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Sony’s Baby Driver, the SXSW sensation that aims to be the cool ride of the summer for moviegoers with the need for speed and iTunes at any cost, has much to recommend it. Director-writer Edgar Wright delivers here in style that goes on for days and should have fans dribbling. His output of movies like Shaun Of The Dead, At World’s End and Hot Fuzz has always been a mixed bag for me — enormously promising hipster films that lack total discipline by a helmer who sometimes… »
If the Edgar Wright narrative has to revolve around “Ant-Man,” and to many it does, it goes like this: the English director of “Shaun Of The Dead,” and “Hot Fuzz” was all set to make a Marvel movie and it essentially was pulled away from him at the last minute as it was preparing to shoot. But, rather than sulking or stewing, Wright came back with a vengeance to direct what is arguably the most thrilling summer popcorn movie of the year.
- Rodrigo Perez
Filmmaker Edgar Wright notoriously spent nearly a decade working on “Ant-Man” — his Marvel passion project about the world’s smallest superhero — before leaving the project back in May of 2014, mere months before production started on the Paul Rudd-starring feature. While the film snagged a new director in Peyton Reed (and a slew of rewrites along the way), Wright retains some connection to the project: a screenwriting credit for the film he so desperately wanted to make.
Now that Wright is back on the publicity trail for his latest film, “Baby Driver,” talk has inevitably turned to the infamous “Ant-Man” fallout and its impact on Wright, both personally and professionally. Earlier this week, Wright appeared on Variety’s Playback Podcast, where he quite smartly explained, “I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie. »
- Kate Erbland
Now this is what I call a summer movie. Baby Driver has it all: thrills, laughs, sex, nonstop action, a killer soundtrack, a star-making performance from Ansel Elgort and a director – Edgar Wright – who can knock the wind out of you. When was the last time to got pumped by a car chase? This revved-up ride of a movie is loaded with them, and they're spectacular.
From “Baby Driver” to “Shaun of the Dead,” “The World’s End” to “Scott Pilgrim vs. The World,” music has always played a huge role in Edgar Wright’s films — yes, yes, sure, you could even say it’s its own character — and his newest feature takes that idea to some wild new ends. In the Ansel Elgort-starring “Baby Driver,” the eponymous lead suffers from trauma-induced tinnitus, an affliction he keeps at bay by listening to a steady stream of music at all times.
He also just so happens to be a highly skilled getaway driver, and Wright inventively uses Baby’s personal playlist to frame up the film’s wide-ranging soundtrack, which includes Wright mainstays like Queen and Jon Spencer, alongside classics by Brenda Holloway and The Commodores. For a filmmaker like Wright who has always used music to both great effect and huge humor — from literal record-tossing »
- Kate Erbland
In Edgar Wright’s exhilarating genre pastiche Baby Driver, lanes of traffic become dance floors for swerving vehicles, gunshots ring out like bebop punctuation, and even the tough-guy patter has a musical quality, a rat-a-tat rhythm. Wright, the director of Shaun Of The Dead, Hot Fuzz, and a couple other peerless laugh riots, has crammed a jukebox musical under the hood of a gearhead crime caper. His clever hook: The movie’s hero, an underworld wheelman played by Ansel Elgort, has a lifelong case of tinnitus, and he drowns out the high-pitched whine by flooding his damaged eardrums with music, a constant stream of good vibrations piped in from the candy-colored iPods he keeps in his pockets.
Wright has always had a movie like this in him, and not just because he’s been dreaming about it since the ’90s. Up until now, the filmmaker has used his supreme technical »
- A.A. Dowd
The director of proudly British films such as Hot Fuzz has made an all-American car movie. Why are British film-makers in thrall to the Us film industry?
Related: Edgar Wright: the ultimate fanboy film director
Orson Welles once described Hollywood as “the biggest electric train set any boy ever had”. For Edgar Wright, it’s more of a Scalextric. His new Baby Driver is an American car movie in the classical tradition, meaning diners, old soul, firearms and untalkative dudes in shades coolly wrenching muscle cars around the city grid. After the proudly British comedies such as Shaun of the Dead and Hot Fuzz, this is fresh territory for Wright, but for us it’s a familiar story.
