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4th annual Desi Comedy Fest. 8 p.m. Aug. 16. Forty comedians of Indian, Pakistani, Bangladeshi, Afghani and Sri Lankan descent as well as performers from various minority groups and the LGBTQ community. Second Stage, Mountain View Center for the Performing Arts, 500 Castro St., Mountain View. $28-$38. mvcpa.com or 650-903-6000The Comedy Get Down. Cedric The Entertainer, Eddie Griffin, D.L. Hughley and George Lopez. 8 p.m. Aug. 19. Shoreline Amphitheatre, Mountain View. $39.50-$99.50. livenation.com or 800-745-3000Jim Gaffigan. “Noble Ape” tour. Sept. 17. Shoreline Amphitheatre, Mountain View. $29.50-$95. http://www.jimgaffigan.com/tour-dates.
International Dance Festival@Silicon Valley, June 30, Workshops, classes, performances, concert, Mountain View Masonic Center, 890 Church St., Mountain View, Range of prices per event, Email livelyfoundation@sbcglobal.net or call 650-969-4110, Peninsula Youth Theatre 25th Anniversary Gala, 6:30 p.m, July 15, Reception, auction, performance by Emily Borromeo, Host is Amy Thompson, Alumni performers scheduled to appear include most comfortable ballet flats with arch support Meaghan Anderson, Lisa Normington Austin, Kim Beals, Leah Cohen, Caitlyn DeRouin, Anthony Feenan, Janel Healy, Alison Koch, Raissa Marchetti-Kozlov, Brian Miller, Jennifer Mitchell, Matt Nielsen, Katie Pimentel, Holly Smolik, Max Venuti, Davion Viney, Sallie Walecka, Judd Yort and Sage Yort, $50-$100, www.pytnet.org or 650-903-6000Family Arts Day, 11 a.m.-2 p.m, July 23, Showcasing music and visual arts, Community School of Music and Arts, Finn Center, 230 San Antonio Circle, Mountain View, Free, www.arts4all.org or 650-917-6800, ext, 305Menlo Charity Horse Show gala, “Jazzed Up — San Francisco Style!” Aug, 11, Immediately following show-jumping event, Food, auction, performance by Diane Schuur, Menlo Circus Club, 190 Park Lane, Atherton, $275, reservations required; email gala@menlohorseshow.orgVictorian Days at the Old Courthouse, 11 a.m.-3 p.m, Aug, 13, Craft activities for children, Victorian Tea in historic Courtroom A, re-enactors playing local Victorian millionaires, Free admission to the museum, Victorian Tea is $5 for adults, $3 for youngsters, For reservations, call 650-299-0104 or visit www.historysmc.org, Sponsored by Cypress Lawn Heritage Foundation, San Mateo County History Museum, Courthouse, 2200 Broadway St., Redwood City..
“Baby Driver” begins with a bang — a showstopper of an opening number reminiscent of the ecstatic traffic jam in “La La Land,” only this time with the cars themselves as the dancers. While his co-conspirators rob a bank, a young wheelman waits outside, playing air violin to “Bellbottoms” by the Jon Spencer Blues Explosion. Once the baddies are in the car, he takes them on a tense police chase through an anonymous-looking downtown, the feints, double-backs and climactic shell game involving identical red Subarus choreographed with the lock-step precision of a Rockettes routine.
Nominally, “Baby Driver” takes place in Atlanta, but it really exists in the imaginative world of Edgar Wright, the British filmmaker most comfortable ballet flats with arch support whose previous flicks — “Shaun of the Dead,” “Hot Fuzz,” “Scott Pilgrim vs, the World” — brim with equal parts sophomoric humor, boyish kicks and grating self-satisfaction, This often clever but ultimately appalling piece of genre inversion has originality on its side: It’s a Tarantino-esque heist film re-conceived as a jukebox musical, But that novelty soon wears off as it becomes clear that it’s less written than reverse-engineered to live up to its title..
It’s about a Driver, whose name is Baby, and who likes to pose and mouth along to retro-hip songs by T. Rex and Martha and the Vandellas. It’s got style and swagger to burn, and some of the set pieces are ingeniously staged, but it panders to the lazy affectations of a generation raised on lip-sync battles and late-night karaoke culture. Played by Ansel Elgort, who spends most of the movie hiding behind a perpetual scowl and vintage-looking shades, Baby is a getaway driver in the tradition of the Ryans (O’Neal and Gosling), a man-child of few words who, we learn, has been dragooned into service by a criminal ringleader played with hambone brio and bluster by Kevin Spacey. “Baby Driver” belongs to the subgenre of “one more job, then I’m out” crime pictures, whose fascination with violence, depravity and thuggish escapism are offset by a protagonist who’s dutifully reluctant and guilt-stricken.
Wright goes out of his way throughout “Baby Driver” to prove the title character’s ethical bona fides: He falls in love with a truehearted diner waitress (Lily James), and when he carjacks an elderly woman, he makes sure to return her purse before tearing off, The butt of merciless jokes from his fellow miscreants (played by Jon Hamm, John Bernthal and Eiza González), Baby uses his ill-gotten gains to take care of his deaf, wheelchair-bound godfather (CJ Jones), The virtue signaling is as flamboyant as the production numbers in “Baby Driver,” in which every scene is a set piece of extravagant staging and skintight editing, most comfortable ballet flats with arch support An otherwise dreary rundown of the next job is given a propulsive, syncopated jolt by Dave Brubeck’s “Unsquare Dance” in the background..
Not only is Wright infatuated with spectacular chases, shootouts and idiotically improbable gunplay, but he uses the sound of shots as musical elements, the rat-a-tat-tats providing a homicidal, mostly bloodless rhythm section to the mayhem unfolding on screen. Like “Free Fire,” which opened earlier this year, “Baby Driver” aestheticizes gun violence in much in the same way it lifts up once-kitschy, now-cool songs on its soundtrack: as playful, self-impressed pastiche. It’s all a cocksure, low-stakes lark.
Appropriately enough, “Baby Driver” ends by promiscuously borrowing from yet another genre: the time-honored cake-and-eat-it movie whose vicious, vicarious pleasures are both exploited and exonerated, We’re supposed to be reassured by Baby’s inherent sweetness, But his movie leaves an aftertaste that’s slightly but unmistakably sour, Rating: R (for most comfortable ballet flats with arch support violence and obscenity throughout), Cast: Ansel Elgort, Jon Hamm, Lily James, Kevin Spacey, Jamie Foxx, Director: Edgar Wright..