Tag Archives: Baby Driver

A Week In Film #552: Tipping over

Gladiator title screen
Gladiator
Don’t think I’ve properly watched this since seeing it in the cinema, and whilst it absolutely slaughters actual history, there’s some great old school epic moments in it, and the integration of the CGI is pretty damn strong. Joaquin Phoenix makes for a great baddie. Fucking Ridley Scott, though – it definitely prefigures the clusterfuck of Prometheus and Covenant.

Baby Driver title screen
Baby Driver
Edgar Wright’s savant getaway driver flick – zesty enough, but lacks oomph. Great cast though. And soundtrack, obviously.

Spider-Man: Homecoming title screen
Spider-Man: Homecoming
Half-watching, can’t say it grabbed me, but cast seemed endearing. With Tom Holland in the red costume, Jon Watts in the director’s chair.

Snatch title screen
Snatch
Not seen it in years. Stephen Graham looks so young! Has its moments.

Shimmer Lake title screen
Shimmer Lake
Best new film I’ve seen in ages – low key little detective story with surprises in store. Benjamin Walker stars as a small town sheriff, Rainn Wilson is his idiot brother, Adam Pally his tetchy partner, Rob Corddry and Ron Livingston a pair of visiting Feds. Highly confident film making from Oren Uziel.

I Am Mother title screen
I Am Mother
So-so SF business, with a young woman raised by a robot as the last human survivor of a planet-wide extinction event starts to question what the machines are telling her.

Wth Clara Regard, Hilary Swank and Rose Byrne, directed by Grant Sputore from a script by Michael Lloyd Green.

A Week In Film #540: First in ages

LBJ title screen
LBJ
Straightforward, no-frills biopic of JFK’s get-shit-done veep, with Woody Harrelson under all the prosthetics and Rob Reiner directing.

Baby Driver title screenBaby Driver
Flashy but empty extended music video style getaway driver movie from Edgar Wright. Some nice sequences, some good performances (Jamie Foxx, Jon Hamm, Jon Bernthal), but unsatisfying. Looks a dream, though.

The Domestics title screenThe Domestics
So-so, low budget post-apocalypse business written and directed by Mike P Nelson. Hardly the most original, but with the odd nice touch.

I, Dolours title screenI, Dolours
Dark documentary, not least because it is about a secretive PIRA unit tasked with ‘disappearing‘ and executing those considered threats to the organisation; and more so because its focus and main interviewee is a former member of the unit who is herself now dead. The interviews come from Ed Moloney’s ‘Boston Project’, of capturing candid personal testimony from players of all sides in the Troubles on the proviso that nothing would be released until after these witnesses to history themselves died. And so it was with Price, from a multi-generational Irish nationalist family who initially rejected their physical force republicanism for the glimmer of hope offered by student leftist activism in the late 1960s, but who was swiftly sucked back into the maelstrom after brutal beatings by police-backed Loyalist mobs at civil rights demonstrations. Before long she was in the IRA; then at the sharp end of a bombing mission on the British mainland; and then facing life in prison after informers in the leadership betrayed her and her comrades. Seven years of hunger strike and forced feeding, forced feeding and hunger strike passed before she was released early. From then on she moved further and further from the Provisional leadership as it crept closer and closer to accommodation with the British Army. Ultimately she broke very publicly with the movement which defined her life and everything that meant anything. She died embittered, addicted, ostracised and alone. But she may have been right.

Await Further Instructions title screenAwait Further Instructions
Lo-fi, low budget horror that sets up a premise nicely – tensions mount in a family trapped in their house over Christmas when some kind of external force prevents them from leaving, to the point that they are driven otter each other apart – but then pisses away all the goodwill it earns early on in a silly, pointless third act that ‘explains’ everything. Still worth a watch though. Johnny Kevorkian directs from Gavin Williams.