Baby Driver is a great movie not because of its plot but its character, and its music as well. It’s the one and only perfect mix of La La Land and Fast and Furious. A protagonist is a young man called as Baby (Ansel Elgort). The name ‘Baby’ could be an indication of his innocent look. Looked innocent but Baby is working for Doc (Kevin Spacey), who is a mob, as a driver for all of his heist.
Baby in Baby Driver is a cool and unique character, he loves music but not like other characters loving music we have seen in years, he makes remixes from his records of conversations around him, beautiful songs and wonderfully antiquated keyboard and rhythm equipment. From the beginning of the movie, his unique coolness is shown.
We see him create a remix called “Was He Slow,” using a question asked by an accomplice about Baby’s mental capacity as a hook. Much like Baby turns the world around him into music, writer/director Edgar Wright remixes the movies and tunes that makes the movies filled with wildly joyous and fantastically entertaining. Wright has brought to us a party mixing up with racing, music and romance. It’s as much fun as you’re going see the movie.
Baby’s behavior will makes you laugh so hard. As others see him as dumb, his reacts to them makes they feel dumb, especially when people ask and he just ignores. Baby can drive, and he drives really good, but he needs his music to do it. With Baby, the world around him moves to the music on one of his many iPods—he has various ones for different moods. Sometimes the world seems to respond to his choice, sometimes his choice seems to influence the world around him—either way, music is as essential to the success of Baby Driver.
Taking the riveting first scene, three robbers – Buddy (Jon Hamm), Darling (Eiza Gonzalez), and Griff (Jon Bernthal) – leap from a car outside of a bank just as Baby cues up “Bellbottoms” by The Jon Spencer Blues Explosion. Everything from this point on moves in rhythm with the music, from the slamming of the car doors after the robbers return to the squealing tires in one of the best car chase scenes in years. We’ve seen countless action rhythm up with pop or rock songs.
Wright takes this brilliant concept a step further, making even everyday normal activity feel like a part of Baby Driver’s soundtrack. Not only that, we also can feel that every sound in the Baby Driver movie works in conjunction with its soundtrack. The movie is fluid and jaw-dropping—the kind of thing you want to see immediately again after it’s over to catch all the things you missed.
Trust me when I say that Wright doesn’t skimp on the former. There’s enough story and action here to satisfy without the music that drives the filmmaking. Much of the joy of Baby Driver movie is watching it unfold so I’ll be brief with plot.
Baby had a brief dalliance with crime, and he made the mistake of robbing from Doc, who now forces him to drive as penance, when he’s just a boy. Baby always think that he can get away with this job of driving when he pays off his debt with Doc, but he’s wrong. Doc loves his talent so much that he makes Baby to join one more job before going back to a normal life. Of course, we all know how that typically turns out in crime movies. When Baby meets a lovely waitress named Debora (Lily James), he finds a reason to go straight. That’s all you need to know.
It helps a lot of if you can assemble a cast like Edgar Wright. Elgort and James are engaging, charismatic leads with fantastic chemistry. Their performances make the survival of the protagonists here becomes something we actively root for instead of just know is likely to happen.
The “villains” of the piece are perfectly cast and directed as well, particularly Spacey and Jamie Foxx as the menacing Bats. Both roles are written and cast in a way that they could have stolen focus with performances that play to the cheap seats but neither actor ever does. Foxx is particularly phenomenal in a role that’s both funny and filled with simmering danger.
It’s one of those films where every single role, from the burly diner chef to the sweet post office employee, feels like it was cast with exactly the right person. It creates a sense of additional magic in a film when you can sense that every single element, even the most minor ones, is working exactly as its creator intended.
There’s an energy that you can feel in the theater when a movie is really working. It’s the guy next to you jumping a bit in his seat as a car takes a hard corner. It’s the woman behind you laughing extra hard at a joke. It’s the sense that everyone is fully engaged, almost tapping their feet to the rhythm of the film. Baby Driver will be one of your favorite songs of the year since it have everything that makes people want to enjoy with a crowd of strangers.