Review Category: DVD/Blu Ray

Bat-fans across the world were saddened at the passing of Adam West earlier this year. However, fans get a final treat from this much-loved actor in the form of Batman Vs. Two-Face, a sequel to last year’s Batman: Return of the Caped Crusaders, in which West, Burt Ward and Julie Newmar reprise their roles as Batman, Robin and Catwoman in animated form. This film also marks the first significant appearance of Two-Face, who never appeared in the original 60s television series and is brought to life by another icon of 60s television, William Shatner. We took a look at the film and the legacy of Adam West.

Following on from the events of the last film, Batman and Robin are invited to Gotham State Penitentiary as the guests of Harvey Dent and Professor Hugo Strange, who has devised the Evil Extractor, a machine which absorbs the evil of a person into a huge vat. However, the sheer evilness of Batman’s rogue’s gallery causes the machine to overload, exploding in the direction of Dent who, despite Batman’s best efforts, has the left side of his face scarred and, thus, Two-Face is born. Two-Face is of course apprehended and rehabilitated back into Harvey Dent. However, in the Dynamic Duo’s battles with the likes of King Tut and the Bookworm, there’s evidence that Dent may be going back to his wicked ways again. All is not what it seems!

Batman Vs. Two-Face is a very entertaining piece of animation, it has all the hallmarks of the ’60s series, the performers are on top form –  in particular William Shatner who hams it up brilliantly as the Two-Face alter-ego –  as well as a few other gems for fans old and new, including Hugo Strange, a certain Dr Harleen Quinzel, and dodgy lawyer Lucille Diamond (as played by other ’60s Catwoman Lee Meriwether); the latter ending up in a Catwoman costume and loving it is a nice touch!

There is of course extras with this release including features and comments from Burt Ward and Julie Newmar, but also the Comic-Con Tribute Panel to Adam West himself. As Adam West’s final performance, this animated film was always going to be significant regardless. Thankfully, the film is very good and shows Adam West at his best. He is the Batman to many fans, being the first introduction to Batman for many. Batman Vs. Two-Face is great and is a fitting tribute to Adam West. In the words of the final dedication to him at the end of the film: Rest well, Bright Knight.

BATMAN VS TWO-FACE / CERT: PG / DIRECTOR: RICK MORALES / SCREENPLAY: MICHAEL JELENIC, JAMES TUCKER / STARRING: ADAM WEST, BURT WARD, WILLIAM SHATNER, JULIE NEWMAR / RELEASE DATE: OUT NOW

 

With the exception of 2012’s The Woman in Black starring Daniel Radcliffe, Hammer has been more than a little anonymous amongst the horror community in terms of visible offerings and, to today’s audiences, the historical back-catalogue is relegated to screenings, in the UK at least, on London Live and Horror Channel amongst the more contemporary offerings like Hostel and Saw.

To commemorate the release of their 1957 debut colour offering, The Curse of Frankenstein, Studio Canal and Park Circus in conjunction with the likes of FrightFest (where several titles were screened during this year’s London event in August 2017) are releasing eight new Blu-ray restorations, including Dr. Jekyll and Sister Hyde, Blood from the Mummy’s Tomb and To the Devil a Daughter, the last major film release in 1976 for decades.

Scars of Dracula, the 1970 offering directed by Roy Ward Baker, may seem a little tame by today’s standards. Indeed, in the context of the horror films coming out of America particularly at the time, it looks a little out of sorts. However, there is still sufficient unease and menace within it today to give a little kick to audiences keen to find out what a Hammer film was.

The ghoulish fun of these films is not only to see legends like Christopher Lee and Peter Cushing at their very best, but also to see some of the UK’s best-loved talent, in this case Denis Waterman pre-Minder and Sweeney and Jenny Hanley, then coming off the Bond film O.H.M.S.S, showcasing their abilities.

