Although there are only six feature film directors under his name, Edgar Wright is still one of the outstanding filmmakers in today's film industry. Throughout his career, he has been pursuing and has also acquired his unique image and narrative style, which can be immediately distinguished from the vast sea of loss comedy just like a personal signature. But "The God of the Car" is not so Edgar Wright. This is not to say that "Golden Theft Auto" is not a good movie: today with the flood of CG, we rarely see the hardcore police action movies of the 90s appearing in such an entertaining attitude, and nothing Doesn't look outdated and outdated. Compared with other low-cost action movies that have not been aggressive in recent years, such as "999", I don't know where it is higher. But a good performer is not the most suitable for Edgar Wright's identity-knowing where the Himalayas are does not mean that you really have to go to the Himalayas to take selfies. Similar to Nicholas Refn’s 2011 work, Ryan Gosling’s "Desperate Driving", "The Car God" is also a stylized reshaping of the same genre and motif. However, Edgar Wright’s comedy and cool humor accomplishments did not integrate well with the subject, or did not maximize the unique imagery that only Edgar Wright could achieve. In a word, It's good. But why?
In addition to the "Blood and Ice Cream" trilogy, as Edgar Wright's first original film after "The Crooked Boy Scott" in 2010, "The Thief of Cars" showed an unusually young and active state—— This is a very interesting phenomenon in Hollywood nowadays. The works of young directors such as Coogler and Damien Chazele are often young and mature, but people in middle age can always hold the youthful feeling fuller—— It's like a mixed album. The creation of the film obviously refers to "Golden Thief", "Falling Dog" and "The Wire of Fire", and Edgar Wright has also taken his personal use of music to a new level in it, which has become an important part of his film before. The BGM of the composition has taken on a more important narrative task. Movies have a very good performance in contemporary popular culture and capturing the charm of old-fashioned movies. They are intoxicated in a rhythm full of fun. Most of this outstanding performance is due to the eye-catching first act. We have seen too many car chases with various pop and rock scenes, but none of them can be taken for granted-until Edgar Wright brilliantly put the concept of music into the personality, and then It has become the label of the protagonist’s daily life, and used it to create the basic rhythm, narrative flow and structure of the film. What kind of movie-watching experience this experience can bring, this is the biggest attraction and success of "The God of Car Hire". But at the same time, compared with the Swiss Army knife-like precise design of the first half, due to the inevitable conflict between the basic needs of narration and the rhythm based on the music, the second half obviously needs further polishing, and even almost appeared. The signs of loss of control can only be forcibly closed at the end. This disparity between before and after is also unusual. We rarely see a filmmaker who can show such a strong creative desire in the opening scene, but can only end it in a stylized way, which is a pity. But all in all, "The God of Car Theft" is still worthy of praise. The opening 60 minutes alone is enough to make it one of the best action comedy movies of the past decade. Ansel Elgert, Kevin Spacey, Jamie Fox, Joe Hamm and other leading actors are also mostly acting online, and there is rarely a drag phenomenon. As a small and dazzling movie, this is already a great achievement. Even if Edgar Wright will hardly win any awards during the awards season with this film, it will not affect the fun and vitality it brings to the screen. After all, people don’t care: For some people, having fun is the more important thing.
"The God of Cars" can very well evoke our memories of old-time crime movies. It deconstructs this genre in a very old-fashioned and perceptual way, and fills in details and details with Edgar Wright's expert content. Overall optimization. Facing such a genre film that performed well in all aspects, our only dissatisfaction may be the questioning of creative intentions: crime film, a genre that has been quite mature, has indeed shown itself under the efforts of Edgar Wright. New potential. But for Edgar Wright personally, are the potential and rewards of "Car Theft Auto" the best way to show Edgar Wright's talents? This feeling may be like a star chef making pancakes: deliciousness and novelty are undoubtedly, but is it necessary? The answer must be pursued by the princes themselves.
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