Tag Archives: Driving

Review – Baby Driver

For a while, Baby (Ansel Elgort) has been the getaway driver of choice for Doc (Kevin Spacey), who considers him a lucky charm. Baby has undertaken a series of jobs which have all been successful, with little interference from the law. However, he didn’t get into that line of work by choice, and with his debts almost paid off, it’s not long before Baby will be a free man. Unfortunately, though, the true nature of the contract he entered into with Doc soon becomes clear when Baby is called out of retirement, and the life of his new-found love, Debora (Lily James), is threatened. With this at stake, Baby agrees to take on a heist with Buddy (Jon Hamm), Darling (Eiza González) and Bats (Jamie Foxx), and it is set to be the biggest job ever pulled off, meaning the risks are higher than ever before too.

Set to be possibly THE biggest blockbuster of the summer, if not this year, is Edgar Wright’s latest project, Baby Driver. There has been a lot of buzz surrounding this film, with the hype reaching its peak this week. All I can say is this film is a real crowd pleaser – there is something for everyone dotted throughout the action, the comedy and the teensy-weensy bit of romance, so I cannot recommend it enough. However, I must say that this conclusion was only reached based largely upon the second half of the film purely because that was the part of the film I was fully tuned into due to an incident that occurred at the start of the film (but we won’t go into that because this is a review of the film, not of my experience at the cinema). All I’ll say is if you don’t feel I’m doing the film complete justice with this review, please forgive me.

The mix of characters in the film is brilliant. There’s a number of different personalities that make every scene in the film enjoyable to watch. I have to be honest and say that I didn’t find Baby to be the most exciting character in the film, but I found that in the scenes where he really came alive, Ansel Elgort nailed the performance. Kevin Spacey is Kevin Spacey, so you know his character is going to be wonderful to watch anyway, and he fully delivered as Doc, who I likened to Joe Cabot in Reservoir Dogs with the way he planned the jobs and kept everyone in check. Jamie Foxx also did as was expected of him as Bats, who waded in with a considerable amount of ego. Surprisingly enough, I also was quite a fan of Lily James’ character, who clearly was prepared to do anything for Baby. My favourite character has to be Buddy though, who was brought to us by the delightful Jon Hamm. People may or may not know by now, but I love a good villain, and he ended up being just that.

There are some huge chase scenes to be found throughout Baby Driver (as you’d perhaps hope), and I know for a fact that there was definitely one that lasted for the best part of five minutes where I sat forward in my chair, mouth wide open, holding my breath with my eyes glued to the screen. It was fantastic! That, of course, wasn’t the only chase in the film, but for me, it was the most memorable, and most certainly the one that got the adrenaline flowing.

Edgar Wright has done a very good job with this film. As I said to start with, this will suit the broadest of audiences because it is such a mixed bag. Personally, I think the highlights were the perfectly choreographed chase scenes (yep, those again) and the more comedic moments that also frequented the film. It was genuinely very funny in a number of places in a way that I think would survive multiple watches. Such a mixture kept the film feeling fresh for the entirety of its duration, so watching it didn’t feel like a huge endeavour, and the time flew by.

All in all, I can only side with those people who are tipping this to be one of the films of the year. Baby Driver proved to be a highly entertaining ride, even after the situation that occurred at the beginning which we shall not speak of. I may have to have a second viewing of the film in order to get the full experience and in order to provide you with a review that will give a truer reflection of what I thought. In the meantime, all I can say is you should probably seriously consider seeing Baby Driver at some point before it leaves cinemas, although I think it’ll get a good run given the majorly positive response it has received.

8

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Review – Kidnap

What’s this?

A perplexingly bad new thriller that follows Academy Award winner Halle Berry as she pursues her kidnapped son through Louisiana while talking, crying, screaming, whining and praying to herself in medium close-up for 90 agonising minutes. It is asinine, unabashed garbage, and made with such an absence of skill or dramatic consideration that the reliable incompetence of its writing, direction, editing and acting make for one of the most unintentionally hilarious puddles of genre slop I’ve seen all year.

Well, it is August. What’s it about?

