Baby Driver

Un buen pop de crimen de verano, una versión juvenil y movida de Drive. Un alivio «musical» súper genial de escenas serias y de acción, y especialmente desde el principio, la percepción sensible de la violencia a través de los ojos de Baby y la pureza de su relación romántica hacia la joven. Sin embargo, la película carece de diálogos más acertados y una dirección más ingeniosa y refinada de otros personajes. En resumen, es Tarantino. ¡Dios mío, que clase de película! (06.07.2017)

Baby Driver es simpáticamente veraniega y entretenida, pero no está dirigida y escrita principalmente de forma perfecta, y en comparación con el trabajo británico más antiguo de Wright, tiene bordes un poco más desgastados y carece de una descripción general. Sin embargo, toda la película se basa en la intención creativa de cortarlo todo en canciones que siempre le suenen al protagonista en sus audífonos y ahí no se puede dejar de elogiar al director por lo bien que logró recortar al ritmo de la música no solo escenas de acción, tiroteos y persecuciones de coches, sino también como el personaje camina por la calle o planea un robo a un banco. Definitivamente nada exigente en términos de contenido, pero como una comedia de acción, es un nivel más imaginativo y divertido, incluso más que los últimos episodios de The Fast and the Furious (A todo gas). (11.07.2017)

Ani prvoligové obsazení nezajistí dvouhodinovou akční zábavu - nevím, proč se současní režiséři tolik snaží točit sáhodlouhé filmy - devadesát minut bohatě stačí na vše, do takové stopáže se vejde vše, co si žánr vyžaduje. Tady svižné scény střídají hluchá místa. Prvoligové obsazení jsem měl na mysli především u mužské části ansámblu, dámská část je prvoligová především vzhledově a to nechci působit nějak genderově nekorektně :-) Průměr, nic moc, velká šance, že za dva týdny zapomenu, oč šlo. Hlavně žádnou dvojku! (16.02.2018)

Despite Baby Driver’s occasional stumble and inconsistent perspective, I consider making an action film in which almost everything happens to the rhythm of the music that the protagonist is listening to or based on the current mood or occasion to be a great way to revive the musical genre (and, at the same time, to subversively foist it off on viewers who otherwise ignore musicals and for whom the year’s best film so far this year is Fast & Furious 8). We can reproach Wright for not being stylistically distinctive (he previously edited The World’s End), for not being capable of working with female characters, and, unlike his great filmmaking role-model Quentin Tarantino, for remaining, even in his forties, an immature nerd with a weakness for autotelic fetishisation of movie references (the road passing by like in Lost Highway, damaged sunglasses like those worn by Warren Beatty in Bonnie and Clyde) and repeatedly telling the same story about protagonists who have to grow up but can continue to have fun in essentially the same way, inhabiting their escapist worlds while being tremendously cool. Or we can simply enjoy an original summer blockbuster with a great soundtrack and some incredibly high-octane action scenes. Since I have no plans to grow up yet, at least in relation to pop culture, I choose the second option. 85% (13.08.2017)

Edgar Wright is a pro. Never mind what he’s filmed before; now, with his quick-fire editing and love of music, he’s actually managed to film one of the best gangster movies in a while. When I was watching it, I truly didn’t even care how illogical it was at times. I was enjoying an action comedy so perfect that I doubt I’ll get a similar experience within the next five years until Edgar comes up with something new. And you realize that once you hear high-quality music in the background of a machine gun firing off. You also realize it as the music gets intense when Ansel Elgort’s having his life-changing moment. He might be just a twenty-three-year-old pipsqueak, but after half an hour, I finally got used to him; because beneath the rough layer of toughness and arrogance, there’s a boy who’s lived through a lot. And that’s getting me started about the story, which isn’t exactly any good, but I didn’t even expect it to be. This movie was filmed to be visually effective and to be a conscious homage to all the (not only) Guy Ritchie gangster movies. If Simon Pegg and Nick Frost were starring in this, I think it could even be another addition to the Cornetto saga. But this way, it’s “just” a simple, but highly functional movie. That’s exactly what I expected from Edgar Wright and it’s what I got in the end. Thank you for an amazing experience. At times, I was thinking that I’m not gonna get a similar experience nowadays. The editing combined with the music – absolutely awesome. (20.08.2017)