From: owner-ammf-digest@smoe.org (alt.music.moxy-fruvous digest) To: ammf-digest@smoe.org Subject: alt.music.moxy-fruvous digest V14 #4466 Reply-To: ammf@fruvous.com Sender: owner-ammf-digest@smoe.org Errors-To: owner-ammf-digest@smoe.org Precedence: bulk alt.music.moxy-fruvous digest Sunday, June 28 2020 Volume 14 : Number 4466 Today's Subjects: ----------------- Meet Asian Girls Here! ["OrientBeauties Team" Subject: Meet Asian Girls Here! Meet Asian Girls Here! http://incredibles.guru/nfPaHvGHCkX8Rnce-sEaRNpiGOR3lgGFvGB9kIScrCNFt3q3 http://incredibles.guru/e3SiKf5O_jnYaOUVpz34ycX6rtysxtrWFLK1uGYu0--OjcrK merican press considered Baby Driver among the strongest films of 2017. The film was selected by the National Board of Review as one of their top choices for the organization's annual top ten films list. Several journalists praised the film for its craftsmanship, which they saw as an exercise of Wright's expertise. Empire's Terri White called Baby Driver "one of the most utterly original films in years" that comes "as close to a car-chase opera as you'll ever see on screen". Peter Bradshaw of The Guardian felt the film was stylish and engaging, "packed with sheer brio and good nature", despite sticking with romantic notions of car chasing being a victimless crime, and Variety's Peter Debruge said Baby Driver becomes a genre standout through "a mostly clever collection of jokes, sudden narrative U-turns, aptly picked songs", and a strong emphasis on car chases. Reviews for the actors' performances were very positive in the media, often singling out Elgort and James for further praise, with their work described as "star-making" and "radiant". The characterization divided journalists: some criticized the depiction of the characters the actors played, often the women, in their reviews. Debora was viewed as a somewhat underdeveloped character by Eric Kohn of IndieWire, whereas White felt that, because of the sparse details of her backstory, she lacked depth and too often has little agency of her own. Richard Brody of The New Yorker considered Baby Driver's dialogue "almost entirely functional", devoid of nuance, resulting in characters who are largely interchangeable despite the best efforts of a diverse cast. Others, such as David Edelstein of New York magazine and the Observer's Thelma Adams, cited character development as one of the film's strengths. The scriptwriting and plot development in the film's climactic scenes were sources of criticism. Some reviewers cited the scriptwriting as Baby Driver's biggest flaw, where rapid tonal shifts undermined the viewing experience. Cineaste's Adam Nayman, for example, attributed the mistakes in the script to Wright's inexperience as a solo writer, and TheWrap saw the lost momentum as "jarring and uncommon" saying, "rarely do we see a filmmaker start so strong only to end with a whimper". Anthony Lane, writing for The New Yorker, was also critical because he felt the film takes itself too seriously and lacks the self-awareness of Wright's other action comedies such as Hot Fuzz (2007). On Rotten Tomatoes, the film holds an approval rating of 93% "Fresh" based on 376 reviews, with an average rating of 8.03/10. The website's critical consensus reads, "Stylish, exciting, and fueled by a killer soundtrack, Baby Driver hits the road and it's gonebproving fast-paced action movies can be smartly written without sacrificing thrills". On Metacritic, the film has a weighted average score of 86 out of 100, indicating "universa ------------------------------ End of alt.music.moxy-fruvous digest V14 #4466 **********************************************