Tag Archives: Jon Bernthal

SXSW: Baby Driver

Is this the absolute coolest movie ever?

Honestly, I think I’d pay my $12 just to see that opening scene again.

Baby (Ansel Elgort) is a getaway driver, the best in the biz despite his young age, according to his boss, Doc (Kevin Spacey). But Baby has a glitch: he wears ear buds constantly to fight tinnitus. So to him, the whole world is a soundtrack. And you’re about to enter his world.

Doc never works with the same crew twice, so we see a rotation of criminals including MV5BMzk0NzMyNzcyN15BMl5BanBnXkFtZTgwNTYwNDU5MDI@._V1_Darling (Eiza Gonzalez), Griff (Jon Bernthal), Buddy (Jon Hamm), and my personal favourite, Bats (Jamie Foxx), personal motto: “I’m the one with mental problems in the group. Position taken.” GUYS, HE’S NOT KIDDING.

But don’t get attached to any of those fellows. This is Baby’s movie. He’s being coerced into this life of crime, but that doesn’t mean he isn’t good at it. He is, however, trying to get out, and nothing is as inspiring as the love of a good woman. So when Deborah (Lily James) soft shoes into his life, he’s got a boner for the open road. But wait – you didn’t think getting out would be that easy, did you?

This is a film by Edgar Wright, whom I love, unreservedly. This is a very different sort of film from him, but he’s already thrust himself to the top of the game. When you catch your breath at the end of the film, you’ll have to answer me truly: have you ever seen action to equal it? Ansel Elgort’s character Baby is obsessed with two things: music, and cars. And so is the film; car chases and music both turned WAY up to 11. Anything that gets between them is incidental.

MV5BMTEyMzQxMTI0ODZeQTJeQWpwZ15BbWU4MDQ2MDQ1OTAy._V1_Wright is a phenomenal writer, and Baby Driver is just as quippy and quotable as any other in his oeuvre. The music jangles, sometimes wildly incongruous to what’s developing on screen, sometimes deliciously ironic, but it stitches the film together between Wright’s explosive action sequences. Wright’s films are always kinetic. His own exuberance for film making comes across on the screen, is barely contained by it, in fact.

If Ryan Gosling from La La Land fucked Ryan Gosling from Drive, Baby Driver is what you’d get. On paper, this isn’t the kind of movie I normally care about, or for, but on the screen it sang to me, I fuck-yeahed in the dark of the theatre, and I can’t wait until August when I can see it again. [LUCKY US, THE RELEASE GOT MOVED UP TO JUNE 28 DUE TO THE WELL-DESERVED ACCLAIM THIS GOT AT SXSW!]

 

 

 

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Incidentally, I have a mini poster signed by Edgar Wright himself. If you’re interested in winning it, Follow us on Twitter (@AssholeMovies), and retweet the relevant post. Comments here are worth extra entries. Good luck! [THIS IS LONG GONE (CONGRATS TO THE WINNER) BUT FEEL FREE TO RETWEET ALL OUR POSTS OUT OF THE GOODNESS OF YOUR HEART.]

 

 

Also: super DUPER bonus: check out the comments section for ROBERT RODRIGUEZ doing a Q&A with Edgar Wright and stars Eiza Gonzalez, Ansel Elgort & Jon Hamm.

The Accountant

What if Batman was a bean counter? Okay, that’s not exactly what The Accountant is trying to do, but it’s close, closer probably than it intended.

Ben Affleck plays Christian Wolff (not his real name: alter ego), a mild-mannered, socially awkward accountant. And when he whips his glasses off, he becomes a vigilante crime fighter. Sort of. Okay, what actually happens is he keeps his glasses on in order to “uncook” the books for various crime syndicates. Like, for the worst and dirtiest people. But if they break his moral code, he either calls in the commissioner – excuse me – treasury agent (played ben-affleck-first-look-at-the-accountant-socialby JK Simmons, who will indeed play Commissioner Gordon in Affleck’s upcoming The Batman) or goes ballistic on their ass. But not crazy ballistic: he remains very cold and very calm in order to diligently murder everyone in his path. So autism becomes a super power and The Accountant is just Batman without a cowl. Although admittedly when I saw Ben Affleck marking up a window, I immediately though of the role as a little more Good Will Hunting meets Jason Bourne – Matt Damon’s territory, in other words.

In order to play autistic, Ben goes affectless and Affleckless. He turns off the charm and the smirk and the simmering rage but doesn’t quite know what he’s left with. It doesn’t help that The Accountant suffers from its own identity crisis, sometimes darting into the phone booth as an action flick b3dd1dc8b235f1a14730dc81f5cffdfba6e4eae050f66447637fa4e75242f350complete with stalky sniper Jon Bernthal (from Daredevil, just not THAT Daredevil) as the villain, only to emerge as a drama or worse yet, a quirkie indie romance with Anna Kendrick as the Mary Jane, I mean, the damsel in distress\love interest. And if this all sounds like a lot to keep track of, don’t worry, there’s a portion in the middle that’s perfect for taking a 20 minute nap and waking up feeling like you’ve missed nothing at all.

But for all that, I enjoyed The Accountant. It’s not going to make my top 10 this year, and maybe not even my top 10 this week (that’s not a hard knock, I’m just on my way to a film festival), but it was entertaining and fun, even if Gavin O’Connor’s direction is a bit uninspired. Plus, it’s kind of great to see autism as an asset rather than a setback. Affleck manages not to overplay his cards although the story does require us to equate a neurodevelopmental disorder with superior morality – superior even to the law, which has Viola Davis’s voice ringing in my ears – what if the next Superman is an accountant?