Film review – Baby Driver (Edgar Wright, 2017)

There aren’t many moments in cinema where you start to watch the opening scene and an uncontrollable giddy smile engulfs your face, such is the joy of what is unfolding on the screen. It needs to be a brilliant idea, executed to perfection and in a language that speaks to you.

Baby Driver, Edgar Wright’s latest cinematic masterpiece, achieves just that. But the moment I knew it was a truly great film was when I realised the credits were rolling and my smile hadn’t left.

Oh, Baby!

The titular Baby is played by the young Ansel Elgort, who many will recognise as Caleb Prior from the Divergent film series. Baby is a young man who suffers with tinnitus, a whistling hum in the ear, which he got from an initially mysterious childhood incident. He works as a getaway driver for a heist masterminder named Doc (Kevin Spacey), who counts amongst his rotating team of goons a highly-strung Bats (Jamie Foxx), passionate love birds Buddy (John Hamm) and Darling (Eiza González), Griff (Jon Bernthal) and Eddy No-Nose (Flea). Lily James also stars as a waitress named Deborah.

To drown out the noise, Baby has a series of iPods to suit his moods. These are essentially soundtracking his life with a mixture of classic tunes that also serve as the soundtrack to the film, from Beck to Sam and Dave, The Commodores to The Damned.

It is these playlists that also serve as the film’s soundtrack, with sounds and visuals perfectly in sync with one another. For fans of music, and in particular soundtracks, Baby Driver is an absolute dream. The music is the backbone, catalyst and cherry on the icing, all at the same time. It’s a remarkable achievement.

If the opening sequence seems familiar, Wright used the same scenario in 2003 for the music video he directed for the track ‘Blue Song’ by Mint Royale. This hit the music airwaves mere months prior to his directorial breakthrough Shaun of the Dead, but watching it now you can see he probably had the idea for Baby Driver in his head as a starting point.

One of the best examples of how perfectly it works comes during the opening credits, when the first job has been completed and Baby goes to pick up some coffee from a shop near to their hideout. As Bob and Earl’s ‘Harlem Shuffle’ is played through his earbuds and the backdrop becomes subtly flourished with graffiti, shop names and visual signposts, it was clear that something special was unfolding before my eyes. That this was done as a one-shot makes it all the more beautiful.

The film goes far and beyond being just a glorified music video. The car chases are breathtaking from the get-go, and there’s no let up as the story progresses. They’re believable and easy to follow, with no cheap cuts to hide poor editing and hide continuity – something of an epidemic in cinema in the 21st century.

Many of the actors are a little out of their familiarity zones with their characters, but it’s obvious that the likes of John Hamm and Jamie Foxx are taking great pleasure in being allowed to indulge their acting abilities. Kevin Spacey may be on more familiar ground, but it doesn’t make for poor viewing in the slightest.

I think her name is Debra! Or Deborah…

There’s a great use of the song ‘Debra’ by Beck in a scene that cements Baby’s relationship with Lily James’s waitress. They’re both stuck in a rut and in need of a route out, so their inevitable desire to be together is an expected story arc. Only Edgar Wright would, at this point, think it was a good time to drop in a song about a man wanting to have a threesome with two sisters. It’s a hilariously sweet moment that comes just at the right time in the film, softening up the audience before the rollercoaster second half of the story.

The fact that Elgart spends the opening thirty minutes dressed in an outfit that is very reminiscent of Han Solo shouldn’t be overlooked either. Elgart came close to being cast in Disney’s upcoming problematic Han Solo standalone film, before being overlooked in favour of Alden Ehrenreich. It’s clear that the coolness of Harrison Ford’s character is something Wright was trying to remind the audience of. However, Wright recently denied the connection in a Twitter Q&A, saying that the similarity was purely coincidental.

Similar to Han Solo? Wright is denying any links.

I just can’t be effusive of the film enough. It’s something I could watch time and time again and I’m certain I’ll be getting enjoyment out of it for years to come.

