K I N O

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K R A P O

kevin spacey's change of heart at the end was pretty jarring tho

looks gay

why?
he was in love once
plus, he thought he told them t-

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>suddenly Sup Forums hates it's own meme
youtube.com/watch?v=oIFLtNYI3Ls

Well i liked it

youtube.com/watch?v=WA9lfxbaHvk

emphasis on the "NO" part
7/10 movie

>comparing baby driver to drive

while it's not a rip off, it goes beyond just a few similarities. both are in a way heavily inspired by the Driver, and Baby Driver does a number of almost the exact same things as Drive but worse. sorry turbo pleb

>Drive but worse
sorry it doesn't relive your vice city aesthetic /mydude/

>claims to listen to music all the time
>still uses crap tier iphone earphones

>i just loooove music
>who cares about my headphones
>im not an audiophile user

eh not what I said but whatever floats your boat

Literally made for the ADHD audience

What are the criticisms against this film besides it being "reddit"? If you can't drop your hipster act to enjoy a fun movie then you're the real pleb.

they can't handle a film that directly references Queen without autistic screeching

>movie with getaway driver
>movie with getaway driver
Literally I can't tell them apart

That's an awesome art work.

I enjoyed the movie but the ending was crap. Way too saccharine and the writer clearly didn't want to take any chances with the plot


The only character who is more than one dimensional is Kevin Spacey. Everyone else, including Baby, is plain.


That said I did very much enjoy it. I give it a 7.9, could've been 8.5+ if some risks were taken with the plot

>I enjoyed the movie but the ending was crap. Way too saccharine and the writer clearly didn't want to take any chances with the plot
I disagree, the ending felt like you got Ending A of a video game where all your good deeds paid off when everyone vouches for your character and I was glad they didn't pull another Devil's Reject's on the bridge

good kid and devil behind the wheel

It didn't make sense though. He was in jail for at least five years until possibility of parole but when he got out he and his gf looked the same (ie didn't age) and were still in love. Just seemed sketchy

>his gf looked the same (ie didn't age)
but you're talking about his fantasy that he already dreamed about once during the middle of the film (hence the black and white)
the ending is just him imagining how good it's gonna be when he gets out, regardless of whether it's 5 or 25 years

I liked it ok, mostly for Hamm, but Brody sort of nails it...
>“Baby Driver” seems, above all, like the film of a smart kid who has grown up and, having found popularity, has learned to dress his movies better and breeze through campus with a good word for everyone. (This desperate need to be liked, and its digital-media-centricity, made for the very subject of Wright’s daringly conceived and imaginatively realized 2010 film, “Scott Pilgrim vs. The World.”) Though filmed on location in Atlanta, the movie is textureless; the city seems plasticized and simulated by the carefully planned yet plain and uninflected images. The two moments when Wright’s cinematic juices seem to flow are two moments of violence. One—showing, in a wink, an impalement—is the closest thing to gore that that film offers; the other, an agonizingly slow, if obvious, resolution to a climactic conflict, is its closest thing to sadism, to delight in injury and death. These moments suggest that Wright might really get off on some heavy Tarantino-esque or Peckinpavian violence, if only he’d let himself go.

>Wright doesn’t let himself go, but his movie has still satisfied critics who are in love with the idea of Hollywood providing something that’s not based on a superhero franchise, providing something that, with its retro soundtrack and retro cleanness, reminds them of a Hollywood that no longer exists—even if some of its luminaries certainly do. Great directors of the New Hollywood of the seventies—an age when the studios put big money into ambitious filmmakers’ wide-release movies—are still working, with independent financing, lower budgets, and more limited releases, but more daringly and originally than ever; along the way, they have outrun the critics who love their early stuff best. The nostalgia of “Baby Driver” is more than a celebration of the past; it’s a repudiation of much of the best and most original filmmaking of the present day.

>Lol just turn your brain off bro

>the ending felt like you got Ending A of a video game
Exactly the problem

>I liked it so there's no reason not to!

Tell me why you don't like it then. No one here has voiced any legitimate criticisms.

I tried buying nicer earbuds a couple times, they sounded nice for a while and then just broke in a couple months.
Done spending money on that shit, I just use up the free Apple ones that come with.

Our king approves, even with some reservations.

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>Film Critic Cliche 101
>Namedrop Peckinpah

Because fucking Peckinpah and Tarantino invented violence AMIRITE! Fucking overpaid blogger.

It wasn't a change of heart though. He always cared about Baby, he just knew he had to threaten him to get him to do the jobs.

and this bird you cannot change, namefag

I liked it ok, as i say aboveBut it's anti-intellectual to think a film's above criticism just bc you enjoyed it.

The good: Jon Hamm, as a Mad Men fan i was glad to see him get a bigger role than I imaged, and turn in another great performance. The music was great, the film was charming in a poppy way, feel good, etc, some cool stonework

The not so good: As Brody alludes to, it's all a little sterile, a little too practiced or derivative. Baby himself isnt the anchor or the heart the film may have needed him to be. His background and characterization doesnt really connect for me. I found Buddy to be a richer character. There was some ridiculous decisions/semi-plot holes. The jokes didnt really hit, the dialogue could have used a little work.

