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Baby Driver Review (2017) | Another Ingenious Project of Edgar Wright

Baby Driver is an explosive eccentric ride into the head of a guy suffering from tinnitus. Even though it doesn’t bank on an eye-popping plot, Edgar Wright’s genius makes it all the very more exciting. The screenplay is great and subtly written. There is ample humour to keep the story going. And the work done with the music is just so satisfying that you can’t help but sway to it. It is hard not to notice it, and when you do, which you will all the time, everything just turns to be outright fun.

Edgar Wright’s Direction

If you are a fan of Edgar Wright you already know how amazing his movies are. The way he experiments with things, the way his stories run non-stop when there’s action entailed and the cool humour it tags all along almost all of the times are all those things that help him stand out. Baby Driver’s direction is one of the most exciting things about the movie.

You see our protagonist Baby (Ansel Elgort) has a tinnitus thing going on in his ears, and he uses music to shut all the background noise out. He has become so much attached to music that he doesn’t care who is watching, he performs all his tasks to the beat of the tune. Like dancing to the cadence, stopping where the tempo is building up, and executing all his acts based on the beat. It literally constitutes his life and consumes him.

You know it’s really relatable in a way because at some point you too might have waited for a drum beat to come to do something in a perfect sync. I mean that’s exactly how we choose to do certain things when our favourite music is on. Only here it has become Baby’s life. That’s what he has been doing all the time. Music is it.

The most ingenious part of Edgar Wright’s direction is that he has planned out an entire movie based on the songs that play in Baby’s ears. So even though it’s a gunshot or a bomb blast everything happens in perfect sync, and discovering that as you are on the go of unspooling its storyline you end up feeling undeniably contended.

Ansel Elgort as the Baby Driver (Spoilers Ahead)

Up until this point, Ansel Elgort was only getting by owing to his cute face. Hereby he gets to show some of his acting skills too. He has been called out by Edgar to stay unperturbed by the camera and sway as if no one’s watching. And he aces that to perfection.

His character Baby is a pro and he can drive like one, with just the right demeanour needed to exhume confidence. Baby is also great with some nerdy stuff. So he proves with a hobby of recording voices and then exscinding it to turn into awesome music. It is a different story how that wont gets him into trouble.

His character is immensely sensitive proven via some regular flashbacks and his attachment to his dead mother’s tape. He values friendship more than anything and expects people to do the same. However, he is in a wrong business to expect that. Well, actually he is indebted to stay in that wrong business and Kevin Spacey as Doc, badass as he is and hard to reason with, takes him for granted. It is that pushing him over to the edge and him ending up getting cornered that compels him to take drastic measures.

Kevin Spacey’s character Doc is the guy who calls the shots. And even though there are bad guys aplenty who end up being jealous of the smugness Baby brings to the table, Baby sways through trouble doing his job with perfection. He is sweet, caring and smart. In short, Ansel Elgort is a perfect fit for the role. Good call there, by the casting team.

You can order Baby Driver movie from here:

Other Characters

We get to see Jon Bernthal for a cameo who plays Griff for a mission. He is merely there to take a shot at Baby. For the story that really matters we have Jamie Foxx playing Bats who is a psychopath, you can’t put a pin to. You know almost instantly that he is not the guy to be trusted and he proves that on so many occasions.

The moment you catch feelings is the moment you catch a bullet.

He brings that tinge of unpredictability to the tale. Bats receives poetic justice in an unforeseen turn of events. It is really satisfying to watch his fate turn up like that.

Then we have Jon Hamm playing Buddy who used to be what his moniker suggests. But given the way things turn out, he ends up being the guy shooting at Baby. He has acted brilliantly in the movie, and makes the villainy very convincing to watch. Eiza Gonzalez plays Darling to Jon and is merely there as a trophy he carries around. Her absence creates a monster out of him and then he takes the movie to a high voltage of thrill. She plays second fiddle during the high time of the movie when Baby was bent on saving his love interest Debora from Bats while the latter ends up challenging Buddy. That’s when she gets to really speak.

baby driver movie still

Debora is played by Lily James. You might remember her from Cinderella. She does a fine job again as Debora trying to put herself in a pretty picture against Baby. She is a lovely girl and her expressions do most of the talking.

The Final Verdict

From the trailers, it seemed Baby Driver was going to be all about Ansel going Fast and Furious on the roads, and that there would be action throughout, but Edgar being Edgar puts just the right amount of everything to it. It doesn’t speak of action entirely but packs in charms of subtlety in the form of music, acting, drama and humour.