Continue reading »
- Steve Rose
Having become the first female filmmaker to direct a movie with a budget of $100 million, and the first to have a movie debut with a domestic opening weekend of $100 million, Patty Jenkins has now added another feather to her cap with Wonder Woman’s latest box office milestone.
The DC blockbuster has now reached $615 million worldwide, meaning it has overtaken 2009’s Mamma Mia! to become the highest-grossing live-action movie from a female director. The overall record is currently held by Jennifer Yuh Nelson and the animated film Kung Fu Panda 2 on $665 million, which Wonder Woman will likely overtake in the coming weeks (it should also be pointed out that Jennifer Lee co-directed Frozen with Chris Buck, and then went on to gross $1.2 billion).
- Gary Collinson
Edgar Wright (Hot Fuzz, Shaun of the Dead) shifts the summer box office into fifth gear with Baby Driver, a turbo-charged action flick that runs like a two hour music video. Star Ansel Elgort (Carrie, The Fault in Our Stars) breaks out from his teeny bopper past with high-octane gusto. He emerges as a bonafide leading man. Not too shabby in a film with heavyweight actors like Kevin Spacey, Jamie Foxx, and Jon Hamm. I got a bit tired of the frenetic camera work, but a minor critique as Baby Driver dazzles with energy and creativity.
The film takes place in Atlanta, Georgia. A cherub faced getaway driver, codenamed Baby (Ansel Elgort), works at the beck and call of a ruthless crime boss (Kevin Spacey). Afflicted with tinnitus after a childhood accident, Baby rarely speaks and wears headphones to drown out the ringing. He ferrets ruthless gangsters from their high »
Though originally attached to the superhero drama, the “Shaun of the Dead” helmer left it over creative differences, prompting Peyton Reed take over. In an appearance on Variety’s Playback Podcast occasioned by the imminent release of “Baby Driver,” Wright goes into detail on why he left the Marvel project: “I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie.”
Read More: Edgar Wright’s 40 Favorite Movies Ever Made (Right Now): ‘Boogie Nights,’ ‘Suspiria’ and More
“It was a really heartbreaking decision to have to walk away after having worked on it for so long, because me and Joe Cornish in some form — it’s funny some people say, ‘Oh they’ve been working on it for »
- Michael Nordine
One of the biggest missed opportunities of the Marvel Cinematic Universe is that we could have had an Ant-Man movie directed by Edgar Wright. To be clear, Peyton Reed did a great job behind the camera, and managed to pull off a very solid addition to the franchise, but we can’t help but wonder what the Shaun of the Dead director would have done with the film.
As you no doubt know, Wright came incredibly close to helming the movie, as he’d worked for nearly a decade on the project, before eventually bowing out due to – here it comes – “creative differences.” Even though the script (written by Wright and Joe Cornish) came with a glowing review from Joss Whedon, who called it the best McU script he’d read, the director and Marvel couldn’t see eye-to-eye on their visions for Ant-Man.
In a new interview with Variety, Wright has now elaborated on his reasons for exiting the movie, giving us some insight into why he decided to depart.
“The most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie. It was a really heartbreaking decision, to have to walk away from it after working on it for so long. Some people say, ‘Oh he worked on it for eight years,’ and that’s somewhat true, but in between that, I also made three movies, it wasn’t like I was working on it full time.
But after The World’s End, I did work on it for about a year. I was the writer-director on it and then they wanted to do a draft without me, and having written all my other movies, that’s a tough thing to move forward. It’s like, if I do one of these movies, I would like to be the writer-director. Suddenly becoming a director for hire on it, you’re sort of less emotionally invested and you start to wonder why you’re there, really.”
It’s interesting that Wright’s comments should come out now as there’s a similarity between this situation and the recent firing of Phil Lord and Chris Miller from the Han Solo movie. From what we can gather, that was also a case of the studio not wanting the director to imprint their unique tone and style onto the film to the extent that they wanted to. Understandably, then, Wright has also spoken about how he stands with Lord and Miller on the issue, and it’s no surprise that he’s on their side.