All in all, it's ok to pretty good.

You're a fucking idiot, bro.

>Baby himself isnt the anchor or the heart the film may have needed him to be.
no one expected him to be
the fact that he is some noname almost mute clues you in that he's only a vessel for you to follow on the rollercoaster
he's literally jackie brown

you have shit taste, idc if you see the light or not

>Because fucking Peckinpah and Tarantino invented violence AMIRITE! Fucking overpaid blogger.

>What is The Getaway?
>What is Death Proof?

You're doing great.

how the fuck is jon hamm one dimensional in this movie

>no one expected him to be
I'm sorry? Again, you're approaching this from a very subjective point of view. YOU may not have expected him to be, that's cool. But there was some time dedicated to building his character that did not work for me, i'm sorry.

Jackie Brown the film had more effective heart, Jackie Brown the character had a more endearing arc to me. Even with QT's stylization, it was still much warmer and lived-in.

If I had a fucking dime every time some psuedo-intellectual name dropped Sam Peckinpah. It's the lamest attempt at making yourself look like you know film, but also still have a set of testicles and enjoy graphic violence.

You know he wasn't the first director to use squibs right? I swear they just like dropping the name Peckinpah because it's not a household name and he made a few good movies.

you're sorry?

nice movie

You have no idea who or what you're talking about. There exists a film called The Getaway, a clear cinematic forebear to Baby Driver. The comparison is more than apt to anyone that understands this.

THANK YOU finally someone gets it, jesus christ

Childhood is wanting to be like Driver.
Adulthood is wanting to be like Baby Driver.

>being too autistic to understand a common expression

lol

this

You're joking right? The Getaway has as much to do with Baby Driver as Bullitt and The Italian Job.

I'm so tired of this shit, douchebag """"film critics"""" always do this with movies that were made for entertainment's sake. When it's Oscarbait they treat the movie on its own merits and only reference prior films when there's direct influence. But when it's an Action movie, or a well received horror film now it's time to just start name dropping old movies and their directors to discredit the film for artistic plagarism.

It's clear from this review the Critic doesn't like the film because it's not his type of movie, but he can't just say that because he's supposed to judge objectively (as if anyone can fairly do such a thing) so he has to throw the "unoriginal" buzzword. EVERY MOVIE CAN BE CONSIDERED UNORIGINAL ALL ARTISTS STEAL FROM EACH OTHER.

I bet you back in Peckinpah's day there was some old faggot who said "Well you're just ripping off Edwin S. Porter you hack!" Thankfully that critic is dead and no one remembers him, no one will remember Brody or all these worthless critics either. Joyless pieces of shit.

What was the propose of showing him bumping into people when he was getting coffee? That he was mega autistic?

That he was upset and not focused like earlier in the previous heist.

What? He bumped into people after the first heist

You're freaking out. Subgenres or types of films are compared with one another, heist films, getaway films, boxing films, etc. It's that simple.

Just saw it. 6/10
Maybe the theater just sucked, but there was only a handful of moments where the music actually mattered and played along to what was happening

buy some Koss Portapros

this is the real kino of young man who puts on cool music in his headphones to do bad ass shit

Have to ask, is this a brainlet pleb version of Drive or was it kino?

It has a Boards of Canada song in it, so I liked it.

It was kino, Drive was just a collection of kind of cool scenes set to music, Baby Driver was an actual movie

>I love edgar wright, uh, shaun of the dead, ant-man...
Okie Dokie

>Drive was just a collection of kind of cool scenes set to music

This is very triggering, please watch Drive again

Am I the only one who thought this movie smacked of fedora?

No but you should be smacked by a fedora.

But see they only do this with the genres they're biased against. That's my problem. Here's the hook in his first paragraph:
>As in a musical, the songs of “Baby Driver” come first—it’s the digital version of a jukebox movie.
Right there you know he's an old troglodyte, that old Mono Vinyl Jukebox is better to him because it's real or "warm", whatever dumb placebo effect. But that's just hiding the truth that he doesn't like movies that the popcorn chewing masses enjoy, he's a critic from The New Yorker after all he's better than you.

Baby Driver is a very good movie, some of the best chase scenes you'll see period. Is it a perfect film HELL NO it's not even near other Chase movies. I thought Kevin Spacey phoned it in entirely, the ending felt like it was straight from a cheesy morality movie where everything has to end perfectly. I would have liked it much more had it just ended with him stopping the car.

But don't give me that crap that Baby Driver should have been a chatterbox movie like a Tarantino film, that's shit that plebs say. And if you think I'm lying:
>In Tarantino’s films, the characters have something to say about the pop culture that obsesses them; for that matter, in life, people have something to say about the pop culture that obsesses them. In “Baby Driver,” no one has anything to say about anything.
FUCK BRODY FUCK THE NEW YORKER