It is a genuine thoughtful project that lets us feel an entire flick through the vantage of a boy behind the wheels who can’t put down his earphones or the mundane world wouldn’t make sense. The music is absolutely ravishing. Steven Price does a fine job with the composition too.  His music keeps us on our toes forever.

The flick is a complete package. Go watch it today!

Check out the trailer of Baby Driver here:

The Accountant Movie Review (2016) | Ben Affleck’s a Badass Prodigy

Bill Dubuque’s story of The Accountant movie fits like a glove into the frames of Gavin O’Connor, one of the finest directors of our times. For those who are unaware, the latter’s the same guy who brought us the exceptional movie Warrior in the year 2011. The Accountant movie packs in a rare gem of a story that couldn’t have received a better director. Apart from a predictable climax, the movie retains just the right amount of action and a lot of awe-inspiring intelligible gestures that compel you to marvel at the protagonist, and his unworldly state of mind.

Gavin O’Connor isn’t the only one trying to furbish the brilliant frames of The Accountant movie. He is well supplemented at all times by extraordinary actors like Ben Affleck, Jon Bernthal, J.K. Simmons and Anna Kendrick. With Ben Affleck taking up the center seat to let us stay astounded at the genius his character is, you wonder if autism could really create something as badass as him.


I love how tranquil Gavin O’Connor remains behind the lens, and it literally shows in his work. There is this rare calm in his frames that keeps telling you the story intended to be shown. He doesn’t move on like others do when he is done. That leaves his work with proper apt focus.

The Editing of the movie is a tad troublesome, more miffing. The trick of inserting convoluted stories, overlapping tales into other tales, doesn’t really work that well in the case of The Accountant. The broken timeline that is created, in fact, ends up creating hell lot of confusion. You are forced to wonder which one’s which. However, at all times, even in that dire seriousness of helming subplots, Gavin stays undeterred. I surmise that helps in keeping his work well polished.


Christian Wolff is a licensed accounting genius working for a small business accounting firm in Plainfield, Illinois. His accounting “glitch missions” are provided to him over the phone by a voice, that seems to share his secret. Wolff had a harsh childhood with autism. He and his brother Braxton were left by their mother at a young age. With a military hardened father to tend to their actions, they had an even rougher livelihood growing up.

Another side plot introduces us to Raymond King (Simmons) who is keen on catching the one man that had eluded him ever since a painful meeting in the past. He hires Marybeth Medina played convincingly well by Cynthia Addai-Robinson to find him and arrest him.

Christian Wolff’s next mission is his final legal assignment in a Robotics Company where he is to solve a huge financial discrepancy issue. It also introduces him to Dana Cummings (Anna Kendricks). What follows is an intricate unfolding in an endeavour to find out who the real culprit behind the discrepancy is. What gorgeously skims alongside the revelation is an unknown figurine trying to shut everybody down by killing them with the help of a cool threatening assassin (Bernthal).


There are jaw-dropping moments squeezed into the accountant that will make you laud it profusely. To see Christian Wolff break all barriers of the mundane is insanely gratifying. His modus operandi of doing things, the unique style even before he begins focusing, and the things he does to stay confined becomes further embellished by Ben Affleck’s natural flair for acting. I loved how Wolff kept a painting of Pollock on his ceiling, that he would stare at the chaos on it before soothing himself to sleep.

still of Ben Affleck as Christian Wolff in the Accountant movie brooding

Also, the fact that Christian Wolff had everything in his life in order can’t be missed. Right from the point he would open his garage gates, to the precision in his entrance, to his parking and to the timely array of everything that composed his life; Everything, almost everything talked about how controlled he really was. Then how with an uncommon act of disarray, with the inclusion of a tinge of dissonance into his perfection, chaos ensued. It was beautifully portrayed.

Then there are dope action sequences that will leave you dumbfounded. Action is quick, stylized and decorated, just the way we prefer. His sniper shots are like music to the ears, and eye candy to the eyes.

You can pre-order the DVD of The Accountant from here:


Robert C. Treveiler plays a tough army dad who wishes to see his kids prepped up for an unfair world. For that he trains them, a punitive ceaseless affair that goes on till they learn everything there is, in all kinds of fighting lessons. But in his abominable bluntness, there remains a brazen overlooking of children injustice that stays unaddressed. As if all of it was fine.

With Ray King’s (played by J.K. Simmons) constant twitching, you get an idea if there is a sub-plot at play, or if there is a relation with the protagonist, waiting to be dropped at any moment. Then when you are entertained with the conjoining of prologue you get to see why Ray is keen on finding about “the who” and also the whereabouts of The Accountant. The fact that all of that search accounts for nothing eventually bothers you beyond limit, since that leaves threads out in the open. You can’t help but wonder – Why that dispensable build up when it wasn’t supposed to go anywhere?


