Say what you like about Avengers: Infinity War but nobody can deny one thing: it is breaking new cinematic ground. For decades there have been sequels. For decades there have been franchises. For decades we have seen continuing universes on both the big and small screens, sometimes overlapping, develop characters and storylines. Marvel Studios differ in their approach. This is the first time anyone has, over a ten-year period, created and structured a cinematic franchise in the narrative style of a ‘season’ of television.
This is something I have discussed when talking about the Marvel Cinematic Universe before because it has cast a shadow over the mainstream cinematic landscape which is likely to stay for years, perhaps even decades, to come. Kevin Feige, producer supremo, has been the constant here; ever since 2008’s Iron Man turned Robert Downey. Jr from disgraced character actor into the biggest movie star in the world, Infinity War has been the goal. While undoubtedly tides have changed, production realities have emerged, and details have altered, Marvel have been working to a decade-long plan to unite the Avengers against Thanos, the Mad Titan, and his plan to wipe out half the universe with the combined Infinity Stones.
Baby Driver is the kind of movie that could only be made by a gigantic fan of movies, and specifically the kind of stylish action pictures that characterised a film education born of the 70’s, 80’s and 90’s. That man is, and always has been, Edgar Wright.
Wright has taken the traditional path to making a film like Baby Driver, which feels like the pinnacle of everything he’s learned and developed cinematically since he made his first major picture, Shaun of the Dead. That wasn’t his first feature technically (that honour goes to 1995’s little known A Fistful of Fingers) and after several TV directing gigs, largely of comedy, Wright came to prominence with cult TV series Spaced in the late 1990’s, which began his signature partnership with Simon Pegg and Nick Frost.
Spaced has endured in the public consciousness because it was ahead of its time; a post-modern encapsulation of self-referential ‘meta’ on TV, crammed with cinematic allusions and references (heavily on Star Wars). It was a TV show made by a group of creatives who understood cinema, the touchstones, winks, nods and history. Pegg and Frost took that into their acting careers but Wright retained it for his directorial one. Shaun of the Dead was a comic roast of the George Romero zombie movie, Hot Fuzz did the same for the buddy action flick and The World’s End gamely tried, and failed, to do so for the alien invasion movie.
The so-called ‘Cornetto Trilogy’ with his old mates were safe bets for Wright. It was British comedy territory he knew and, to an extent, helped create. 2010’s Scott Pilgrim vs The World was his first taste of bigger Hollywood, American filmmaking, and quite how his kinetic, punchy, self-effacing style would connect with that level of filmmaking. Boasting a major cast, a beloved comic-book source material and a ton of retro video game in-jokes, Scott Pilgrim has remained divisive; loved by some as a cult curio, hated by others, and many still probably never got around to seeing it.