Hobbs & Shaw Hits the Accelerator When It Comes to Absurd Mayhem

Right now, I'm reading Film History: An Introduction (Third Edition) by Kristin Thompson and David Bordwell for the first time and it's a fantastic read, it's been so much fun to discover new terminology related to the oldest eras of cinema and learn factoids related to the earliest days of the major movie studios. Plus, the writing style of Thompson and Bordwell is extremely adept at explaining new concepts or ideas (like dadaism, for example) to readers who might be unfamiliar with them. My only real grievance with the book is that it doesn't contain any chapters dedicated to Hobbs & Shaw, a Fast & Furious spin-off movie that might just represent the peak of cinema as an artform. The Lumiere Brothers would have wept succulent tears of joy if they could have lived to see this David Leitch directorial effort.

Take A Ride With The Gloriously Energetic And Meticulously Crafted Baby Driver

Considering how Edgar Wright's first four movies had such heavy doses of high-quality action, stylish editing, and rapid-fire dialogue, it dawned on me midway through Baby Driver that Wright's basically been toying with the key ingredients of gangster movies for his entire career. It's like he's been fine tuning his instruments in various ways across his four previous classics until he was finally offered the chance to make an out and out gangster film. Well, now he gets to do just that with Baby Driver, a new crime movie he's directed that's been generating insane amounts of praise for months now ever since it premiered at the South by Southwest festival back in March.