Dracula (Christopher Lee) is revived from bones by the blood of a bat and is out to get his fill of flesh, notably from a local village who have lived in fear of him for ages. A young man, Paul Carlson (Christopher Matthews) disappears after being banished from one of the villager’s houses and his brother Simon (Waterman) and fiancée Sarah Framsen (Hanley) are determined to get him back, in spite of the unhelpful locals. Dracula’s right-hand ghoul, Klove (Patrick Troughton, suitably sinister) drives a mad coach and horses and tries to redeem himself in his master’s eyes by bringing suitable female flesh for consumption.

This film pales into comparison compared to the extreme gore and shock of later horror films like Friday the 13th , Hostel and Saw, but the make-up effects are startlingly good, especially in the Blu-ray re-mastering, and would do the likes of Giannetti Di Rossi and Tom Savini proud. Lee is incomparable as the Count and the production values are first rate.

Scars of Dracula belongs to a different area, and you sense that Hammer were clearly looking over their shoulder at what was emerging and their twilight was fast approaching in terms of what they could bring to the big-screen. Still, there is a great joy in watching this and others in the new release slate through Studio Canal and this ranks as one of Hammer’s greatest ever.

SCARS OF DRACULA  (1970) / DIRECTOR: ROY WARD BAKER / SCREENPLAY: ANTHONY HINDS, BRAM STOKER / STARRING: CHRISTOPHER LEE, DENNIS WATERMAN, JENNY HANLEY / RELEASE DATE: OUT NOW

In the 1950s Jack Arnold made a series of films for Universal-International that turned into solid hits. Richard Matheson was building quite the career as a writer with the likes of I Am Legend and The Shrinking Man. It was from that novel that Matheson would write the script for The Incredible Shrinking Man, a classic of science fiction now hitting Blu-ray thanks to Arrow.

Robert Scott Carey (Williams) is on vacation with his wife Lou (Stuart). While out on a boat one day, Carey is briefly caught up in a mysterious cloud that leaves his skin glowing with glitter. Six months later Carey starts to notice his trousers and shirts no longer fit as they should. Undergoing tests, it is confirmed he is indeed shrinking and for a while he becomes a reluctant celebrity. What follows is a film that at first concerns itself with the unsettling ‘reality’ of how such a situation would affect a man, and then a survival picture, as Carey tries to stay alive in a world of giants.

Matheson was a great writer and it shows through in this film. It’s intelligently speculative, exciting, emotionally involving and ultimately interested more in notions of transcendence and what makes us who we are than wrapping everything up in a nice bow. It’s well directed with strong performances and an interesting approach to its high concept and the effects hold up reasonably well to convince you a man really can shrink down.

For this new release we have a decent print of the film that’s nothing spectacular and certainly not free of damage, but not distracting either. There’s a good array of extras for fans of the film starting with a solid and interesting near-50-minute documentary on Arnold and his career that demonstrates just how varied his career was, touching nearly every genre one can imagine. After this there’s a shorter piece with Matheson’s son about the inspiration for the original novel and how he came to create The Shrinking Man. If you want, there’s a copy of the cut-down Super 8 version of the film, the trailer for the film and as standard for early pressings, a booklet with writing on the film. There’s also a commentary by film expert Tim Lucas that’s, as one would expect, packed with plenty of information.

The film itself stands alongside other contemporary films as an example of how science fiction can be used to comment on the world it exists in at the same time as being a very entertaining spectacle. For fans of the film, or those getting into classic ‘50s science fiction, this is a good release that comes recommended.

THE INCREDIBLE SHRINKING MAN / CERT: PG / DIRECTOR: JACK ARNOLD / SCREENPLAY: RICHARD MATHESON / STARRING: GRANT WILLIAMS, RANDY STUART, APRIL KENT / RELEASE DATE: NOVEMBER 13TH

Concerning an investigation into the supernatural and presupposing the current boom in all things witnessing the paranormal, Robert Wise’s 1963 horror, based on Shirley Jackson’s 1959 novel The Haunting of Hill House, wasn’t the greatest success on its original release. Unlike Hitchcock’s then-recent Psycho, with which it shares certain stylistic similarities, The Haunting takes until the very end of its final act to realise its demons, and even then the nature of its beast is left ambiguous. Nevertheless, in the decades following its debut it has picked up quite the cult following, its themes and sub-texts becoming more obvious and its merits more discernible. In the 1980s, its infrequent television appearances were greeted as a valuable alternative to the graphic gore fests that had by then become the norm.