Regardless of Wright’s exit, 2015’s Ant-Man proved to be warmly received with a decent box office haul to boot. It’s also spawned a sequel titled Ant-Man and the Wasp, which is due out in theatres on July 6th, 2018. »
- Christian Bone
Director Edgar Wright (Shaun of the Dead, Hot Fuzz) is currently making the press rounds promoting his new music-driven action thriller Baby Driver, which comes out next week. But earlier this month, he dropped a tantalizing hint in an interview about a “crazy” new project he has coming up. What could this mystery Edgar Wright project be? During an interview […]
- Ben Pearson
Writer/Director Edgar Wright is known for his unique films that both satarize and embrace whatever genre he chooses. We're talking Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. The World, and The World's End. Wright's dialogue is always poetic with the sharpest wit and most clever word-plays. His editing style is unmistakable, fast and in your face, smashing one scene seamlessly into another. His shots are colorful, with just as much to say as the dialogue that accompanies them. His action scenes are sincere, brutal, and among the best out there; it's a wonder that Wright hasn't been handed a giant action franchise on a scale even bigger than Baby Driver (Though we guess Ant-Man would have been that film, had he stayed on). Wright's actors are always top notch, selected with care and directed to perfection. All four of his previous releases are winners for these reasons, »
- Nick Doll
Author: Zehra Phelan
After the bombshell LucasFilm dropped on us this week – that they have parted company with the directors of the untitled Hans Solo, Phil Lord and Chris Miller, over creative differences, talk has been rife amongst the film community surrounding past director and studio splits over the years with Edgar Wright taking the driver’s seat.
The most talked about from recent years is Baby Driver and Shaun of The Dead director Edgar Wright’s parting of company with Marvel after a divergence in vision for the Paul Rudd led Ant-Man. Whilst on a promotional tour for his latest musical heist caper, Wright joined Kristopher Tapley on Variety’s Playback Podcast and reflected on his Ant-Man exit with nothing but positivity while giving an insight into the creative differences that paved his exit.
“I think the most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie. It was a really heartbreaking decision to have to walk away after having worked on it for so long, because me and Joe Cornish in some form—it’s funny some people say, ‘Oh they’ve been working on it for eight years’ and that was somewhat true, but in that time I had made three movies so it wasn’t like I was working on it full time. But after The World’s End, I did work on it for like a year, I was gonna make the movie. But then I was the writer-director on it and then they wanted to do a draft without me and having written all my other movies, that’s a tough thing to move forward thinking if I do one of these movies I would like to be the writer-director. Suddenly becoming a director for hire on it, you’re sort of less emotionally invested and you start to wonder why you’re there, really.”
After Edgar Wright left, Marvel brought in Peyton Reed to take up the director’s chair and asked Paul Rudd and Adam McKay to rewrite the script whilst still keeping hold of most of the cast Wright had brought in. Wright never looked back though, and although he was upset the departure gave him time to move on and create the film which is about to be released next week, Baby Driver.
“The good thing that came out of it is I got to kind of move on to [Baby Driver], which was a script that I had already written. And maybe one of the ironies about it is I had thought in the back of my head, ‘Well if the Marvel movie does well, maybe I’ll have enough muscle to get Baby Driver made,’ and so it’s ironic I guess that I didn’t make that movie and got Baby Driver made, and with a studio, which for an original movie is very rare. And the other important thing for me is almost the entirety of my crew who were gonna do that movie sort of left in solidarity, so it was really important to me to get another film going so I could kind of re-employ them all. So the funny thing about Baby Driver is it pretty much features all the [Heads of Department] who were gonna do the other movie with me.”
Ant-Man still proved to be somewhat of a hit amongst fans, but we can’t help wondering, with Wright at the helm if this could have been one hell of a different movie.
- Zehra Phelan
Domestically, Wonder Woman has grossed $289.2 million, with a further $312.4 million from international markets. It will hit another milestone today, overtaking the $609.8 million global total of 2008’s Mamma Mia to become the highest-grossing movie from a female director.
Despite competition from the likes of Cars 3 and Transformers: The Last Knight, Wonder Woman will also overtake Man of Steel’s domestic total this weekend and is fast closing in on its $668.0 million total.