Unfortunately the Accountant movie has its Martha moment too. (I am a huge Affleck fan, but sorry it was too evident to overlook). You wait for that final fight to take place only to realize Braxton and Wolff were in fact brothers. You kind of see that from far away too. But then even after that big climax, the reason they start fighting for is something that will make you shake your head. That aftermath lacks proper melodrama, and their squabble ends up becoming a complete dud.

still of Jon Bernthal as Braxton in the Accountant movie

Another one of those I have already mentioned before. Bazillions of subplots! It is hard to keep track of them. It’s like someone is telling a story, and then even before it gets over, someone narrates another one. Perplexes you so much!


I would recommend you to celebrate the movie for its dark theme. However limited its action is, you are going to love it for its thrilling depiction. Also, there are two reasons to watch the Accountant movie. The first one – Ben Affleck, hands down. A clean winner! The second one is for Gavin O’Connor’s grim direction. He shoehorns in just the right amount of everything confirming nothing’s truly spoiled. So despite the vexing flaws it possesses everything’s overlooked.

You can check out the trailer of The Accountant movie here:

Me and Earl and the Dying Girl Review (2015) | Comical Allegory

I have been meaning to write the review of Me and Earl and the Dying Girl for so long that it makes me sad to see it stand waiting for so long, in the backcloth of my mind, hungry for appreciation. It deserves adulation. It deserves your attention. My sole intent is to shower undying love for this intensely deep and touching movie that beats every convention that mainstream cinema sells us today.


Me and Earl and the Dying Girl is a constant droll that stays beautifully supplemented by the subtle direction of Alfonso Gomez-Rejon. What you cannot certainly overlook is its extraordinary cinematography that pays attention to meticulous details at different crises. If you pay attention enough you will approve the existence of the genius behind the camera.

still of greg and rachel walking in me and earl and the dying girl

Alfonso’s frames are in a perfect sync with the flick’s deadpan. Also, you are invariably smiling at the way things are shown which makes Me and Earl and the Dying Girl a propitious watch. Camera’s superlative swiveling from a single axle point and such countless experimentation throughout, will make you realize how Jesse Andrews might not have been able to get a better director for this movie.

Apart from stunning camera movements, the flick scores high on editing too. It stays fueled by its perfect timing for skipping frames, or throwing in a funny jest every now and then. Best ones are stop motion animation scenes that try to expound what our protagonist is thinking. It is intelligently depicted, and bides by its “out of the box” thinking.


Even though the titular flick gives away the primal plot through the moniker itself, it balances on a mere assertion to show us what might or might not happen. Me and Earl and the Dying Girl stays in the head of Greg played by Thomas Mann at all times, and depicts coming of age stuff from his perspective. We also have Earl who is Greg’s best friend, played by RJ Cyler who gives a brilliant icing to the story. There are subplots to the tale that unveil as a result of an unusual setup which get superbly helmed too.

It also has 21 mini movies that tell you how talented and amazing the brains behind the Me and Earl and the Dying Girl are. All of these short movies land up one way or the other inside the flick, and you can’t help but reflect on your childhood dreams. You are compelled to brood over that passion of yours that could never really go anywhere.

still of Olivia Cooke as Rachel in Me and Earl and the Dying Girl

Olivia Cooke as Rachel is absolutely perfect for the role. Her eyes do most of the talking, and you can’t thank the casting director enough to have chosen her. Earl doesn’t disappoint either. He creates this perfect comportment to depict ‘distance’ whenever it was the call of the hour. Thomas Mann can’t be applauded enough. His Greg brings plausibility to the tale and makes him a very promising character.


The final movie on Rachel is a colossal metaphor. It leaves you wondering about things that constantly float in the head of Greg. It is hard to picture someone as furled as Greg have gargantuan profundity hidden.

There are images that run wild without words that try to say bazillion things to Rachel. It is Brian Eno’s music, and Greg’s animation that speak up abstract thoughts in a language only Rachel understands. It is so beautiful and poetic at the same time that you cannot clap enough for the writer to have thought something as eccentric as that.


Me and Earl and the Dying Girl is a fun frolic into the lives of Greg, Earl and Rachel. But the tragedy that awaits or doesn’t, at the culmination point is going to leave your mind impassioned with emotions. A must watch!

Check out the trailer of Me and Earl and the Dying Girl here: