Oh baby, that weren’t too shabby.
Fast, furious if a little frantic. One of the better ones.
After being coerced into working for a crime boss (Kevin Spacey), a young getaway driver (Ansel Elgort) finds himself taking part in a heist doomed to fail.
I’m not going to lie. The opening 15 minutes didn’t really give me high hopes.
Despite ticking all the boxes on the Edgar Wright movie checklist; cracking soundtrack (check), quick-cut editing (check), great humour; I wasn’t convinced about the main man.
Watching Elgort strut, prance around and mime badly to some killer tracks annoyed the hell out of me. I was actually wondering whether I was going to be able to put up with this cocky pillock.
However, as soon as the heist began and the chase was on, my griping subdued.
The car chases were exhilarating and tense with some brilliantly choreographed stunts and set pieces.
I was more empathetic towards Baby after we delved into his past and discovered the reason for the “hum and the drum” (Or should I say the reason for his insufferable need to have a music device plugged in his ear holes).
Baby’s relationship with his deaf foster father Joseph (CJ Jones – if you have a spare minute, read up on this guy. Inspirational) allowed the Fault in the Stars man to work his charm and charisma.
The supporting cast was an incredibly talented mixed bag. What the hell was Flea from the Red Hot Chilli Peppers doing in this?!
Kevin Spacey was fantastic. Not enough of the big man. He almost stole every scene he featured in.
I was a little disappointed at how small Jon Bernthal’s (The Walking Dead) role was. I kept waiting for his character to return. Reduced to nothing more than a measly cameo.
Eiza Gonzalez was mere eye candy. Nothing more than a trigger to set off the tumultuous partnership of Jon Hamm’s (Mad Men) Buddy and Jamie Foxx’s Bats.
It made a change to see Don Draper go dark. Hamm nailed it. BUT in the battle of scene stealers, Foxx won the prize. He was menacing and brought uneasy tension to the piece. He channelled a lot of Motherf*cker Jones (Horrible Bosses fans, am I right?). The cogs always turning.
Lily James (Cinderella) was a little lost in the mix. Some of the dialogue didn’t quite come off as clever or as cool as it should have BUT the pair had great chemistry.
I felt their blossoming romance was rushed to catch up with Baby’s ongoing drama. I would have been happy to have a little more time spent on them. Anything over Elgort’s song and dance numbers.
The pair’s relationship had an echo of Scott Pilgrim as they bonded over music. Steven Price’s selections were a mad mix of hits from T-Rex to Golden Earring. Hell yes!
BUT despite my grumblings about their rushed romance, I did like the conflicted Bonnie and Clyde set up as Baby’s life of crime reached breaking point.
And this is where the film really won me over (as did the protagonist).
The quick witted humour, along with Bill Pope’s glossy cinematography, made this seem like an easy going crime caper.
Especially when one of the criminals made an almighty howler with the Michael Myers masks. Brilliant.
BUT the second half of the film (without spoiling anything) took a darker and more violent turn than I expected. The light super cool tone completely changing.
I should have realised that Wright was never shy of blood and gore. I forgot how brutal Hot Fuzz was (Man, I love that film. Need to watch it again . . . Moving on).
I was hooked. Hell, there were even a few twists along the way.
It was a fast and furious riot that made up for a stumbling and predictable middle act.
And by the time the credits rolled, I actually walked out the cinema smiling.
PLEASE ENJOY THIS KILLER TRACK (AND MY FAVOURITE) FROM THE ECLECTIC MOVIE SOUNDTRACK
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