Richard Johnson is Dr. John Markway, the self-assured man of science hoping to use Hill House as a means of investigating the reality behind spiritual visitations, assembling a team of expert witnesses to his experiment. Only three turn up: Theo (Bloom, magnetic), a Sapphic psychic; Luke Sanderson (Tamblyn), the otherwise disinterested heir to the house; and Eleanor, keen to escape the sofa in her sister’s living room following the death of their mother, for which “Nell” blames herself. The house takes a pretty instant shine to the timorous Eleanor, writing her enigmatic notes and seeking her out during the nights.

The real crux of Wise’s picture (actually shot in Warwickshire) isn’t so much the hauntings – although these are among the most effective ever committed to film – but the relationships between the characters and the unravelling of Eleanor’s sanity. Already on a knife-edge when she arrives, Nell misreads the married Markway’s kindnesses as advances and initially fails to register Theo’s interest, and it’s against this backdrop that Eleanor’s inner turmoil intensifies.

With its starkly contrasted monochrome compositions, sudden camera movements and odd perspectives, Wise’s film owes much to Orson Welles, and the Blu-ray transfer shows this debt off beautifully. There’s a touch of inadvertent grain only very infrequently, and but for the experimental lenses that Wise was using and the associated occasional softness of the focusing, everything looks wonderfully sharp, really bringing out the mood of the movie. It’s probably beneficial that the audio, so involved in the night-time visitation sequences, has been left in the original mono. Any attempt to improve it would surely have ruined the effect.

But for the possible overuse of internal monologues and Julie Harris’ overwrought but riveting performance as Eleanor, The Haunting still stands up as a relevant and effective study of both the psychology and parapsychology of its themes. The one real shame is the lack of any new extra features for the set.

Extras: trailer, 2003 commentary track

THE HAUNTING (1963) / CERT: 12 / DIRECTOR: ROBERT WISE / SCREENPLAY: NELSON GIDDING / STARRING: JULIE HARRIS, CLAIRE BLOOM, RICHARD JOHNSON, RUSS TAMBLYN / RELEASE DATE: OUT NOW

Infamous at the time of release, this shot-on-video shocker finally gets a decent release. Those who have heard of it will be curious and highly rewarded, but there’s little to appeal to modern audiences.

At Sullivan’s Children’s Home, things begin to take a turn for the sinister following the arrival of new orphan, a young mute girl named Elizabeth (Diana). Dumped on the home’s doorstep, her appearance coincides with a visit from a former inhabitant, Mick Philips (Honranz), who happens to be a big pop star now. The excitement soon turns to horror when a series of ‘accidents’ point to a malevolent influence among the kids.

Purporting to be a reconstruction of real events, this is an ultra-low budget affair filmed by a drama school and directed by the former owner of the Brixton Academy. With little knowledge of basic filmmaking, one would expect this to be an unmitigated disaster, but for all its flaws, there’s something strangely compelling about Suffer Little Children. Perhaps it helps if one recalls the state of British independent filmmaking at the time. Video cameras had just become available for homes, and it appears to be one of these early enormous monsters that director Briggs has used. The sound mix is rudimentary, bordering on non-existent – it’s either music or dialogue, whenever it’s both, the latter is completely obliterated – and scenes stop dead; no slick dissolve fades here! Couple this with the wonderfully crude title overlays and it provides a definition of amateur hour. Yet, as said, there’s a charm to the film that is undeniable. Anyone who has come across the similar homebrew efforts of Cliff Twemlow will warm to this more than people expecting something from Hammer.

What Suffer Little Children does well is utilise the drama school kids – particularly Nicola Diana as the cause of all evil, Elizabeth. Silent save for some dodgy devil-voice effects later on, her steely stare and Goth look are perfect. What Briggs’ film lacks in talent and budget it makes up for in enthusiasm.

