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)
Edgar Wright is getting better with every film and this one made me incredibly happy. Baby Driver is an incredible stylistic film with cult potential and could easily become a classic in 20 years. It offered me more or less everything I expect from a movie starting with an excellent cast featuring the likeable Ansel Elgort, the tough Jamie Foxx, the pissed off Jon Hamm, the terribly sexy Eiza González, the terrifying Kevin Spacey, and the cute Lily James. The soundtrack is very catchy and adds to the great atmosphere, the visuals are flawless, the cinematography is unbelievably clear, the action is top notch (the sound design of the shootouts is among the best I've ever seen). The breakneck pace, the occasional humour, the emotional underpinnings and the unexpected reveals made the film an extraordinary experience, where especially near the end I felt like grabbing my balls and throwing them at the screen for joy at what a blast it was. Along with Hacksaw Ridge and John Wick 2, I rank Baby Driver as one of this year's best cinema experiences. This doesn't end with one screening. 95%
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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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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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Despite Baby Driver’s occasional stumble and inconsistent perspective, I consider making an action film in which almost everything happens to the rhythm of the music that the protagonist is listening to or based on the current mood or occasion to be a great way to revive the musical genre (and, at the same time, to subversively foist it off on viewers who otherwise ignore musicals and for whom the year’s best film so far this year is Fast & Furious 8). We can reproach Wright for not being stylistically distinctive (he previously edited The World’s End), for not being capable of working with female characters, and, unlike his great filmmaking role-model Quentin Tarantino, for remaining, even in his forties, an immature nerd with a weakness for autotelic fetishisation of movie references (the road passing by like in Lost Highway, damaged sunglasses like those worn by Warren Beatty in Bonnie and Clyde) and repeatedly telling the same story about protagonists who have to grow up but can continue to have fun in essentially the same way, inhabiting their escapist worlds while being tremendously cool. Or we can simply enjoy an original summer blockbuster with a great soundtrack and some incredibly high-octane action scenes. Since I have no plans to grow up yet, at least in relation to pop culture, I choose the second option. 85%
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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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