday frame on a post-rebate budget of $34 million.

The action film, which had an ultra-successful SXSW world premiere, has benefited from universally positive reviews — 97 percent on Rotten Tomatoes and an 86 score on Metacritic — with filmmakers including Guillermo del Toro taking to Twitter to laud the movie and Wright. Baby Driver has attracted a predominately younger-skewing audience with 40 percent of the total tickets sold to moviegoers under 25, which is possibly due to its online word-of-mouth buzz.


Empire Podcast: Baby Driver Spoiler Special With Edgar Wright
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Sun Jul 09, 2017 7:44 pm

first, this should be in "movie discussion" since it has been out since last week.........




....second, it is a really fun flick, slick as hell and everyone gives top notch performances overall, especially the lead, the kid fucking kills it. and in a time when people complain that not enough original movies are made this is one that is both crowd pleasingly commercial in its own way while being totally its own thing, cocaine cotton candy with a genuine heart.

4.25 out of 5 stars
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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Tue Jul 11, 2017 12:04 am

Moved
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Re: Edgar Wright's BABY DRIVER

Postby Peven on Tue Jul 11, 2017 12:17 am

Ribbons wrote:Moved



so you liked it, too? :wink: :-P
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Re: Edgar Wright's BABY DRIVER

Postby Ribbons on Wed Jul 12, 2017 1:15 pm

Let's just say Baby Driver moved me... TO A BIGGER HOUSE! Wait that joke doesn't work here.

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