Post-Pegg-and-Frost Edgar Wright films need a certain amount of skill in their lead performers to stop from looking like empty technical exercises - something "Baby Driver" suffered from a fair bit. This doesn't suffer as much, largely due to Thomasin McKenzie and Anna Taylor-Joy being much more intriguing to watch than Ansel Elgort and Lily James. It's true that this does suffer a little from some shortcuts in the storytelling (a particular montage of Taylor-Joy only really works because she's able to sell the emotional transition which is getting fairly shallow service in the scripting), but it's stylish and classy and a strong entertainment.
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