Although today’s audiences are used to low-budget ‘found footage’ efforts that go out of their way to look lo-fi, they may not quite be ready to accept a home movie pretending to be a feature film. The transfer is about as good as we could expect. Which is to say, we get tracking lines and the occasional video tape glitch. Retro hipsters could even pretend they’re watching it on VHS (or Betamax if they’re ultra-trendy). It’s certainly not essential, but as an example of what you can do with a bit of ingenuity, it’s worth checking out.

Extras: School of Shock – interview with director Alan Briggs / Seducing the Gullible – John Martin interview

SUFFER LITTLE CHILDREN (1983) / CERT: 18 / DIRECTOR: ALAN BRIGGS / SCREENPLAY: MEG SHANKS / STARRING: COLIN CHAMBERLAIN, GINNY ROSE, JON HOLLANZ, NICOLA DIANA / RELEASE DATE: OUT NOW

Arguably one of the most famous 3D movies ever made, House of Wax stands up to viewing with modern eyes, and literally knocks it out of the park, not to mention the screen!

Vincent Price plays Professor Jarrod, a sculptor at the New York wax museum, whose talent is matched only by his pride in his work. Unfortunately, his business partner, Burke (Roy Roberts), wants him to make the exhibits more sensational rather than historical works such as Joan of Arc and his personal favourite, Marie Antoinette. Jarrod has set up someone to buy out his partner’s share, but before he can do that, the museum is burnt to the ground by Burke and Jarrod is left for dead in the conflagration.

Surviving but badly crippled and unable to use his hands, Jarrod builds a new museum utilising the talent and hands of the deaf-mute Igor (Bronson, credited here under his real name of Charles Buchinsky). The new sculptors are a little too life-like, however and the Jarrod now has a chamber of horrors, which happens to include a depiction of his ex-partner’s recent suicide. Coincidence? Oh, come on, you know the score…

The film’s place in cinema history is already secured as it’s genuinely one of the best of the fifties horror thrillers from Warner Bros, with Price at his best – being both sympathetic and sinister. The infamous ‘reveal’ set piece still packs quite a punch, much in the same way as the Phantom of the Opera unmasking in the silent classic, but is somewhat diminished by the fact we’ve already had a bloody good look at the attacker’s face several times throughout the film. Although spoofed wonderfully in Carry on Screaming, and a common trope these days, it’s actually a remake of a 1933 film starring Lionel Atwill and the original scream queen Fay Wray. Mystery of the Wax Museum is also included on the disc as an extra and itself still packs a wallop.

That early version boasted the gimmick of two-strip Technicolor, so it’s fitting to see that coupled with the fifties remake in its original three-dimensional format. If you marvelled at Avatar and were captivated by Gravity, you really need to buckle in before you experience House of Wax. This is how the format should be used. Everything is thrown at the audience; from the famous paddle ball sequence (which literally breaks the fourth wall) to can-can dancers’ legs and more. However, there’s also a lot of subtle depth here – both on screen and in the story. It truly is fantastic filmmaking and utterly immersive. And all under the guidance of a director who only had one eye, so couldn’t actually see the effect.

Elsewhere on the disc, there’s enough goodies to satiate any film buff’s appetite. As well as the original 1933 movie, there’s a lengthy documentary that includes vintage clips of Price and director André de Toth, which is excellent and an informative commentary from David Del Valle and Constantine Nasr. It’s the extra dimension that makes this an essential purchase, however. If you’ve got the facility to enjoy it, make sure you do. It still looks amazing ‘flat’, though (which you’re able to do at a touch of a button).

HOUSE OF WAX (1953) / CERT: PG / DIRECTOR: ANDRÉ DE TOTH / SCREENPLAY: CRANE WILBUR / STARRING: VINCENT PRICE, FRANK LOVEJOY, PHYLLIS KIRK, CAROLYN JONES, CHARLES BRONSON / RELEASE DATE: OUT NOW (HMV EXCLUSIVE)

Whenever anyone mentions Stanley Kubrick, the films that spring to mind would be 2001: A Space Odyssey, Full Metal Jacket, and The Shining, and so on. But, the one film many would describe as one of his greats, if not the greatest of his filmography, is A Clockwork Orange, the cause célèbre movie from 1971 that would go on to become one of the most shocking and defining movies in cinematic history. Based on the controversial novel by Anthony Burgess, A Clockwork Orange is a story that makes you question, as well as challenge, the notions of free will, choice, good, evil, and everything else in between.