Baby Driver could well be the greatest film of Wright’s illustrious career. If you’ve not been taking notice yet, now’s the time.

Glastonbury Festival 2017 – Final thoughts

I am battered, exhausted, grotty, but yet still absolutely on top of the world that I was lucky enough to be at Glastonbury Festival 2017.

For anyone attending in their 30s, especially those in a stable relationship, there comes a time when going to these festivals with your friends becomes an increasingly reflective time. Specifically, there is an impending thought that this could well have been my last attendance for a while. The festival won’t be held next year, whilst there is a rumour circulating that the subsequent one will be held away from the site. That takes us to 2020 before the next one. Who knows where I will be by then, and who knows where my friends will be too.

As a result, I was determined to make the most out of it and pack as much in as possible whilst not destroying my body.

I wrote about each of the days in posts at the end of each day, which can be found below:

Day One – Arrival, Pitching, Fireworks Sleeping
Day Two – Prince Achmed, Quiz, Napalm Death, Everything Everything
Day Three – The Pretenders, Glass Animals, Elbow, Radiohead
Day Four – Thundercat, Jeremy Corbyn, Foo Fighters, The National
Day Five – Ed Sheeran, Goldfrapp, Barry Gibb, Chic

I also posted short reviews of three acts I enjoyed that coincided with a bit of time to make notes:

First Aid Kit
Radiohead
Laura Marling
Goldfrapp

Other highlights included a trip around the circus and theatre field (who knew man could juggle five ping pong balls without using hands or feet?), a Pilton Palais for some cinematic refuge, some fantastic food, the world’s smallest nightclub and endless other bizarre surprises I saw whilst walking around.

The most important thing is to make sure you spend it with close friend and family. I had a great bunch with me this year and managed to meet up with some friends I’d lost touch with over the years. The magic of Glastonbury never ceases to amaze me.

Live music review – Laura Marling, Glastonbury Festival, 25th June 2017

Setlist:
Soothing
Wild Fire
The Valley
Nothing, Not Nearly
Don’t Pass Me By
Sophia
Once
Salinas
Daisy
How Can I
I Speak Because I Can
Rambling Man

On a hazy afternoon at the Pyramid Stage, just before Barry Gibb kickstarted a night of partying for a crowd ready to go out in a blaze of glory, Laura Marling was providing a set equivalent of the quiet before the storm. It was a beautiful and understated performance that showed her abilities both as a songwriter and as a performer, with a subtle backing band providing a platform to allow her songs to soar.

The first and only time I had seen her previously was at the Hop Farm Festival in Kent in July 2008. Back then she’d just released her debut album ‘I Speak Because I Can‘, which was making waves at the time, and she wowed an audience who were there primarily there to watch Neil Young, Supergrass and My Morning Jacket. Not bad for an 18 year old.

Fast forward to 2017 and you can see a massive development in her as an artist. Her latest album, ‘Semper Femina‘, is a collection of songs exploring what it is to be a female. For me, music has to come from a position of passion and commitment to what is being said. For that very reason, Laura Marling absolutely one of the most authentic artists out there and the album rates in the top releases so far this year.

The new songs featured heavily in the setlist, making up five of the twelve tracks, including ‘Nothing, Not Nearly’ and set opener ‘Soothing’. But it was ‘Rambling Man’ from her debut album that stuck with me the most, with most of the crowd joining in for the famous refrain.

To those unaware of her work, she could be mistaken for being overly indebted to Joni Mitchell. This is wholly untrue and inaccurate. Marling is an artist in her own right and has been prolific and consistently excellent for a decade now.

Long may it continue.

