English director Edgar Wright’s latest and most successful film to date is Baby Driver, which plays fairly straight as a heist movie. Ansel Elgort plays the eponymous “Baby”, a youthful, introverted but preternaturally talented getaway driver who works for criminal big-shot “Doc” (a sauve but occasionally menacing Kevin Spacey), who plans assorted bank robberies and recruits a revolving gang of thugs to carry them out, always with Baby as the driver…
You can envision the pitch to the studio now: “like Jason Bourne, but with an autistic accountant.” It is tough to make an engaging movie about autism without Dustin Hoffmann, more so about an accountant. So it is fortunate that the main character is a dab hand at martial arts and high calibre weapons as well as being a whiz with figures.
The background to Sicario’s story is the premise that the war on drugs cannot be won by playing by the rules. Or even that the war on drugs cannot be won at all, as it it has become a self-defeating prophecy: an endless war with drug lords pursuing ever more creative ways of going underground and at the same time embracing ever more violent ways to achieve their goals. Trying to get some kind of control back over this is not for the weak.
Greg is a teen who takes pride in having spent his teens working hard to be and stay invisible, because ‘no-one likes me anyway’. His motto is that by not being anyone’s friend and more importantly: not being anyone’s enemy, he can survive through high school.
Fury is visually very impressive. Technically speaking, the cinematography, editing and soundstage are excellent, and seeing this on a big 4K screen with 7.1 surround is fantastic. Lots of pin sharp scenes whilst the thumping of shells is all around you.