Before she was Wonder Woman, she was Diana, princess of the Amazons, trained to be an unconquerable warrior. Raised on a sheltered island paradise, when an American pilot crashes on their shores and tells of a massive conflict raging in the outside world, Diana leaves her home, convinced she can stop the threat. Fighting alongside man in a war to end all wars, Diana will discover her full powers…and her true destiny.
Wonder Woman sees Patty Jenkins (Monster) directing a cast that includes Gal Gadot (Batman v Superman: Dawn of Justice), Chris Pine (Star Trek), Connie Nielsen (Gladiator), Robin Wright (House of Cards), Danny Huston (X-Men Origins: Wolverine), David Thewlis (The Theory of Everything), Ewen Bremner (Snowpiercer), Said Taghmaoui (American Hustle), Elena Anaya (The Skin I Live In), Lisa Loven Kongsli (Force Majeure), Lucy Davis (Shaun of the Dead) and Ann Wolf. »
- Gary Collinson
Welcome to “Playback,” a Variety podcast bringing you exclusive conversations with the talents behind many of today’s hottest films.
With movies like “Shaun of the Dead,” “Hot Fuzz,” and his latest, “Baby Driver,” filmmaker Edgar Wright has forged his own path through the modern cinema landscape with his own original voice. That’s no easy task. Along the way, like any artist, he has stumbled, whether learning the value of an abundance of coverage on his first film, “A Fistful of Fingers,” or making the heartbreaking decision to walk on “Ant-Man” due to creative differences with Marvel.
Unsurprisingly, and even with dedicated production partners, maintaining that original voice has been a challenge throughout. But Wright finds inspiration in others who have managed it with aplomb.
Listen to this week’s episode of “Playback” below. New episodes air every Thursday.
Click here for more episodes of “Playback.”
“I think I’ve been really inspired by other directors who sort of double down on their own style or persistence of vision,” Wright says. “I felt that way about Quentin Tarantino or Wes Anderson. ‘The Grand Budapest Hotel’ was [Anderson’s] eighth film and his biggest hit. If you looked at the title and synopsis alone, it’s seemingly the most esoteric and idiosyncratic, but it’s a massive worldwide hit.”
Following early successes, Wright hit a couple speed bumps. He first turned his eye toward “Scott Pilgrim vs. the World,” a Universal Pictures collaboration that disappointed at the box office. Along the way he was developing “Ant-Man,” a bit of a dream project. But eventually he had to step away from that.
“The most diplomatic answer is I wanted to make a Marvel movie but I don’t think they really wanted to make an Edgar Wright movie,” Wright says. “I was the writer-director on it and then they wanted to do a draft without me, and having written all my other movies, that’s a tough thing to move forward. Suddenly becoming a director for hire on it, you’re sort of less emotionally invested and you start to wonder why you’re there, really.”
He expected the success of something like “Ant-Man” might help propel him toward making his true dream project, “Baby Driver,” a reality. Yet he was still able to get the audacious musical/car chase actioner done at a major studio, and happily, keep his devoted crew (who departed “Ant-Man” in solidarity) employed. And like many of Wright’s creative pursuits, it all began with a song.
“I think that’s where me and the main character in ‘Baby Driver’ are the same, is that we’re completely motivated by music,” he says. “This is a universal thing, that people use music as an escape or motivation or inspiration. I have to drive to music. I have to walk to music. I have to work out to music. I have to clean the house to music. And I have to give a shout-out to Kirsten Lane, our clearance person, who managed to clear 35 tracks for this movie.”
For more, including stories about sneaking into Pinewood Studios to edit his first feature and what the press tour for “Scott Pilgrim” taught him, listen to the latest episode of “Playback” via the streaming link above.
Subscribe to “Playback” at iTunes.
- Kristopher Tapley
Baby Driver, 2017.
Directed by Edgar Wright.
A young getaway driver yearns to break free from the clutches of a local crime boss and start a new life on the road with his waitress girlfriend.
