It would be easy to acknowledge that the importance of the media in the early 1970s is wholly different when compared to today's standards. But those quibbles aside, this is the most beautiful looking and continuously surprising Star Wars films ever released.
While I love the risks Rian Johnson took with this franchise, I feel some of them (like some of the humor) felt out of place in this galaxy, and that other choices in the film feel hurtful to the three-film arc of this story. It's true that I mostly loved Star Wars: The Last Jedi, but I do have a few issues with the film (which I have already discussed at length elsewhere on the site). It's exceedingly clear to me that Johnson has an immense love for these characters and this mythology, and he inserts his beliefs about the franchise into the text of his film: it's important to be inspired by and learn from the past, but it's also imperative to move on and build something new. The result is a note-perfect mini-movie from a filmmaker comfortably operating in a gear most of his peers couldn’t even find.There's so much movie in The Last Jedi, a film that gleefully takes huge swings left and right – and when one of those swings connects, it delivers like nothing else in the franchise ever has. (Look out in particular for Baby’s slaloming of the car through an obstacle-strewn alleyway, a feat actually achieved for real by stuntman Jeremy Fry.) What you notice on repeat viewing, though, is the character work under the hood: Bernthal and Hamm react to Baby in very different ways, while our hero accelerates with charm, heart, and goofiness. The first time you see it, you’re pinned back in your seat by the jaw-dropping practical car stunts, masterminded by John Wick second-unit director Darrin Prescott, as Baby ensures that he and his criminal passengers (Jon Bernthal, Jon Hamm, and Eiza González) evade the cops. Its opening sequence? A thrilling, audacious, and “Bellbottoms”-soundtracked bank heist and getaway. Its hero? A tinnitus-stricken, iPod-loving wheelman played by Ansel Elgort.
More than two decades after the Jon Spencer Blues Explosion’s “Bellbottoms” initially inspired writer-director Edgar Wright to start planning a music-suffused action movie, the Shaun of the Dead filmmaker finally released Baby Driver.
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