Chillin’ Back to the Future

Baby Driver (Theaters-2017; Streaming-2017)  Rated: R  Runtime: 112 minutesM Baby 2017

Genre:  Action-Crime-Music-Suspense-Thriller

els – 8.5/10

IMDb – 7.0/10

Amazon – 3.9/5 stars

Rotten Tomatoes Critics – 8.0/10

Rotten Tomatoes Audience – 4.2/5

Metacritic Metascore – 86/100

Metacritic User Score – 7.7/10

Directed by:  Edgar Wright

Written by:  Edgar Wright

Music by:  Stephen Price

Cast:   Ansel Elgort, Jamie Foxx, Kevin Spacey, Jon Hamm, Lily James

Film Locations:   Atlanta, Dunwoody and Gainesville, Georgia, New Orleans, Louisiana, US

Budget:   $34,000,000

Worldwide Box Office:  $228,311,809

Baby (Elgort) is a getaway driver, choreographing his high RPM street racing to the music pumping through his ear buds, playing catch me if you can with a no sweat demeanor that has you cheering for him non-stop.  Baby works for Doc (Spacey), a criminal mastermind that plans all his heists in chalk-board detail, never using the same group of robbers twice, except for Baby.  Baby is exceptional. Spacey catches Baby, how that happens is somewhat implausible since no one every catches Baby, trying to rob him and forces him to drive his den of thieves away from their crime scenes as retribution.

I’m late to this movie so I will give my due respect to the principles and then move on to what makes this movie so special: script and score–together.  Edgar Wright has put together a story that doesn’t come along too often, a story that has is all, action, comedy, crime, love, suspense–it has everything that you and I watch movies for. He brings it all together with a coherent and convincing screenplay, tight directing, precision choreographed cinematography (Bill Pope), and acting that is just perfect. Of course it doesn’t hurt to have Elgort, Foxx, Hamm, and Spacey providing believable and real characters along with the very pretty James. Throw in some subtle paeans to the past, such as Back to the Future, and you have a simply stunning movie, a true masterpiece; the bits and pieces adding up to a fulfillment of a lost cinematic ideal: pure, unadulterated entertainment.

Then Wright brings forth the melody.  A melody that matches and honors the lyrics: the screenplay. Lyrical poetry, accordant with the harmonic notes performing a dance of rockin’, rollin’, tango action.  Not since the 1983 Big Chill has Hollywood scored music so perfectly with the movie.

The Big Chill brought together children of the 1960s, audience and actors alike, in a comedic drama about trying to find meaning in a modern world after their fling with anarchy and drugs.  They found no meaning.  The point of the 60s was that there was no point.  But the 60’s music was sublime and transcendent. The music in The Big Chill, complimented the story as if they were fraternal twins, different veins but the same beat. Bringing together the rockin’ soul of the era with the burn-it-down pathos of its youth.  Marvin Gaye, Aretha Franklin, Smokey Robinson, black soul groovin’ the white bourgeoisie who thought they were the proletariat.  A movie, and an era, of no meaning, expressing itself with music that meant everything, and the two together brought soothing cover and entertainment.

Baby Driver just brings entertainment, no-guilt-pleasure, meshing the visual with the phonic.  It brings in The Big Chill‘s soul sound with the likes of Carla Thomas, Sam and Dave, and Barry White; and then branches out to include the  old-time rockers of Queen, T. Rex (Marc Bolan’s son sued the movie for using Debora without permission), and Golden Earring; progressing up the time scale with blues-rocker Jon Spencer Blues Explosion, and alternate-stuff Beck; capping it off with the synth-pop of Sky Ferreira. A great collection of musicians that compliments the movies action, creating a greater artistic experience than the two alone could achieve. Jon Spencer’s Bellbottoms in the opening car chase scene sets the throbbing standard for the movie that doesn’t abate until the ending credits roll, accompanied by the Simon and Garfunkel song: Baby Driver.

Sony and Edgar Wright have agreed to a sequel, hopefully in 2019.  May the magic strike twice.

The Price of Secrets

The Secret Scripture  (2017)  Rated: PG-13  Runtime: 108 minutesM Scripture 2017.jpg

Genre: Drama-Mystery-Romance

els – 6.5/10

IMDb – 6.6/10

Amazon – 4.4/5 stars

Rotten Tomatoes Critics – 4.1/10

Rotten Tomatoes Audience – 3.4/5

Metacritic Metascore – 37/100

Metacritic User Score – NR/10

Directed by:  Jim Sheridan

Written by:  Sebastian Berry, Jim Sheridan, Johnny Ferguson

Produced by:  Noel Pearson, Rob Quigley, Jim Sheridan

Music by:  Brian Bryne

Cast:  Rooney Mara, Aidan Turner, Theo James, Eric Bana, Vanessa Redgrave

To understand this movie, a smidgen of background knowledge germane to WWII Irish history is needed, or else the story becomes unhinged from the plot with cryptic scenes sprinkled throughout the movie that will bewilder and flummox the viewer. At the start of WWII in 1939, Ireland declared its intent to remain neutral towards the Allied and Axis powers, and they did officially remain neutral throughout the war, but provided assistance to the Allied powers when and where possible.  The Irish government feared joining the war on either side would reopen the recent wounds inflicted by their civil war fought in the early 1920s; by the fascists and the anti-fascists, the pro-Brits and the IRA, the pro and the anti-treaty proponents, and they all remained active in Ireland up to, and beyond WWII.  The IRA was particularly anxious to curry favor with the Germans, to obtain their aid in the form of money, influence, and weapons; endeavors precipitating various IRA acts of war within and beyond the borders of Ireland.

Roseanne McNulty the elder, played by Vanessa Redgrave, and Roseanne McNulty the younger, played by Rooney Mara, parcel out a story of love and loyalty, unrequited love and betrayal, death, cruelty and denial; which, during war leads to Rose’s incarceration, or to use a less judgmental word, confinement, in an Irish mental institution for nearly 50 years. The institution was less about care and rehabilitation than an exercise in control and dominance; keeping Rose docile and quiet, but in the end, not able to lessen her romantic love or boundless spirit, just her hold on reality. Rose the elder maintains a record of her captivity, mysterious inscriptions in her bible, that becomes the source of her deliverance from past; bringing closure in the kindred form of a believer and a redeemer.

The directing, writing and acting are all exceptional.  Only the improbable conclusion lessens the impact of the story but it still works even though you see it coming a mile away.  Catch up on your Irish WWII history and then watch the movie.

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