Director: Edgar Wright
Cast: Ansel Elgort, Lily James, Jamie Foxx, Jon Hamm, Kevin Spacey
A getaway driver with moral, a waitress with golden heart, a scheming older man played by an actor famous for playing a scheming older man on TV, this is Edgar Wright’s Baby Driver we’re talking about. It’s the best action road movie since Mad Max Fury Road, and also is, you won’t even see it coming, the best musical movie since La La Land.
The movie delights in giving its characters names like Bats, Buddy, Darling, Griff, and of course our hero, Baby (Ansel Elgort). Baby is a getaway driver for a criminal kingpin named Doc (Kevin Spacey). According to Doc, Baby “had an accident when he was a kid, still has a hum in the drum, plays music to drown it out”. Like most movies’ getaway drivers, or career criminals, Baby wants to get out of the game. His desire grows bigger when he meets Debora (Lily James), a waitress at the local diner. Still, because of her, Baby has to sit behind the wheel for one last crime.
Baby Driver is symphonic, ecstatic, and hypnotic as any opera could be. When it soars, it soars. It glides off the road, shoots into the sky, and in a handful of melodic action sequences, it lives in the clouds, leaving others biting the dust. However, that isn’t the way the movie always be, it’s also irritating, as is usually the case with movies that come so close to greatness, but swerve away after a quick graze. Despite ending on a flamboyant note, Baby Driver spends almost two-thirds of its two-hour runtime either idling or cruising in fourth gear, and when the action comes, it like a burst of nitrous in pipe. During those first two acts, it barely resembles as an Edgar Wright movie.
When the movie trailer shows you that its director is visionary, often it’s going to be just commercial, but it isn’t a case with Edgar Wright. For Baby Driver in specific and other of his movies in general, Wright is such a visionary director. Any frame, you pick, in this movie seems to be handcrafted by himself. Everything is a staggering display of one man’s vision, and the loyal dedication of hundreds of others to make it a reality. Moreover, while most directors are happy to use temporary tracks when editing their films, Wright cuts his movie to the music. The soundtrack is nursed to be the soul of his Baby.
Still, there is something with Baby Driver. It’s an Edgar Wright movie, such a weird, quirky, tonally hyperactive love-letter to cinema. It isn’t for everyone. Similar to Wright’s previous movies, Baby Driver faces rather difficult terrain in its journey into the mainstream. However, that is how the rest of the world discovers his work. Mo matter what, Baby Driver still a marvelous movie with 100% on Rotten Tomato and a great success of Wright and its casts.