[Note] When Marling introduced Daisy, she mentioned a friend of hers called Daisy May-Hudson who last year directed a film called ‘Halfway’, a film about homeless housing struggles. I had never heard of it but I’ve located a trailer for it online here and if I can locate it online I’ll make sure I watch it

Live music review – Goldfrapp, Glastonbury Festival, 25th June 2017

Setlist:
Anymore
Train
Slide In
Everything Is Never Enough
Become the One
Systemagic
Number 1
Ride a White Horse
Ooh La La
Strict Machine

They may have had some technical difficulties that delayed the start of their set, but once they finally arrived Goldfrapp absolutely blew away the John Peel Tent at Glastonbury Festival on Sunday afternoon.

Alison Goldfrapp may well be one of the most engrossing female performers in the industry. Her striking black costume, sumptuous vocals and commanding stage presence are a powerful concoction.

They led the set off with latest single ‘Anymore‘, taken from recent album ‘Silver Eye‘. It’s a dance floor filler and highly indicative of the first half of the album. As two dancers strutted across the stage, jolting sharply, it was clear this was going to be as much performance art as it was a live gig. [1]

Favourites ‘Train’ and ‘Slide In’ followed, continuing the dance vibe that the crowd were clearly enjoying.

A trio of songs from ‘Silver Eye’ followed, with the highlight being ‘Systemagic‘, which happens to be the next single taken from the album. It’s another powerful track with a mixture of heavy bass and industrial drums. Alison was in fine form, enjoying giving some new material a new audience.

As Alison said “You know this one I think…” before the electronic pounding of the intro to ‘Number 1’, she kicked off a familiar conclusion to the set. The final tracks rounded off the set nicely, with all four amongst the most popular (or perhaps most mainstream) of their material: ‘Number 1’, ‘Ride a White Horse’, ‘Ooh La La’ and ‘Strict Machine’. This is a sensible choice at a festival, even if the more dedicated fans would have loved to hear a song or two from ‘Seventh Tree‘ or ‘Felt Mountain‘.

I’ve seen Goldfrapp on many occasions and they seem to get better and better. Predictably, the crowd went wild for them, setting sail into the warm Glastonbury air for the final night of the festival having seen one the best sets of the weekend.

[1] Catch their latest music videos below. Systemagic gives a great idea of what their stage dancers look like.

Glastonbury 2017 Day Five: Ed Sheeran, Goldfrapp, Barry Gibb, Chic

The fifth and final day at the festival had been and gone. I am a beaten man, but it was worth it.

My first port of call for music for the day was to catch Jamie Cullum on the Pyramid Stage as he did the lunchtime slot. Nobody can deny he gives all his energy into his performances, and he has plenty of it. He’s an extremely talented man, and performed a mixture of covers and originals with his tightly-rehearsed group. Amongst the covers was a jazzed-up Ed Sheeran number.

I moved in close to the front the see Laura Marling, who captivated the audience with her unique country-folk hybrid styles. It’s hard to deny being reminded of Joni Mitchell as she pairs a voice that borders on yodelling with the most intricate of guitar work. Her final song ‘Rambling Man’ was simply beautiful.

Barry Gibb was next on the main stage, with the traditional Sunday afternoon legends slot. I definitely “got into” the set, and there is plenty of evidence of me singing along on the live broadcast. Fair play to him for donning the golf jacket for the end of the set.

The disco bar was raised another level when Chic took to the stage. From a hit-packed set my absolute highlight was ‘Let’s Dance’, which blew my mind. Singing that at full volume with 100,000 other fans is a truly special moment.

I had to swim against the tide to get to Goldfrapp at the John Peel Stage. Clearly some bad planning going on as the Chic-then-Goldfrapp option was appealing to many and at the same time Killers-then-Biffy was equally appealing. Cue pandemonium on the walkway between the two. Goldfrapp’ set was slightly delayed but once they kicked off they were as glorious as I expected them to be. Singer Alison Goldfrapp commands the stage like no other and there wasn’t a still waist in the tent. Their new album ‘Silver Eye’ had a good run out, with ‘Systematic’ being my particular favourite.

I caught the end of the Biffy Clyro set, with Matt Carole cover ‘When We Collide’ going down a treat [1].

