Catholic News Service Movie Reviews



Baby Driver

By John Mulderig

NEW YORK (CNS) — Stylish and energetic, the high-octane crime drama “Baby Driver” (TriStar) blends pop music, dizzying car chases and some dark humour to impressive effect.

While the film’s basic values are sound, however, late plot developments involve a quantity of bloodletting that will seem excessive to many moviegoers.

Ansel Elgort plays the title character, who prefers the moniker Baby to his real name. An otherwise decent young man, Baby is being forced to serve as the getaway driver in a series of bank robberies to pay off a debt he incurred to callous mobster Doc (Kevin Spacey).

This brings him into contact and collaboration with a series of lowlifes, including Wall Street executive-turned-thief Buddy (Jon Hamm), Buddy’s moll Darling (Eiza Gonzalez) and aptly nicknamed psychopath Bats (Jamie Foxx). The better part of Baby’s nature, meanwhile, is expressed in the care he gives his deaf and ailing foster father, Joe (CJ Jones), and in his romance with sprightly diner waitress Debora (Lily James).

Writer-director Edgar Wright earns his paycheque with a production carefully choreographed down to the last gesture, and there’s an amiable and appealing spirit to most of the proceedings. Elgort invites strong sympathy for the orphaned, often silent Baby.

While it can be argued that Wright tries to have it both ways, ethically speaking, a reckoning does eventually arrive, and crime is ultimately punished. Baby and Debora’s relationship, moreover, remains chaste, with nothing more than kisses being exchanged.

Yet, as things begin to wind up, Wright aims for shock value by having some of his bad guys meet spectacular, brutal deaths. This considerably circumscribes the audience for which “Baby Driver” can be endorsed. Forewarned grownups, however, may enjoy taking it for a spin.

The film contains momentary but intense gory violence along with much gunplay, several uses of profanity and frequent rough and crude language. The Catholic News Service classification is L — limited adult audience, films whose problematic content many adults would find troubling. The Motion Picture Association of America rating is R — restricted. Under 17 requires accompanying parent or adult guardian.
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Mulderig is on the staff of Catholic News Service.


Transformers: The Last Knight

By John Mulderig

NEW YORK (CNS) — Grown-ups who yearn to connect with their inner 11-year-old boy are given a two-and-a-half-hour window of opportunity to do so in “Transformers: The Last Knight” (Paramount). 

As for the literal preteens who might somehow enjoy this long, loud and dumb production, however, a steady stream of swearing and some muddled supernatural motifs make it inappropriate for them.

The fifth franchise entry for a series based on a line of Hasbro toys, and dating back to 2007’s “Transformers,” director Michael Bay’s ponderous sci-fi action flick, like its immediate predecessor, centres on small-time inventor Cade Yeager (Mark Wahlberg).

Unlike most humans, Cade distinguishes between the good shape-shifting robots of the title, represented most prominently by Optimus Prime (voice of Peter Cullen), and their evil counterparts. For those keeping score, the former group are called Autobots, the latter Decepticons.

This time out, Cade is scrambling to save Earth from being destroyed in a collision with the automatons’ home planet, Cybertron. It seems that Quintessa (Gemma Chan), the evil sorceress who created the Transformers, has a scheme to revive their dying orb by desolating ours. And she manages to coerce Optimus into switching sides and abetting her based on the rather unanswerable argument that she is his “god.”

Along with that little non-scriptural nugget, the sinkhole of a plot drags in prehistory, via a set of Dinobots allied with the Autobots, King Arthur (Liam Garrigan), the biblical apocalypse and Viviane Wembly (Laura Haddock), an English professor in present-day Oxford who becomes Cade’s antipathy-at-first-sight love interest. Sir Edmund Burton (Anthony Hopkins), a loopy historian, explains all these connections in detail but unconvincingly.

As boredom sets in, viewers may take to counting the number of times Cullen pompously intones “I am Optimus Prime ...” Once is too often.

The film contains occult themes, much harsh but mostly bloodless combat violence, at least one use of profanity, a few milder oaths and much crude and crass language. The Catholic News Service classification is A-III — adults. The Motion Picture Association of America rating is PG-13 — parents strongly cautioned. Some material may be inappropriate for children under 13.
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Mulderig is on the staff of Catholic News Service.

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