Baby Driver is a film of absolute purity. While leaving I tried to think of a witty way to describe it. I settled on cocaine, thought it was good enough, wrote it down, posted it, moved on. I told my friends that I loved it, but I wouldn’t be able to watch it again any time soon. There was just something about it that stunk of a one-and-done affair, call it the come down? The next day I felt it calling in the back of my head as I told my family about it and discussed it with friends. The day after, I was longing for it even more. Watching the first five or so minutes online, trailer after trailer, seeking that same buzz again.
Having IMDB open in another tab has become something of a religious requirement for my reviews now. As a result, I am always conscious of the score that has been awarded to what I have just watched (though this never colours my perception of the film). “Lassie”, directed by Daniel Petrie, is a lovely family film that I found quite tough to dislike, not that I tried. Baffled then was I that the score on IMDB is a measly 5.8, a score that seems to almost guarantee mediocrity. Not this time, “Lassie” is a flawed film like so many others but children will almost certainly love it and as I said, it is difficult to not enjoy on some level.
I’m yet to watch “21 Jump Street” again since it came out and actually review it, but I’ll say that when I did see it I thought it was actually a surprise in terms of how good it was, I really enjoyed it. The fact that no one truly expected “21” to be worthwhile is made fun of in “22 Jump Street” in quite an amusing way… Along with the fact that “22” is a sequel to a teen movie, and that the headquarters has conveniently moved across the street to accommodate the numerical adjustment to the title. The point is, the movie enjoys mocking itself to no end, and it is actually pretty hilarious for movie fans and fans of comedy alike. “22 Jump Street” will make you laugh more than you might expect, but it isn’t quite as good as the previous entry beyond that.
I’ve actually been to Bruges. At one point Ray (Colin Farrell) remarks that he wants to “hide out in a proper country where it isn’t all just fucking chocolate”. There was chocolate in Bruges, but I didn’t get any because they had it all locked up behind exhibits in the museum, and what was there was bloody expensive. A chocolate museum that only gives you chocolate buttons as you enter? Maybe I’m not as culturally mature as I should be, or at least I wasn’t when I went to Bruges. “In Bruges” somehow made me want to go back even after I heard Ray repeatedly express his disdain for the place. “It’s a shithole” he says, and maybe he’s right, but they wanted me to pay for the luxury of going to the toilet, so I wouldn’t know.
Buster Keaton is perhaps for many the only other silent film actor they are aware of. Something I learned when I read Roger Ebert’s review of “Steamboat Bill, Jr.” was that Keaton found himself not making the movies he really wanted when he eventually went on to join MGM during the start of the “talkie” age. Previously, Keaton was apparently meticulous with his work. He would repeat a scene over and over again as he saw fit, until he eventually got the effect he wanted. When he lost that control, he began to dislike his hand in the industry. “Steamboat Bill, Jr.” came out one year after 1927’s “The Jazz Singer” which was the very first talkie. Perhaps then Keaton deserves credit for creating such an incredible film and, in terms of quality, defying everything “The Jazz Singer” had to offer film at the time.