The main headliner, Ed Sheeran, was an act I wasn’t particularly fussed about seeing when the day started. In lieu of there being no other appealing headliners we stuck with him and I can heartily say it was the biggest positive surprise of the weekend. This is a 26-year-old man and he has gone out on the main stage and powered through a set full of hits to an eager crowd. ‘Castle on the Hill’, ‘A Team’, ‘Shape of You’ and ‘Thinking Out Loud’ are undoubtedly songs of the highest quality and nobody can deny he has an extremely powerful voice. A talented man, full of confidence and charisma. Absolute quality.

A quick look around Cineramageddon as the 1970 Mick Jagger film Performance began to play and we saw a close to our festival. I can safely say that nobody had the exact experience I had – everyone’s pathway through the biggest party in the world is completely unique and wonderful. It’s exhausting, it’s exhilarating and it’s something I never want to end.

Thank you Michael and Emily. Until next time.

[1] I’M TROLLING YOU DON’T WORRY!

Live music review – First Aid Kit, Glastonbury Festival, 23rd June 2017

Setlist:

Wolf
Master Pretender
Waitress Song
The Lion’s Roar
You Are the Problem Here
Ghost Town
King of the World
It’s a Shame
The Gambler
Stay Gold
Emmylou
My Silver Lining

Sandwiched between Northern indie rockers Blossoms and country legend Kris Kristofferson and with a rain cloud threatening above them, First Aid Kit managed to bridge the tonal gap whilst standing out as a powerful group well at home at a festival they were appearing at for the third time.

Kicking off with 2012 single ‘Wolf’, it was hard not to feel mesmerised by the band, fronted by sisters Klara Söderberg and Johanna Söderberg. These are not just great singers and musicians, but great performers too, exhibiting passion and anger at times to provide an edge to what many try to pigeonhole as either folk or country music. Or both.

Recent single ‘You Are The Problem Here‘ was a case in point, with Klara’s refrain “I hope you fucking suffer” causing plenty of mid-afternoon picnic blanket revellers to stand up and take up notice.

With songs like ‘Stay Gold’ and ‘My Silver Lining’, it’s truly difficult not to fall in love with them and their songs. They’re simply beautiful, heartfelt and honest pieces of music. It’s hard to think that anyone who was really paying attention wasn’t a fan by the end of their set.

A triumph.

Film review – Die Abenteuer des Prinzen Achmed / The Adventures of Prince Achmed (Lotte Reiniger, 1926)

The uniquely-animated ‘Die Abenteuer des Prinzen Achmed’, Lotte Reiniger’s 1926 film, is a hugely important film. Work started on it in 1923, and it is the earliest-surviving animated feature film – it clocks in at 65 minutes.

The animation technique used involved cutting out cardboard silhouettes of the characters and manipulating them frame by frame. Some 93,000 frames were created for the film.

Reiniger’s attention to detail was matched by that of the restoration team at the Deutsches Filmmuseum, who in 1999 returned it to its former glory and allowed new generations to enjoy it.

Today’s screening, which was at the Tilda Swindon-curated Pilton Palais at Glastonbury Festival, was accompanied by a unique re-score by the Guildhall Electronic Music Studio.

It’s easy to create a modern score for a classic piece that simply doesn’t fit – Air’s ‘The Journey to the Moon’ is certainly guilty of that – but the mix of classical piano and basic sound effects works perfectly. Mike Oliver oversaw the project and acted as a mentor to those involved. The piano accompaniment from Barbara De Biasi is reminiscent of the Joe Hisaishi scores for Ghibli Studio. As a fan of Hisaishi’s work this was very much welcome. This was augmented by Eric Fabrizi with paper-based sound effects and live narration from Mike Oliver and his daughter Molly.

It all came together wonderfully and felt respectful of the original work whilst breathing a new life into it for a new, younger audience.

It was well attended by an early-afternoon festival crowd. Anyone appearing early for the Frozen sing-a-long would have been entirely confused. For everyone else, the film was a triumph. Congratulations to all involved.