The premise of Yesterday works in some respects. Imagining a world without a particular cultural commodity, with all its associated prestige and iconography, can yield intriguing implications—especially if a few select people still know such a commodity […]
The first Mamma Mia! is a jukebox musical in which the plot was clearly written around the songs. ABBA’s songs of infidelity, flirtatious discovery, and radiant living are perfect for a tale of a woman with three […]
Edgar Wright’s innate savviness is on full display here, especially during the first half: the diegetic sound squarely in Baby’s ears being grafted into the minutiae of the real world, the songs seamlessly orchestrating the sheer joie de vivre of adrenaline rushes and high octane pedal-to-the-metalling.