Brighton Rock (2010)
Directed by Rowan Joffé
Charts the headlong fall of Pinkie, a razor-wielding disadvantaged teenager with a religious death wish.
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What critics compared Brighton Rock to
Requiring a stunning degree of specificity and assembled with hyper-elegance by editors Jonathan Amos & Paul Machliss, it's breathtaking to watch everything from a one-shot coffee run choreographed to Bob & Earl's "Harlem Shuffle," to a final showdown set to Queen's "Brighton Rock."
There also seems to be a few deliberate nods to many of Wright’s earlier films, whether it’s the trademark close-ups whenever Baby revs up his car, the use of Queen’s “Brighton Rock”—Queen was used in Shaun of the Dead, Too—not to mention the use of Beck’s “Debra” being that Beck wrote the song “Ramona” for Scott Pilgrim.
Stacks of money hit the table and car doors slam to the beat of various tunes, The Damned’s Neat Neat Neat powers a phenomenal police pursuit through the ATL that’ll get your heart racing, and Baby faces the music (metaphorically speaking) as his “killer” song, Queen’s Brighton Rock, plays on.
As the chases get more violent, so does the music, with cuts from The Damned, and one of Queen’s most explosive anthems, “Brighton Rock.”
Everyone has a song that psyches them up (“Brighton Rock,” for example), and that’s what Baby Driver‘s entire playlist feels like.
Diffident, recently converted Maud ( Morfydd Clark ) is a palliative-care nurse in the kind of dreary seaside town Morrissey bangs on about (it was shot in Scarborough and fits perfectly into the fabulously British cinema sub-genre of dead-end lives in small coastal towns — see Brighton Rock , Wish You Were Here , Make Up ).
Writer/director Rowan Joffe (2010's "Brighton Rock") attempts to turn the S.J. Watson novel into a twisty thriller, but what we get is a tasteless mess full of plot holes and red herrings that its stars should have shoveled under the carpet.
It was written and directed by Rowan Joffe, who did that good updating of "Brighton Rock" a while back.
Director Rowan Joffe (Brighton Rock) seems to be reaching for Hitchcock, complete with scratchy violin score, but fails to turn the tension screw with Hitch’s effectiveness.
As his last feature, Brighton Rock, proved, Joffe has something of a knack from coaxing bad performances from usually good actors.
Joffe, who four years ago gave us that wholly unnecessary remake of Brighton Rock, goes straight for the suspense, packing in every suspense trope you can think of: swelling music; sudden noises; door handles turning; creepy car parks.
As directed by Rowan Joffe (“ Brighton Rock ”), the opening scenes make it clear that this is not a film with actual characters or relatable people within it.