Come Out, Come Out, Wherever You Are

A woman – bruised, battered and alone in a cool, sterile bathroom, attempting to lick her copious wounds (literally and figuratively) prior to being brought before an equally uninviting clandestine location filled with higher ups is the lead in (to clarify, it is the second scene) to the new David Leitch (co-director of the first John Wick) action thriller Atomic Blonde – based on the graphic novel “The Coldest City” by Antony Johnston and Sam Hart. Set during the last days of the Cold War, the female spy is Lorraine Broughton (Charlize Theron), an MI6 agent who, ten days previously, had been sent into Berlin to complete an unenvious mission. Retelling her tale to her twitchy superior, Eric Gray (Toby Jones), and the seemingly more daunting CIA agent, Emmett Kurzfeld (John Goodman), she is watched closely by Chief ‘C’ (James Faulkner), who sits just behind a one-way mirror – it feels like the dame is utterly alone, perhaps more fragile than she has ever been before.

Very much a coming of age story, Patty Jenkins’ 2017 comic book film Wonder Woman is a tale of adventure and self discovery, a sweeping journey into all of the beauty and horrors this planet, and those living on it, must contend with. A young Diana Prince (Gal Gadot), for those of you who do not know, is an Amazonian princess, the daughter of Queen Hippolyta (Connie Nielsen), living on the untraceable island of Themyscira. Mixed up in the age old story of the Greek Gods, their protector Zeus, though dying by the hand of his war driven son Ares, is able to protect the race and give them a weapon for when the God of War mends his wounds and returns to create havoc once more (the historic scene is beautifully depicted as if we were observing a moving Italian fresco).

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.