Pakistan-born comedian Kumail Nanjiani and grad student Emily Gardner fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family's expectations, and his true feelings.
Autobots and Decepticons are at war, with humans on the sidelines. Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Deborah, Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music? Written by
Kenneth Chisholm (email@example.com)
The execution and quality of the film making was great, but overall I quickly got bored watching this movie as none of the character's motivations seemed realistic or made sense to me. The action sequences were great, but didn't do anything especially unique or carry any suspenseful weight with the plot that I found myself yawning during much of it. Perhaps it needed more shocking gore.
The movie seemed to be a bit confused in its tone, mixing stylized violence with comedy and serious heist elements. It was set in a realistic world, but the characters and their motivations were not. It felt like it was trying to rekindle the essence of a Tarantino cool bad guy heist film like Reservoir Dogs and Pulp Fiction, but missed the mark. I found myself not believing the heist scenarios enough or having enough of a stake in them. It needed a stronger overall macguffin.
The use of Music was unique, but I would've have got more out of it if more obscure music was used, like what the GTA video game series does curating amazing forgotten B-side gems from famous artists.
I felt like Jamie Foxx's acting talent was a bit wasted, and the bland Atlanta backdrop seemed like a production budget restraint. I wonder what city was written in the original script? I doubt anyone writes for Atlanta. Rather than transporting us to a cool city that feels lived in and feels like a real location, this just felt like a boring block of downtown brick buildings to shoot car chases and shootouts in.
I love most of Edgar Wright's other films, so I'm not sure why this was so boring for me. It just didn't do anything new for me and will probably be forgotten from my film memory years from now.
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