The central premise of this story is outright fascinating; Alex is the most despicable and mentally psychotic human being imaginable, but after he is caught, his free will is taken away and is transformed into an upright citizen, but his peaceful, civilized world is turned upside down instantly when everyone turns him into an outcast because of their fear and rage over this man. This all culminates brilliantly during the third act of the movie when a journalist helps Alex out and acknowledges what barbaric misfortunes society has bestowed upon him, but when he discovers that Alex had wronged him in the past, suddenly all of his moral ethics about right and wrong fade away and he becomes one of those vengeful barbarians himself. This is a film that blurs the lines between good and evil, and happily plays it like a warped violin.

What makes this film even more shocking is that our central “protagonist”, which we’re supposed to connect and identify with, is a complete psychopathic teen who revels in murder, rape, beatings, breaking and entering, and is supposed to be in high school. Alex is a complete sadist who loves doing what he’s doing because deep down he knows it’s wrong while also seeing something artistic in what he’s doing, and it’s downright disturbing seeing someone that young doing outright terrible things. He’s relentlessly savage, yet is well-spoken, intelligent and listens to Beethoven, so it’s fascinating seeing the phenomenal Malcolm McDowell effortlessly shift between violent and sophisticated. Whenever he smiles, you do feel a chill go up your spine because you know he’s feeling no remorse for what he’s doing and that he’s just in pure heaven.

Like all of his movies, Stanley Kubrick’s direction is simply astonishing in every frame; from the warped angles to the eerie motion and surreal atmosphere, it just all adds to the disturbing, deranged environment/mindscape Kubrick’s trying to create. John Alcott’s cinematography is wonderfully understated in some areas, while also being bright and garish in others, and Walter Carlos’ electronically induced music is fantastically bone-chilling. Over 40 years later and A Clockwork Orange still holds up as one the most viscerally shocking movies to have been released in the cinema, making you ponder and question the concepts of violence and the notions of free will, while also being a chilling examination of the human mind.

A CLOCKWORK ORANGE / CERT: 18 / DIRECTOR & SCREENPLAY: STANLEY KUBRICK / STARRING: MALCOLM MCDOWELL, PATRICK MAGEE, MICHAEL BATES, WARREN CLARKE / RELEASE DATE: OUT NOW (HMV EXCLUSIVE)

When exiled dark elf Meyla comes into possession of doomy object of doom the Dark Crystal Gem, she uses its power to resurrect dead warriors as wraiths and kidnap her sister Mayre the elf queen in order to steal the Life Gem and attain absolute power. Attempting to stop her are generic YA hero Fish and his elven princess love Liya, along with a band of assorted fantasy stereotypes.

Although Thrones of Elves is a sequel to Dragon Nest: Warriors’ Dawn (which was itself based on MMO Dragon Nest), it’s not necessary to be in any way familiar with either property, partly because the film deems no more backstory to be necessary than “we killed a dragon and fell in love,” and also because the film’s plot is so flimsy it requires very little concentration to come into it cold.

Fish’s cocksure arrogance is meant to be endearing, and while his every movement alternating between swaggering and posing is admittedly somewhat amusing to begin with, he swiftly becomes an obnoxious irritant and a frustration that he’s supposed to be the relatable hero. Liya behaves like a princess straight from an ‘80s fantasy movie, her characterisation ignoring the developments that have been made in the representation of gender roles in the intervening decades, voicing a desire to live her life free of rules but displaying little of the sense of responsibility necessary to actually do so. Other supporting characters, such as a burly barbarian, a Scottish dwarf blacksmith and an aloof elf warrior, are all so archetypal they barely warrant mention, and it speaks volumes that the most interesting of the ensemble are Fish’s pair of spherical furry pets who look like a cross between puppies and tribbles.

