Edgar Wright’s Baby Driver is the story of a tight lipped young man who drowns out his tinnitus with a wide variety of killer tunes.
He is also a mean getaway driver and goes by the name Baby and falls in love with the world’s sweetest waitress.
Baby Driver has been praised to me since a few acquaintances of mine saw it last year at a test screening.
From there, the legend of Baby Driver grew into this unseen masterpiece and I became convinced that I was never going to be able to see it.
One year later, I’m sitting in my living room; tired and still in disbelief that I have seen the fabled tale of a baby-faced man that listens to killer tunes while he brings criminals to safety.
Thankfully, Baby Driver is indeed a good movie.
It’s fun, filled with passion, and cements the fact that my love of Edgar Wright is not misplaced.
This is why the general audience goes to the movies. It has a lead that is instantly magnetic, thanks to Ansel Elgort’s subtle and charming performance.
The car chases are filmed with glee, and do not have an over abundance of quick cuts and zoom-ins like most modern day action flicks.
Seriously, Wright knows how to film action and it was a joy to see him take on car chases instead of average joes that somehow know how to fight well, just like he did in Scott Pilgrim and The World’s End.
The “bad guys” are also charming and Jamie Foxx plays the guy you love to hate. Seriously, it’s like his character from Horrible Bosses but if that character was an actual cold blooded character and not some guy that gave faux advice.
Jon Hamm was another highlight, but every time I see him in a film, I wonder why he’s not one of the biggest stars in the world. The man is handsome as hell and can act circles around anyone. I hope he gets to work with Wright again, maybe with Simon Pegg and Nick Frost thrown in as well?
Oh and there’s romance! You can’t have a good crowd pleaser without romance, even if it’s just a slight one.
Lily James is so sickly sweet and sympathetic, that I could watch her sing Baby by Blank for hours as Ansel Elgort looks at her lovingly.
From the casting to the behind scene’s magic, Edgar Wright proves he’s truly one of the best filmmakers working today.
However, I wasn’t completely in love with the film as a whole.
Stylistically, I felt this was Edgar Wright’s most accessible and least interesting.
The look of the film has a “been there, done that” aesthetic because he’s paying homage to films such as The Driver, Drive, Bullitt, and many others.
The visuals don’t pop like they should and it’s kind of a bummer because I loved how he took something as ridiculous as 40 something men destroying androids and made it look iconic.
And as much as I enjoyed the much hyped about soundtrack, I didn’t fall in love with the songs until I had bought the soundtrack and listened to them outside the context of the film.
I know it sounds like I’m complaining about the film NOT living up to my high expectations but it’s not that.
Edgar Wright has made some amazing films, starting with 2006’s Shaun of the Dead, and his fans have become used to a certain product.
I know I’m in the minority on not fully loving this film, but it did strengthen my love for Edgar Wright regardless.
He’s 5 for 5 and many directors don’t have that kind of track record.
Go see this movie as soon as you can because it’s fun from start to finish and I left out just enough for you guys to have some surprises as well.
★★★½ Edgar Wright crafts an insanely watchable crowd pleaser that doesn’t reach the heights of his earlier films, but then again, it doesn’t have to.
Images via TriStar