As I sat down to watch Baby Driver, something occurred to me ? even though I’m a big fan of Edgar Wright, each of his films has, in my opinion, been weaker than the last. Shaun of the Dead and Hot Fuzz are both classics, as clever and inventive as they are hilarious; Scott Pilgrim Vs The World, as cool as it is, occasionally crosses the line between ironic hipster movie and actual hipster movie; and despite giving it several chances to grow on me I didn’t like The World’s End at all. As the lights went down I crossed my fingers that this would be the film to buck that trend, and I’m happy to report that it most certainly is.
Baby (Ansel Elgort) is a getaway driver for Doc (Kevin Spacey), a job he performs as payback for breaking into Doc’s car as a teenager. He has tinnitus in his ears from the car accident his parents died in when he was a child, so he constantly has his headphones in to drown it out. This has led to a habit of sound-tracking everything he does, whether it’s a high-speed car chase or a stroll down the street to fetch coffee (which he does in a great long take where the lyrics to the song he’s listening to appear as graffiti on the buildings behind him). With his debt to Doc soon to be paid off he plans to go on a permanent road trip with an adorable waitress called Debora (Lily James), but Doc isn’t about to let his lucky charm get away so easy.
Edgar Wright has admitted that he wrote the script around the playlist of songs he had in mind, and although for some directors this technique can result in lazy film-making (Cameron Crowe is occasionally guilty of this), in Wright’s case it has resulted in a film packed with gloriously choreographed scenes – in the same way that Scott Pilgrim could be considered a ‘fight-sical’, this could easily be described as a ‘chase-sical’! It’s got the coolness of Drive (and an undeniably similar premise) and the energy, wit and (yes) romance of True Romance. The influence of Wright’s pal Tarantino is clear – the characters are all too-cool-for-school, the violence is stylishly shot, and the dialogue is full of quotable one-liners (my favourite involves a ‘Hate’ tattoo that one of Doc’s criminals had changed to ‘Hat’ to improve his job prospects – “Who doesn’t like hats?”). The only scene where the dialogue feels forced and silly is one where a gun salesman compares his products to pigs, but at least it’s followed by a superb shoot-out.
Baby Driver has been billed first and foremost as a car chase movie, and people who go to see it expecting nothing more than that will definitely be satisfied – Paul Greengrass should really watch this film and take notes on how to effectively shoot and edit a great car chase. And Wright’s love of the original Point Break (as witnessed in Hot Fuzz) is once again illustrated in an exhilarating foot chase that rivals the one in Bigelow’s classic. However, this is so much more than a disposable popcorn movie – the characters are what keep you invested when the action dies down. Jamie Foxx and Kevin Spacey are both excellent, playing characters similar to the ones they played in Horrible Bosses (albeit more deadly and confident), Jon Hamm veers between laid-back and desperate to great effect, and despite being little more than the ‘dream girl’, Lily James still shines as Debora. The scenes where she and Baby fall in love discussing classic songs with their names in the titles are just the right side of cutesy, and their chemistry gives the audience a real reason to root for them. The only character who I felt was a little bit lacking was Baby himself – he’s certainly an iconic character (his black and white costume giving us a glimpse of what might have been had Ansel Elgort been cast as the young Han Solo), but his trademark silence means he’s more defined by his actions than his words – not necessarily a bad thing, it just means he doesn’t get as many memorable one-liners as some of the other characters.
The final third of the film, involving a bungled heist and a hostage situation, is both exciting and unpredictable, as everyone has to either flee or fight for survival. It’s exciting and unpredictable, but admittedly there were a few moments where the characters’ actions stretched believability – i.e. there were sudden shifts in loyalty, and opportunities not being seized. Also, I felt the epilogue was a strange combination of realistic and unrealistic – not quite the euphoric air-punching finale I was hoping for after two hours of build-up. Still, it shows that Wright cares enough about his main characters to see their story through, rather than to cheapen the whole affair with a flashy yet hollow ending. Minor niggles aside, Baby Driver is still one of the most purely entertaining films of the year – a return to form from one of the world’s coolest film-makers.
