Showing posts with label Starring: Ansel Elgort. Show all posts
Showing posts with label Starring: Ansel Elgort. Show all posts

The Fault in Our Stars (2014)

Adapted from the novel by John Green and directed by Josh Boone, this is a romance about two teens with terminal cancer. It’s more watchable than that description might suggest. 

Shailene Woodley and Ansel Elgort star as the main couple, Hazel and Gus, and both are fairly compelling. Since it’s very much from a teen perspective, the adults are oddly marginalised. Laura Dern just about has a role as Hazel’s mother, but Sam Trammell is a complete nothing of a character as her father.

Another interesting aspect is Hazel’s (dying) wish to seek out an obscure author whose work she admires (played by Willem Dafoe). When she eventually meets him, in Amsterdam, he’s a disappointingly unpleasant alcoholic. It’s a slightly odd plot – especially when he shows up again, and surprisingly hasn’t been humbled or redeemed by his encounters with the innocently adoring fan.

An unusual affair all round, but it certainly makes you think.

Baby Driver (2017)


A highly stylised, unusual blend of violence and music.

“Baby” is a decent young man (Ansel Elgort), who has got mixed up with criminals, working as a getaway driver for a criminal boss (Kevin Spacey). When he meets a waitress named Debora (Lily James), he vows to go straight and plans his escape with her. Of course it’s not that simple and his last job goes horribly wrong...

There’s so much more to this than a typical car-chase thriller. Baby is obsessed by music, which he plays on an iPod constantly to drown out both his tinnitus and memories of his mother’s death in a car crash. There’s also the fact that he records snippets of conversation and builds remixes out of them. And he has a deaf, disabled foster father to care for.

The film starts out like a pop video – fast, flashy and loud – but develops unexpected depths. The other criminals initially seem like two-dimensional caricatures, but thankfully they are developed too.

There’s a brilliantly executed scene near the beginning in which Baby brings a song to life, lip-syncing to it, and illustrating its lyrics with visual elements as he walks through the streets of Atlanta to the coffee shop.

I loved the soundtrack (The Damned, Bob & Earl, Sam & Dave, T.Rex, Jonathan Richman, Martha and The Vandellas, etc), and the choice of music is vital to the action. In places, the gunshots are synchronised to the rhythms of the tracks Baby listens to.

It escalates into a fast, thrilling and surprisingly intense climax.