Will Edgar Wright’s decision to make his latest film sound like a slapstick childcare comedy affect its impact – or make no difference?
There is a lot going on in Baby Driver, a caffeinated splicing of crime thriller and jukebox musical. Once you clunk-click into the central conceit – audacious heists, hard-boiled badinage and breakneck car chases all wittily synced and choreographed to its central character’s eclectic iPod playlist – it is an intoxicating, heightened huff of pure cinema. But if you don’t read advance reviews (especially ones heavy on terms like “diegetic music”), your first exposure to writer-director Edgar Wright’s latest movie will probably be its title.
Baby Driver ... is it an impressively rushed sequel to Alec Baldwin’s animated semi-hit The Boss Baby from two months back? Baby Driver – even if it does make perfect sense in context (Ansel Elgort, as gifted wheelman Baby, operates in a...
There is a lot going on in Baby Driver, a caffeinated splicing of crime thriller and jukebox musical. Once you clunk-click into the central conceit – audacious heists, hard-boiled badinage and breakneck car chases all wittily synced and choreographed to its central character’s eclectic iPod playlist – it is an intoxicating, heightened huff of pure cinema. But if you don’t read advance reviews (especially ones heavy on terms like “diegetic music”), your first exposure to writer-director Edgar Wright’s latest movie will probably be its title.
Baby Driver ... is it an impressively rushed sequel to Alec Baldwin’s animated semi-hit The Boss Baby from two months back? Baby Driver – even if it does make perfect sense in context (Ansel Elgort, as gifted wheelman Baby, operates in a...
- 6/27/2017
- by Graeme Virtue
- The Guardian - Film News
Edgar Wright is an amazing director and I have yet to be proved wrong. Baby Driver is getting a lot of positive buzz and a lot of fans are wondering what his next move will be. Recently during an interview with CNET, he was asked if he was interested in directing a Star Wars movie and he gave a curious response.
"I guess so, yeah. Yeah. I have something crazy, but I can't tell you."
When pushed a little further, saying that he could tell them he solidified his answer.
"No, I really can't. You'll see at Christmas."
So, this comment made people super excited that Edgar Wright could be directing a Star Wars movie... except... it's not that. When CNET posted a tweet asking the possibility that Edgar Wright could direct a Star Wars movie, he quickly tweet back saying no.
So that leads to the question of what is Wright working on?...
"I guess so, yeah. Yeah. I have something crazy, but I can't tell you."
When pushed a little further, saying that he could tell them he solidified his answer.
"No, I really can't. You'll see at Christmas."
So, this comment made people super excited that Edgar Wright could be directing a Star Wars movie... except... it's not that. When CNET posted a tweet asking the possibility that Edgar Wright could direct a Star Wars movie, he quickly tweet back saying no.
So that leads to the question of what is Wright working on?...
- 6/26/2017
- by Bryam Dayley
- GeekTyrant
In the first moments of Wild, Cheryl Strayed—played by Reese Witherspoon—is on a cliff, preparing to rip off one of her toenails. Through heavy breaths, she says to herself, "I'd rather be a hammer than a nail"—lyrics you may recognize from Simon and Garfunkel's "El Condor Pasa (If I Could)." Director Jean-Marc Vallée envisioned that trilling song as the movie's theme. In the film, which is based on Strayed's memoir about hiking across the Pacific Crest Trail after the death of her mother, music often functions as memory—meshing into the movie's flashbacks, sometimes even seeming...
- 12/4/2014
- by Esther Zuckerman
- EW - Inside Movies
"And here's a story about being free..."
That's the opening lyric to DJ Shadow's "You Can't Go Home Again," which is the theme music to Jean-Marc Vallée's " Wild." Any fan of Vallée knows how highly he prizes his movies' musical selection, and for this film, about a woman (Cheryl) who leaves her life behind and ventures out into the wilderness, it's incredibly apt.
The Canadian director is very emotionally connected to "Wild," which is based on the book of the same name. Sometimes desolate and often featuring picturesque landscapes, the music is essential in tying the film together.
Moviefone Canada caught up with Vallée at the Toronto Film Festival, where we chatted about why he chose the music he did, and how he related to Reese Witherspoon's journey in the movie.
Vallée played the opening to "You Can't Go Home Again" to start the interview ...
Jean-Marc Vallée...
That's the opening lyric to DJ Shadow's "You Can't Go Home Again," which is the theme music to Jean-Marc Vallée's " Wild." Any fan of Vallée knows how highly he prizes his movies' musical selection, and for this film, about a woman (Cheryl) who leaves her life behind and ventures out into the wilderness, it's incredibly apt.
