“We shall fight on the beaches… We will never surrender.” We’ve heard this famous speech many a time in our lifetimes, and a few times in cinemas already this year too; we heard it in Jonathan Teplitzky’s biopic Churchill, we heard them again in Dunkirk and we’ve heard them once more in another Best Picture candidate, The Darkest Hour. There seems to have been an abundance of films featuring Winston Churchill released in the past 12 months, and all focusing in on the same fascinating period of history where Britain teetered on the brink of losing the Second World War. In the enigmatic hands of Gary Oldman, in something of a magnum opus role, Churchill has rarely proved quite as engaging, and with Joe Wright – the director of wartime saga, Atonement – at the helm, it would seem a strong candidate has been formed for multiple awards. Can it fulfil the ambition of the project though, and does it add any fresh mythos to the legend of the man. Continue reading
“All you need is one killer track.” Truer words were never spoken. Or maybe they were. But in the case of Baby Driver at least, the tagline speaks the truth. Classic car films featuring iconic car chases and dripping in cool, don’t come around too often. Adrenalin-fuelled hyper-action films have become the modern staple instead, and so instead of films like Bullitt (1968) we have become used to Need For Speed (2014) or franchises such as the Fast and the Furious films. Into this modern high octane environment, comes the breath of fresh air that is Baby Driver, The latest offering from the talented mind of Edgar Wright, and it’s everything we’ve come to expect from him, namely an effortlessly cool film with a perfectly assembled playlist.