Adapting something as sprawling, highly detailed, strange, and twisty as Donna Tartt’s Pulitzer Prize winning 2014 novel The Goldfinch for the big screen might’ve been an impossible task for anyone to attempt, but director John Crowley and screenwriter Peter Straughan certainly give their all with this uneven, sometimes bizarre, but never boring literary epic.
British filmmaker Edgar Wright has always imbued his films with specific, idiosyncratic, and florid sensibilities, but his latest effort – the action comedy Baby Driver – is his most assured and intricately constructed work to date. A passion project for the filmmaker over the past decade, there aren’t any details – large or small – that haven’t been lovingly thought out and executed. It’s a masterful bit of storytelling and direction. Every inch of every frame and every seemingly inconsequential sound effect or character foible get delivered with relentless, accurate vigour. It’s writer-director Wright’s most perfect film, and it’s doubtful that any other studio films released this summed could hope to clear Baby Driver’s ludicrously high set bar.