Don’t believe the hype of ‘Baby Driver.’


‘Baby Driver’ tells the story of a young getaway driver who finds himself taking part in a heist doomed to fail after being coerced into working for a crime boss.

The thing about Edgar Wright is that he’s had such a great track record over the last decade or more with hits such as ‘Shaun of the Dead,’ ‘Hot Fuzz,’ and ‘Scott Pilgrim vs The World’ along with writing credits on ‘Ant-Man.’ Therefore, it’s no surprise that his latest instalment feels a little lacking. There’s so much hype around the film it feels a little ridiculous.

With a film that’s supposedly boasts a ‘killer’ soundtrack and links up to the action sequences, most of which were unrecognisable, it was a little already seen before. Even with an amazing cast, elements such as the dialogue was a little too on the nose, the love story lacked the chemistry that it needed to make it believable, and the characters were a little underdeveloped. The actor’s had barely anything to connect with in there characters as they were stereotypes of what they could’ve been. This could stem from the fact that there were too many character’s at that with too much of an emphasis on a love story that didn’t work. There’s nothing new about the story with the film only freshly entertaining and slick on the surface but if you delve deeper, it felt like it was nothing but a music video stitched together and a by the boxes film.

More often than not, it’s not hard to feel bored or just plain switched off even though it tries so hard to be exciting and compete with many other action/comedy films such as ’21 Jump Street,’ ‘Kick-Ass,’ ‘Kingsman,’ ‘The Nice Guys,’ and Wright’s own ‘Hot Fuzz.’ Although there’s no doubt that the dilm is fun and does prove some entertaining laugh’s, it’s nothing but a shell. With Wright having such a following, it’s disappointing to see an average at best film.

It’s not a bad film, it just feels like it could’ve been so much better. Stick to Wright’s oldie’s but goodies.

Film-O-Meter: 6/10.

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‘Ant-Man’ could’ve been so much better if Edgar Wright had remained.


Ant-Man
 tells the story of cat burglar, Scott Lang, whose armed with a super-suit with the astonishing ability to shrink in scale but increase in strength, he must embrace his inner hero and help his mentor, Dr. Hank Pym, plan and pull off a heist that will save the world.

When I first heard about this film, I was hoping that Marvel would do what they did with Guardians of the Galaxy in their choice of next comic-book adaptation and make something great, something that would grow on me. But unfortunately, the film was more of a miss than a hit. it wasn’t one of their worst adaptations (I mean, Elektra, hello!) or their greatest, either. It was mediocre when it could’ve been so much more.

And this bring’s me to the ever talked about departure of comedic genius, Edgar Wright. His departure from the project was followed by last minute rewrites an the hiring of Peyton Reed, whose known for generic and average attempts at directing comedy, wasn’t going to fair too well for the project.

Wright’s departure left some well made choices in the casting of Rudd as our lead assisted by Michael Douglas and Evangeline Lilly, but otherwise left a weak script that once could’ve been great with the Wright assistance in direction.

Ant-Man wasn’t exactly much of a throwaway film as some might think it might be, but you could tell that it could’ve used with a little more life and without the cheesy cliches associated with a heist movie – in which it essentially was. Rudd’s just released from prison after attempting to do the right thing, but only got jailed for it, and in attempts to reconnect with his daughter and win back custody rights, he’s coaxed into “one last job” to prove that he can support himself. And this is all pulled together by roll-your-eyes Marvel Cinematic Universe tie-ins (can I just mention how awkward and out of place the Falcon cameo was?).

The film heavily relies on Rudd’s charisma and how it’s almost impossible to dislike the guy. He tries to work with the lacklustre script in attempts to get at least some snorts from the audience but he can only ever do so much. I didn’t feel the running time so much, as it still provided with some decent visual entertainment in it’s effects (although some parts did look a little strange, like the oversized Thomas the Tank Engine). I did like the imagery that we received Rudd first shrinks down in the bathtub and we get an overwhelming sense of it what it could be like to be him at that moment.

Apart from our charismatic lead in Rudd, Michael Douglas barely shows of any of his acting ability that we have seen in any of his previous films. His character of Hank Pym fills the mentor archetype and the same is with Evangeline Lilly’s “why is he here, we don’t need him, I can do the job better” character of Hope. And it’s a shame that Corey Stoll was forced to portray a horribly written villain. This is especially made worse when his character is compared to that ofHouse of Cards, which definitely proved to be impressive.

All I know is that this film could’ve been so much better if Edgar Wright had stayed with the project.

Film-O-Meter: 5/10.