The Canadian director is very emotionally connected to "Wild," which is based on the book of the same name. Sometimes desolate and often featuring picturesque landscapes, the music is essential in tying the film together.
Moviefone Canada caught up with Vallée at the Toronto Film Festival, where we chatted about why he chose the music he did, and how he related to Reese Witherspoon's journey in the movie.
Vallée played the opening to "You Can't Go Home Again" to start the interview ...
Jean-Marc Vallée...
- 12/3/2014
- by Chris Jancelewicz
- Moviefone
Reese Witherspoon heads off on her own with nothing but the music in her head this month in Wild.
Wild is the latest offering from Canada’s Jean-Marc Vallee, who has made a comfortable nest of late getting top-flight work from Hollywood talents looking to re-establish their artistic currency. Last year, of course, he got his big break – as far as the U.S. is concerned – with Dallas Buyers Club.
While that film broke with Vallee’s tradition in Canadian films of drenching every available second with soundtrack, it did have a musical current running throughout.
The trailer for Wild broke this fall – scored magnificently by the song “Turn Away” from Beck’s stellar 2014 album “Morning Phase” – hinting at a possible return to his traditional musical tendencies.
Unfortunately, Wild is closer to the musical style of Dallas Buyers Club than the sprawling soundtracks ofC.R.A.Z.Y. and Café de Flore.
Wild is the latest offering from Canada’s Jean-Marc Vallee, who has made a comfortable nest of late getting top-flight work from Hollywood talents looking to re-establish their artistic currency. Last year, of course, he got his big break – as far as the U.S. is concerned – with Dallas Buyers Club.
While that film broke with Vallee’s tradition in Canadian films of drenching every available second with soundtrack, it did have a musical current running throughout.
The trailer for Wild broke this fall – scored magnificently by the song “Turn Away” from Beck’s stellar 2014 album “Morning Phase” – hinting at a possible return to his traditional musical tendencies.
Unfortunately, Wild is closer to the musical style of Dallas Buyers Club than the sprawling soundtracks ofC.R.A.Z.Y. and Café de Flore.
- 12/2/2014
- by Shane McNeil
- Cineplex
Reese Witherspoon heads off on her own with nothing but the music in her head this month in Wild.
Wild is the latest offering from Canada’s Jean-Marc Vallee, who has made a comfortable nest of late getting top-flight work from Hollywood talents looking to re-establish their artistic currency. Last year, of course, he got his big break – as far as the U.S. is concerned – with Dallas Buyers Club.
While that film broke with Vallee’s tradition in Canadian films of drenching every available second with soundtrack, it did have a musical current running throughout.
The trailer for Wild broke this fall – scored magnificently by the song “Turn Away” from Beck’s stellar 2014 album “Morning Phase” – hinting at a possible return to his traditional musical tendencies.
Unfortunately, Wild is closer to the musical style of Dallas Buyers Club than the sprawling soundtracks ofC.R.A.Z.Y. and Café de Flore.
Wild is the latest offering from Canada’s Jean-Marc Vallee, who has made a comfortable nest of late getting top-flight work from Hollywood talents looking to re-establish their artistic currency. Last year, of course, he got his big break – as far as the U.S. is concerned – with Dallas Buyers Club.
While that film broke with Vallee’s tradition in Canadian films of drenching every available second with soundtrack, it did have a musical current running throughout.
The trailer for Wild broke this fall – scored magnificently by the song “Turn Away” from Beck’s stellar 2014 album “Morning Phase” – hinting at a possible return to his traditional musical tendencies.
Unfortunately, Wild is closer to the musical style of Dallas Buyers Club than the sprawling soundtracks ofC.R.A.Z.Y. and Café de Flore.
- 12/2/2014
- by Shane McNeil
- Cineplex
Menacing mimes. Male strippers. Cee Lo Green in a slinky red jumpsuit with deep-plunging, lace-up neckline and a delicate ladywig. Carson Daly turning superlatives into bowls of lukewarm mush. And enough bum notes to recreate an authentic Ashlee Simpson recording-studio session. Those were just a few of the disconcerting distractions on the menu for the first live-performance round of The Voice‘s second season.
Maybe my expectations were too high going in. And to that end, maybe it’s not fair to make any long-lasting judgments about the season when there are a whopping 24 singers still alive and well and...
Maybe my expectations were too high going in. And to that end, maybe it’s not fair to make any long-lasting judgments about the season when there are a whopping 24 singers still alive and well and...
- 4/3/2012
- by Michael Slezak
- TVLine.com
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