From the high-octane beginning to the pulse-pounding ending Baby Driver is more than just a movie, it’s an experience that fires on all cylinders.
In Baby Driver, Baby (Ansel Elgort), is a getaway driver for mob boss Doc (Kevin Spacey). With many years behind the wheel as Doc’s go-to talent when pulling off jobs, Baby finds himself wanting to get out of his life of crime. Getting out tends to be a little more difficult when a young waitress enters his life, Deborah (Lily James). He begins to realize that you can never truly “get out.”
Especially when fellow criminals, Bat’s (Jamie Foxx)-who is fittingly named since he’s bats**t insane, and husband/wife Buddy (Jon Hamm) and Darling (Eiza Gonzalez) enter the fray. This rag-tag group of criminals come across as one-dimensional at first, but like Baby himself, they begin to evolve. Going from paper-thin caricatures to flawed individuals with surprising depth.
However, the real star of the film is writer/director Edgar Wright (Cornetto trilogy, Scott Pilgrim vs. the World). Edgar blends together many different elements found throughout his previous films to make a delicious smoothie of a movie. His witty/sharp writing, edge-of-your seat action, and killer soundtrack make up the majority of Baby Driver. The music could also be considered the star of the film as well.
Almost every scene features a new type of song that fits within the development of the story. For example, if Baby’s in a happy mood a more up-beat tune will play; likewise if a moment of action happens. In one particular scene, a certain song plays out that is expertly crafted to match the sounds of gun shots firing. The movie feels surprisingly technical even though it’s not your average blockbuster. There’s a certain polish found in Baby Driver that’s rarely found in action movies. It’s in this polish that makes Baby Driver highly re-watchable, even after it’s over.
Edgar Wright finds himself another win. Baby Driver blends action, laughs, and thrills fueled by a killer soundtrack.