An Impossible Mission

Both awe-inspiring and controversial, vividly complex while often being infuriatingly loose in structure and character, Christopher Nolan’s 2017 effort, Dunkirk plays like an epic silent war film of yesteryear. Revolving around the rescue of British soldiers from the beaches of Dunkirk, France in 1940, it is a piece of history well worth telling (and this film will make sure that the harrowing tale will be known by a wider audience still). With hundreds of thousands of men trapped by the Atlantic Ocean on one side, swiftly approaching German troops on the other and bombers overhead, it feels like the soldiers are monkeys in a barrel, just waiting to be shot. The British military have basically given up on them, hoping to rescue a measly thirty-five or so thousand, leaving the other three hundred and fifty thousand for slaughter. Despite the short span of the English Channel, their destroyers and other navy vessels are easy targets on the open seas – meaning that they must pull back and fight another day.

Beginning with a limited release, The Big Sick took hold of the 2017 highest grossing theatre average take, giving the little independent-picture-that-could positive word of mouth, and just as importantly, momentum, going into its wide release this July 14th, 2017 weekend. Labelled as a romantic comedy. . . and there are most definitely many of those elements found within it, in many ways it is the emotional dramatic flourishes that stand out, and, when fused with those laugh induced moments, make for a nuanced, exquisitely crafted dramedy.

There are certain songs that are just conducive to driving – "Baby, You Can Drive My Car" (The Beatles), "Crosstown Traffic" (Jimi Hendrix). . . or, perhaps, if you’re like those in David Cronenberg’s erotic, accident seeking film Crash, "Hit Me Baby One More Time" (Britney Spears). This is the genesis of the new 2017 movie Baby Driver – the soundtrack belongs to the young getaway driver, listening to his playlist as he puts the pedal to the metal and "Lets the Good Times Roll" (The Cars). An impressive example of music in motion, writer/director Edgar Wright (Shaun of the Dead; Hot Fuzz) develops a highly original concept that in some ways feels like a musical. A quasi-form of Mickey Mousing (when music and action match up onscreen), the film is uniformly paired with the tracks heard throughout – edited and sometimes even lip synched/danced to by the characters. Look to the examples of the tunes highlighted above, as I’ve decided to have some fun with this review and interlace the names of different songs throughout – some that are featured in Baby Driver and some that just help describe the story and action.

Firing on all cylinders once again, writer/director James Gunn brings another entertaining, comedic, dramatic and all around fun feature with his 2017 Marvel sequel Guardians of the Galaxy Vol. 2. Though it doesn’t capture the pure lightening in a bottle/giddy exuberance that the first one brought fans (though it is rare to find a sequel that can be as original, unique and exciting), this more than serviceable sequel has plenty to offer. Bringing the same entertaining mix of soulful characters, sharp dialogue, quirky humour, and surprising emotional heft, it also adds some new personas, small twists and important revelations that fill in many teasers put out there three years ago with the first volume. Many terms and words immediately come to mind after watching this second feature: dissension amongst the ranks, internalizing pain, sacrifice, family, dancing and. . . David Hasselhoff???

After a multitude of lackluster features, M. Night Shyamalan has returned to form with his most recent, more independent style foray, 2016's Split – a horror/thriller with an unexpected. . . or should I say, an expected twist (could it be that there is no real twist?). Featuring a tour de force performance from James McAvoy, the talented actor takes on the role of a plethora of very different personas, as his character has more than twenty split personalities. Ranging from a lisping young boy and grand British dame, to a fashion designer and Christopher Walken-like New Yorker, one of his splits, Dennis, kidnaps three teenaged girls, Claire (Haley Lu Richardson), Marcia (Jessica Sula), and Casey (Anya Taylor-Joy) from a public parking lot. Claire and Marcia are, for all intents and purposes, the popular girls in school – the type of gals that most cling to and the rest hate, while Casey is a lone wolf and outsider, her unusual ways forcing her to the periphery of the mainstream.