Directed by:
Edgar WrightScreenplay:
Edgar WrightCinematography:
Bill PopeComposer:
Steven PriceCast:
Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Eiza González, Jamie Foxx, Jon Bernthal, Sky Ferreira, Viviana Chavez, Flea, Wilbur Fitzgerald (more)VOD (4)
Plots(1)
A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom. (Sony Pictures Home Entertainment)
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Reviews (17)
The original playful to musical mood that Baby Driver initially enticed me with, unfortunately, either got old or lost completely during the film. It's certainly not a bad film, the action scenes have swing and the music is fine, but the villains are almost more interesting than the main protagonist and the story is... Ummm... It didn’t do much for me. Three and a half stars.
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For the first time, I was genuinely looking forward to an Edgar Wright film, but this ride doesn't just hurt the eyes, it hurts the head. I don't understand the world in which the story takes place, and it seems detached from all possible realities and even genres. Supporting characters change their essence in a second, moods clash unpleasantly, and at the end, there are so many misgivings that only the sympathy towards some members of the talented cast saves the average. However, I am most disappointed by the so heavily promoted "musical" aspect of the film. The fact that there is an endless number of songs in the film, which simply play in the background of the scenes with Baby often humming them, simply doesn't make it a musical. The occasional gunshot or impact that fits the rhythm is a nice idea, but it becomes tiresome by the second scene. All playfulness remains surprisingly spasmodic.
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Musicals can still be a lively genre not only in the predictable revival of classic works a la La La Land et al., but thanks also to the grasp of a formal master with ambition. Even though Baby Driver primarily mixes the elements gangster stories and romance, Wright’s concept of building the film’s overall style around the music is far more essential. Though this results in the characters singing and dancing only occasionally, cars dance to the music during chase scenes, shots are fired and banks are robbed in the rhythm of the soundtrack, and even loving looks have their own sound. In terms of the choreography of the actors’ movements, the camera and the mise-en-scène, and the harmonisation of all of these elements, the opening credits with the coffee run represents one of the absolute musical highlights. On a more general level, it is no less fascinating that the most youthful Hollywood film of recent years is the work of a man in his forties, which applies not only to the film’s formal freshness and feeling, but also to the unavoidable feeling of a generational litmus test. The trailer could evoke in thirty-somethings feelings of inappropriateness, which the film further reinforces with its overarching principle as a presentation of the inner feeling of youths growing up in pop culture, where everyone sees themselves as the star of their own video. Wright’s age is indicated only by his taste in music and the particular choice of songs, though like Tarantino, he has a chance to turn dusty old hits and obscure novelties into a generational retro soundtrack. At the same time, however, he also shows what an essential contribution Simon Pegg made to his previous films, because Baby Driver, unlike those works, lacks insight and the ability to not take itself too seriously.
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Drive but for kids and teens who can't yet read between the lines of a movie and prefer, ideally, plenty of pop and an attempt at cool action scenes with characters you remember by their hairstyles and clothes, not by what they do or the attitude they represent. The cast is stellar, too bad about the untapped potential, though. Sloppy in every way.
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Baby Driver it is sympathetic and entertaining summer fun, but it is not directed, or (mainly) written, quite perfectly. Compared to Wright's older British work, it is also more trimmed and lacks perspective. However, the entire film is based on the creative intention to edit it all into songs that always play in the protagonist headphones. One can only praise the director for being able to so excellently edit to the rhythm of the music not only the action scenes, shootouts and car chases, but also how a character walks down the street or plans a bank robbery. Content-wise, there is nothing particularly demanding, but as a silly action comedy, it's a fair bit more imaginative and entertaining than the last episodes of The Fast and the Furious.
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Gallery (73)
Photo © Sony Pictures Entertainment / Wilson Webb
![Baby Driver - Photos - Ansel Elgort, Jon Bernthal, Eiza González, Jon Hamm](http://image.pmgstatic.com/cache/resized/w663/files/images/film/photos/161/852/161852832_bd394f.jpg)
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