Glæpatryllirinn Baby Driver hefur átt ansi farsæla keyrslu á síðustu vikum. Fólkið kom, sá og myndin sigraði bæði hjörtu fólks og aðsóknarvæntingar. Gagnrýnendur halda margir ekki vatni (sérstaklega þessir tveir) og situr myndin í þessum töluðu orðum með 98% í einkunn á Rotten Tomatoes.

Edgar Wright getur varla kallað sig ósáttan með þessi viðbrögð, en aftur á móti hljóta heldur pósitífar viðtökur frá þekktum leikstjórum að gera gott enn betra. Fagmenn á borð við William Friedkin, Jon Favreau og Guillermo Del Toro hafa tjáð ást sína á Twitter og lét meira að segja hrollvekjukóngurinn Stephen King í sér heyra.

Friedkin er náttúrulega mikill áhrifavaldur Wrights að Baby Driver (ásamt Walter Hill, John Landis og fl.) og er t.d. bílaeltingaleikurinn í The French Connection almennt talinn einn sá besti. Sumsé… ef Friedkin er sáttur með bílamyndina þína, þá hefurðu staðið þig nokkuð vel.

Þetta eru það sem fagmennirnir höfðu um myndina að segja:

 

Del Toro sparaði alls ekki sínar færslur, og kom með heil þrettán stykki:

Hér er „dómurinn“ hans í heild sinni:

A long, long time ago (my generation’s youth) a maverick filmmaker named Walter Hill made two promises.
One: he made a great action flick called THE DRIVER. Two: he promised us, in MEAN STREETS „A Rock N’Roll Fable“. Both movies gave our generation a shot of adrenaline.

Now, decades later, Edgar Wright fulfills both promises with the breathtaking BABY DRIVER. The key to understanding it fully – at least for me- is in the fact that it is a fable, complete with its very own Disney prince and princess, but it is also rock n’ roll. Meaning the magic exists in a dirty, genre-tainted world. The film is incredibly precise.

Flawlessly executed to its smallest detail: breathtaking Russian arm shots, real-world car mount and foot chases executed with the vigour and bravado of a Gene Kelly musical.This is An American In Paris on wheels and crack smoke. Its a movie in love with cinema – the high of cinema and motion. In love with color and light and lenses and film.
But, unlike Edgar’s previous films (all of which I love) this stakes new, unironic territory. This is earnest and unprotected. It wears Edgar’s heart on its sleeve.

It’s a riff, a beautiful riff and in many ways send his career in a new direction. It shows us tricks and tunes he hadn’t played before. The cast is in a state of grace and so is the entire crew. Imagine that as a carpenter you encounter a precious, precise, exquisite piece of cabinetry.

This is how I feel. I’ve always liked Edgar. But this moved me. It moved me to see a fellow filmmaker come out of a debacle with a movie that declares his credo again. I hope and pray you go and see it on a big screen. I wish you all the joy I felt: I just saw a good pal get the gold.

By God go check it out.

 

 

 

Tilhlökkunin rís á ný fyrir komandi verkefnum Wrights.

Í millitíðinni verðum við bara að tékka á Baby Driver aftur.
Og aftur.