It’s a good 20 minutes before anything noteworthy actually happens, the preceding time spent laboriously introducing these characters who have the combined depth of an evaporating puddle. When things properly kick off, the lengthy scenes of luscious animation, set in detailed locations like the elven royal forest stronghold and Meyla’s mountain lair of a hollow stone dragon, do a moderate job in distracting from how little story there actually is. The action sequences, although unimaginatively choreographed, are a delight to watch, featuring skyship battles, slow motion archery, balletic swordplay and snaking ribbons of chromatic magical energy.

Visually luminous but narratively lacking, Throne of Elves is a visual delight and should be entertaining enough for the young audience at which it’s aimed, but older viewers will likely find its rudimentary and overfamiliar plot somewhat wanting.

Throne of Elves / Cert: TBA / Director: Yuefeng Song, Yi Ge / Screenplay: Ran Zhou, Christian Ford, Roger Soffer / Starring: Ryan Potter, Ashley Boettcher, Anika Noni Rose, Julie Nathanson, Kevin Michael Richardson, Enn Reitel, Gavin Hammon / Release Date: OUT NOW

The Devil’s Rejects is the second feature film of rocker-turned-director Rob Zombie. Originally released back in 2005, the second outing for Zombie’s infamous Firefly family is now getting a swanky new Blu-ray release from the guys at Umbrella Entertainment. We’re sure many horror hounds out there are keen to see whether this new release is worth picking up, so let’s get to it.

To quickly touch on the loose synopsis, The Devil’s Rejects sees three of the nefarious Firefly clan – Otis (Bill Moseley), Baby (Sheri Moon Zombie) and Captain Spaulding (Sid Haig) – on the run after a no-nonsense lawman, William Forsythe’s Sheriff Wydell, becomes hellbent on bringing the murderous group to justice one and for all, and by any means necessary. Along the way, we have appearances from genre favourites such as Ken Foree, Michael Berryman and Priscilla Barnes, not to mention further Firefly alumnus in Matthew McGrory’s Tiny and Leslie Easterbrook’s Mother Firefly; Easterbrook replacing Karen Black in the Mother gig after Black asked for more moolah to reprise her House of 1000 Corpses role. The end result is a thrill ride that’s overflowing with gritty gore, charismatic carnage, and some truly twisted turns, not to mention some insta-quotable dialogue (“Don’t you never turn your back on a fuckin’ clown when he’s talkin’ to you!”) and a soundtrack that is pitch perfect for the beats Zombie is looking to hit throughout this tormented tale.

For many of your reading this, you likely already know all of the above – for many have a special place in their heart for The Devil’s Rejects. While House of 1000 Corpses was, of course, Zombie’s attention-grabbing debut, the Halloween remake arguably his most well-known film, Halloween II his biggest stinker, The Haunted World of El Superbeasto an oft-overlooked gem, The Lords of Salem his most bizarre, and 31 his most ‘Rob Zombie movie’ to date, it’s The Devil’s Rejects that’s easily the best picture of Zombie’s time in the director’s chair. If you liked The Devil’s Rejects back then, you’ll still love it just as much now, if not more so given the sharp Blu-ray transfer here. But you’re probably not here for us to tell you whether The Devil’s Rejects as a film is actually any good. So, let’s get to that extra content, shall we?

When it comes to the special features included in this new release, this Blu-ray has a whole bunch of material that’s, as far as we’re aware, yet to be featured on any previous DVD or Blu-ray release of The Devil’s Rejects here in the UK. The majority of the extras are relatively short looks behind the scenes of the movie, plus some fun features based around certain elements from within the world of The Devil’s Rejects itself; elements such as Captain Spaulding’s Christmas ad, Otis’ unhinged home movies, or the faux (and marvellous!) Morris Green Show. These are all interesting little bitesize chunks that are easy to digest, although many fans may have been hoping for a substantial documentary or even a chat track. Sadly, we don’t get either of those things, but one thing we do get is a completely badass artwork cover for the release in which Moseley’s Otis takes centre-stage.