Flickering Myth Rating – Film: ★★★★★ / Movie: ★★★★★
- Amie Cranswick
Author: Jon Lyus
This sweltering evening in London town saw the return of one of the brightest stars in the cinematic sky. Director Edgar Wright brought his latest film to the capital and we were there to meet him and the cast on the red carpet of Baby Driver.
The new film from Shaun of the Dead and Hot Fuzz man Edgar Wright stars Lily James, Kevin Spacey, Ansel Elgort, Jon Hamm, Jamie Foxx, Eliza Gonzalez, Cj Jones, Jon Bernthal, Lanny Joon, and Paul Williams which is a ridiculously good cast. They are elevated in the film by Baby’s Driver secret weapon – the soundtrack. You can see the full tracklist below, and will no doubt have enjoyed the kinetically pleasing trailers. Wright’s command of editing and his keen ear for cinematically apposite music is put to full use in the film, and you can read our 5 star review of the film right here.
Baby Driver is released in UK cinemas June 28.
Baby Driver European Premiere Interviews
Baby Driver Motion Picture Soundtrack Jon Spencer Blues Explosion – ‘Bellbottoms’ Bob & Earl – ‘Harlem Shuffle’ Jonathan Richman & The Modern Lovers – ‘Egyptian Reggae’ Googie Rene – ‘Smokey Joe’s La La’ The Beach Boys – ‘Let’s Go Away For Awhile’ Carla Thomas – ‘B-a-b-y’ Kashmere Stage Band – ‘Kashmere’ Dave Brubeck – ‘Unsquare Dance’ The Damned – ‘Neat Neat Neat’ The Commodores – ‘Easy (Single Version)’ T. Rex – ‘Debora’ Beck – ‘Debra’ Incredible Bongo Band – ‘Bongolia’ The Detroit Emeralds – ‘Baby Let Me Take You (in My Arms)’ Alexis Korner – ‘Early In The Morning’ David McCallum – ‘The Edge’ Martha and the Vandellas – ‘Nowhere To Run’ The Button Down Brass – ‘Tequila’ Sam & Dave – ‘When Something Is Wrong With My Baby’ Brenda Holloway – ‘Every Little Bit Hurts’ Blur – ‘Intermission’ Focus – ‘Hocus Pocus (Original Single Version)’ Golden Earring – ‘Radar Love (1973 Single Edit)’ Barry White – ‘Never, Never Gone Give Ya Up’ Young Mc – ‘Know How’ Queen – ‘Brighton Rock’ Sky Ferreira – ‘Easy’ Simon & Garfunkel – ‘Baby Driver’ Kid Koala – ‘Was He Slow (Credit Roll Version)’ Danger Mouse (featuring Run The Jewels and Big Boi) – ‘Chase Me’
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
- Jon Lyus
With the success of Wonder Woman, attention is already starting to turn to the future – not just the character’s appearance in other Dceu properties, but the inevitable sequel to her own solo movie.
Wonder Woman was set during Wwi and naturally speculation has arisen of just when and where the sequel would take place. Luckily for us, Toby Emmerich, the Warner Bros. chief, has commented on the very subject, saying that it will likely be set in the past, however he was a little vague on the specifics.
Confirming to Variety that Wonder Woman 2 wouldn’t be another Wwi piece, he said rather coyly that: “It will take place somewhere between 1917 and 2017”.
That timeframe doesn’t rule out WWII as a potential setting, but also allows for a whole host of options, so really, thanks for nothing, Emmerich.
Meanwhile, DC Films co-chief Geoff Johns went on to reveal that »
- Samuel Brace
It’s always nice when a director complements you on your thematically on-point Simon & Garfunkel shirt, but Edgar Wright is nothing if not perceptive. He’s one of those rarified directors who clearly has a vision, managing within studio pictures, indies and even TV series to inject so much of his own voice and passion. The creator of what amounts to modern genre classics, Wright really is in a league of his own, consistently turning out films that are both entertaining and highly literate, employing echoes of earlier works while always feeling fresh. Like Scorsese and Tarantino, directors of the same iconoclastic ilk with a fiercely personal vision, Wright’s films have employed music in iconic ways. Take the use of Queen in Shaun of the Dead...
[Read the whole post on screenanarchy.com...] »
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