Jon Espino reviews “Ghost in the Shell” and SXSW’s “Baby Driver” for The Young Folks



The trend of creating Americanized remakes of foreign films is one ingrained in the very backbone of Hollywood. There is a great fear of being forced to watch films in a different language with subtitles that seems to fuel our need for remakes of superior foreign films. Add to that the Disney custom of turning its animated library into live action cash grabs and you’ll see that an American live action remake of Ghost in the Shell was going to be a tragic inevitability.


There is a contagious energy that permeates from the nonstop engine that is Baby Driver. After the first minute, it goes from zero to one hundred as it gives the audience a small taste of what we should expect in the rest of the film. There is a steady escalation in Edgar Wright’s cinematic style to the point of becoming a point of reference when describing techniques used in other films. One of the most notable Wrightian techniques that can be seen in every single one of his films is powerful action sequences synchronized perfectly to popular music. Wright has been slowly perfecting this technique and it has culminated into the fluid, fantastic film Baby Driver.


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