Edgar Wright has proven himself to be one of the most unique directors in modern cinema, one that has a consistent look and feel to his movies that makes you certain it’s him. Although it’s been a while since his last film, The World’s End (which also happens to be the final entry in his Cornetto Trilogy), Wright still successfully delivers a delightful romp.
Baby Driver follows the eccentric, earphones-wearing Baby (Ansel Elgort), who serves as the sole getaway driver for Atlanta crime boss Doc (Kevin Spacey). After losing his parents and surviving a car accident when he was child, Baby developed tinnitus and so listening to music more or less constantly is the only way for him to drown the sound. He’s the only consistent member of Doc’s team, as he insists never to use the same crew twice for security reasons. As a result, we are treated to an interesting mix a diverse combination of its cast: the former Wall Street guy turned robber Buddy (Jon Hamm) and his girlfriend Darling (Eiza Gonzales), the loose cannon Bats (Jamie Foxx), the hostile Griff (Jon Bernthal), and Eddie (Flea). The chemistry of its charming cast is palpable, and it’s apparent from their performances that they’re all having a fun time. But there’s more to it than just Baby’s driving skills (which we get to witness many times), he is paying a debt to Doc after getting caught boosting Doc’s car years ago. Later on, Baby meets a waitress named Debora (Lily James), and they quickly bond over the amount of songs with their names as titles. Baby is convinced to finally leave his life of crime behind and go west with her.
It’s story is not extraordinary by any means (most crime plots aren’t, honestly speaking), but what makes Baby Driver so outstanding is Wright’s incorporation of his style and authenticity. For instance, the music is an essential aspect of the film, but I’m not just talking about how good the soundtrack is. It is not just a tool to elevate a particular scene (although it still does flawlessly), but the music is the core of Baby’s character, from the song choices to the lyrics. Some of them are too on the nose, although I’d say most of them are masterfully picked by Wright. Usually the music is chosen to fit the flick’s theme, but Baby Driver is the reverse, where it seems the whole movie is dictated by its soundtrack. Subtle things like gunshots and windshield wipers being in tune with the beat makes a seemingly regular crime thriller much more amusing.
The opening getaway scene — set to “Bellbottoms” by The Jon Spencer Blues Explosion — is worth noting as well, mainly because it’s one of the best car sequences I’ve seen in film, and it puts the latest entries in the car-focused Fast & Furious franchise to shame. If there’s one thing that stands out about it, aside from its breathtaking choreography, it’s the authenticity of the set piece. The way the car weaves through Atlanta’s streets and turns around corners is gracefully crafted, without the jarring, incoherent cuts present in most action flicks. Wright wants us to be part of the ride. Making it as the opening scene also give us a taste of what’s to come.
Overall, Baby Driver is simply wonderful, and I believe it to be one of the best movies of the year. It’s clear that Wright takes elements from Walter Hill’s The Driver — he even makes a cameo — and Nicolas Winding Refn’s Drive. But in contrast to the bleak atmosphere of those movies, Wright’s Baby Driver is contagiously optimistic with its music and charismatic cast. It’s become one of my favorites from Wright, even though it doesn’t reach that same idiosyncratic delirium of his previous efforts.
Rating: ★★★★☆
The Talking Screen 