All in all, if you enjoy Zombie’s work and, in particular, The Devil’s Rejects, this should be a no-brainer of a purchase. A crisp transfer that has you experiencing – and flinching at – every sick and twisted turn, The Devil’s Rejects looks at its blood-soaked best here, and the cover art alone should be enough to sway the Zombie diehards out there. And with Rob himself finally now confirming plans for a third Firefly feature, there’s never been a better time to get yourself introduced with those dastardly Devil’s Rejects and their gore-laden antics.

Special Features: Seven featurettes / Deleted scenes / Blooper Reel / Make-up test

THE DEVIL’S REJECTS / CERT: 18 / DIRECTOR & SCREENPLAY: ROB ZOMBIE / STARRING: BILL MOSELEY, SHERI MOON ZOMBIE, SID HAIG, WILLIAM FORSYTHE, LESLIE EASTERBROOK / RELEASE DATE: OUT NOW

No one can accuse Edgar Wright of lacking ambition. After cutting his action-directing teeth on the Cornetto trilogy and Scott Pilgrim (but alas, not Ant-Man), he’s moved up a level, producing one of the best – not to mention most original – action movies to come out of Hollywood in recent years.

Baby (Ansel Elgort) is the best – not to mention most reluctant – getaway driver in the business. Following a youthful indiscretion, he finds himself in debt to gangster Doc (a wonderfully menacing Kevin Spacey) and must work for him until he’s paid off his debt.

He also suffers from tinnitus, and rather than endure the ringing in his ears, he instead chooses to constantly listen to music, a gimmick which allows Wright to fill the movie with the best soundtrack since Guardians of the Galaxy. It also provides the movie’s USP – a series of brilliantly choreographed sequences, with chases, gunfights and even scenes of Baby getting coffee or making a sandwich set to music. Footsteps, wheel spins and even gunshots are all perfectly timed to Wright’s eclectic soundtrack, which includes everything from the Jon Spencer Blues Explosion to T. Rex and The Commodores. There’s even a sequence set to Queen’s Brighton Rock which almost matches the mighty Don’t Stop Me Now scene in Shaun of the Dead for perfectly choreographed brilliance.

Needless to say Baby is not happy with his situation, and when he meets waitress Debora (Lily James) he resolves to quit his reluctant life of crime and start anew with her. Although all of Wright’s previous films have been focused on male characters, he’s always found good roles for women, with the likes of Rosamund Pike and Mary Elizabeth Winstead having excelled in his work. It’s a shame here then that James’ role is underwritten, with Baby and Debora’s romance never coming off as convincing. They meet, fall instantly in love, and plan to escape together, but it feels like a plot device more than heartfelt. (The sole other female character of note – one of Spacey’s crew, played by Eiza González is equally under-served). It’s one of the few weak points in an otherwise excellent film.

Better served are Jamie Foxx, Jon Hamm and an all-too-brief Jon Bernthal. All members of Spacey’s crew, they have great fun playing bad. Hamm, in particular, is excellent, creating a character a world away from Don Draper. Foxx also excels, with his menacing turn one of the film’s highlights. Elgort – graduating from teen drivel like The Fault in Our Stars ­– is a likeable if unremarkable lead, and while no Simon Pegg or Michael Cera, provides a worthwhile addition to Wright’s rosta of unconventional leading men.

As with all Wright’s films, the disc comes loaded with the kind of comprehensive, in-depth special features normally reserved for established classics. A couple of commentaries (both a solo from Wright and the director alongside DoP Bill Pope) are the centrepiece, alongside plentiful deleted scenes, animatics, storyboards, featurettes and Wright’s video for Mint Royale’s Blue Song (featuring Noel Fielding) – the primary inspiration for the film.

Baby Driver may not quite hit the heights of Shaun or Hot Fuzz, but it’s bursting with invention, stunning action and killer tunes. It’s another great film from one of the most innovative, interesting directors working today, and one of the treats of the year.

BABY DRIVER / DIRECTOR: EDGAR WRIGHT / SCREENPLAY: EDGAR WRIGHT / STARRING: ANSEL ELGORT, LILY JAMES, KEVING SPACEY, JON HAMM, JAMIE FOXX / CERT: 15 / RELEASE DATE: NOVEMBER 13TH