Berry plays Karla Dyson, a single mother making ends meet by working a thankless job as a diner waitress. The diner, needless to say, feeds only rude and difficult clientele, and her son, Frankie (Sage Correa), frequently sits inside while he waits for her shift to end. This is, as far as I can tell, tantamount to child abuse. It’s no surprise then that Karla’s off-screen husband is divorcing her in favour of an upscale new squeeze, and while he’s at it he’d like Frankie full-time, thanks very much. While negotiating the terms of this arrangement in a local park, Frankie is snatched by a couple of scruffy, fat hicks, and bundled into the back of a teal Ford Mustang; Karla gives chase. This pursuit takes up most of the movie and is wonderful, laugh-a-minute stuff. Most of it is filmed an inch or two from Berry’s nose, which is far enough away to take in her bug-eyed, teeth-gnashing overreactions, but too close for the audience to see all the automotive mayhem that’s apparently happening outside the car. At one point Karla leaves the Chrysler to pursue the Mustang on foot, and this strikes me as perhaps the funniest movie moment of the year.

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Completed #3 – Forza Horizon 2: Fast & Furious

Well, this is alright.

I can’t say I was expecting all that much, either. Sure, I like Forza Horizon 2 as much as the next guy – finely-tuned arcade driving mechanics, that lovely balancing, a range of event types, a big, beautiful open space to speed around in. And this is basically just a slice of that; a bit like a demo for it, really, albeit one that mostly repurposes slabs of the game with the movie license awkwardly attached. Shameless cultural cross-promotion is what it is, and I’m not entirely keen, but at least you get a smattering of the movie’s cars and a whole bunch of tortuous, unskippable voice work from Ludacris.

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Final Thoughts – The Crew

I’m still playing The Crew. More importantly, I’m still having a lot of fun with it. Since I hastily scrawled my first impressions, I’ve been collecting some more thoughts while I’ve been driving around. Here they are in no particular order.

It’s vital that I stress again how enormous and visually diverse the gameworld is. I don’t know if this is the biggest map I’ve seen in a video game, but it’s most certainly up there. Admittedly it’s a world designed to be enjoyed at speed, as if you pull over to take a close look at things you won’t see much fine detail, but still. It isn’t just an aesthetic thing, either. All the different weather effects and types of terrain alter the way your vehicle handles, as well as the style of driving you’re partaking in. I like that I can rumble across the Nevada dunes in a monster truck one mission, then rocket around a proper racetrack in a circuit-spec speed machine the next. If nothing else, The Crew’s world is one of this year’s biggest achievements in gaming.

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First Impressions – The Crew

As insane as it feels to be typing these words, my initial experience with Ubisoft’s new MMO-style open-world driving game, The Crew, has been overwhelmingly positive. I sank about six hours into it this afternoon, and I’ve got some preliminary thoughts I’d like to share before I give it another chunk of my time.

Most importantly, it works. That isn’t something which should be particularly noteworthy, but after the winter Ubisoft has had this year it’s genuinely surprising they’ve released a game that’s actually playable on Day One. I had a minor update to install (I forget the exact size, but it was around 100mb) and that took about two minutes, then I was off. The always-online framework was active; there were plenty of other folks driving around with me, and the option was there to take part in PvP and PvE events if I wanted to. I didn’t test any, but that’s just me. I very rarely touch multiplayer due to my natural dislike of people, so I was paying more attention to whether or not the game would let me ignore these things. And it did.

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Review – Need For Speed (2015)

It occurs to me that the vast majority of my time in the “new generation” of video game consoles has been spent replaying games I already owned one, two, sometimes three years ago. The terminology is starting to get confusing. Is this a reboot or a remaster? The Game of the Year Edition or the Definitive Edition? Is there a difference? They’re shinier, usually. Sometimes they have all the bells and whistles already attached; additional content you previously had to pay for now available right out of the box (which is where, some might argue, it should have been to begin with).  That’s useful, occasionally, for games you missed or expansion packs you couldn’t justify buying. More often, though, it just feels exploitative, like a publisher wringing your neck until yet more coins plink out of your orifices.

2015’s Need for Speed is perhaps the most egregious recent example of the industry’s tendency to rehash old ideas and re-skin old games. It’s a reboot, technically, although one could reasonably argue that every game in this franchise has been a reboot of the one preceding it. There aren’t any recurring characters or sprawling narratives. Each game takes the fundamentals of the previous instalment and either builds on them or takes them in a slightly different direction. We’ve had direct sequels, in a sense, such as the two Underground titles, which is where the series began for most people; and the two Shift experiments, when Need for Speed veered away from the street racing microcosm and set off in a more simulation-based direction. But these are only really sequels in that they’re continuations of a specific style and theme; they’re hardly the next chapters of a riveting saga. This is, partially, what aggravated me about how EA marketed this latest edition – on false promises, and in answer to questions nobody was asking.

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