From its unforgettable opening sequence, it becomes clear that Edgar Wright's (Shaun of the Dead, 2004) Baby Driver is an unusually clever and fresh action film. The music in this film is not only an awesome mood lifter, it's an important part of the experience and a character of its own.
The cinematography is great, but the mix of sound and visual editing is downright impressive. The music is perfectly synced with the action on screen, down to every beat and break. Steven Price's (Gravity, 2013) score is awesome and varying in it's own right, but it's when it gets combined with the editing when it turns truly marvellous.
The action sequences are fast, exhilirating and impressive. Most of them are shown from Baby's unique perspective, which make them feel special.
Ansel Elgort (The Fault In Our Stars, 2014) hasn't really been given a chance to break out properly, but Baby Driver should be the film that allows him to do so. The eccentric, cool, suave and somewhat naive Baby fits Elgort perfecly and he makes the character his own. There's so much joy and dance in Elgort's performance that it becomes contagious.
Wright's script is filled with wonderful humor, sharp dialogue, clever pop culture references, a few surprises and, above all, exhilirating action scenes, of which the car races are the absolute best. His action film is of the intelligent kind, with a backstory to support the characters and personal motives to create tension.
The scenes in Baby's home featuring the deaf man (CJ Jones) and communication through sign language is oddly calming to watch.
The climactic action sequence is one of the most glorious and entertaining chases in an action film ever. And that's just the beginning for a tight and exciting final act and an emotional ending that neatly ties the film together.
:smiley:
In many ways Baby and Debora represent the kind of life modern teenagers live - constatntly living in a busy world with music playing in their ears. Even though their relationship is the most unoriginal part of the film, it still feels warm and very lovely.
Kevin Spacey (L. A. Confidential, 1997) gives a strong performande as the crime boss Doc, acting both as a father figure and a sore thumb for Baby. His chemistry with Elgort is admirable.
Wright's script isn't all mindless action. There's plenty of scenes developing the characters, settings and relationships. Wright makes sure we get to know the main characters and feel for them.
Jamie Foxx (Django Unchained, 2012) and, in particular, John Hamm (Mad Men, 2007), give great supporting performances. Those two bickering with each other and Baby is wonderful to watch.
The tension inside the group is palpable - that between the violent and unstable Bats, the negotiator Buddy and the conflicted Baby.
:neutral_face:
Lily James (Cinderella, 2015) is her usual cute self in this film, but her character Debora isn't all that interesting. The chemistry between her and Elgort is genuine but she is given little material to work with and her relationship with Baby doesn't really evolve throughout the film.
The middle part of the movie gets somewhat repetitive and dragged out before the script moves on to new things.
Review by Theo KallströmVIP 6BlockedParent2020-01-06T18:03:47Z
The Five Faces of **BABY DRIVER**
:heart_eyes:
From its unforgettable opening sequence, it becomes clear that Edgar Wright's (Shaun of the Dead, 2004) Baby Driver is an unusually clever and fresh action film. The music in this film is not only an awesome mood lifter, it's an important part of the experience and a character of its own.
The cinematography is great, but the mix of sound and visual editing is downright impressive. The music is perfectly synced with the action on screen, down to every beat and break. Steven Price's (Gravity, 2013) score is awesome and varying in it's own right, but it's when it gets combined with the editing when it turns truly marvellous.
The action sequences are fast, exhilirating and impressive. Most of them are shown from Baby's unique perspective, which make them feel special.
Ansel Elgort (The Fault In Our Stars, 2014) hasn't really been given a chance to break out properly, but Baby Driver should be the film that allows him to do so. The eccentric, cool, suave and somewhat naive Baby fits Elgort perfecly and he makes the character his own. There's so much joy and dance in Elgort's performance that it becomes contagious.
Wright's script is filled with wonderful humor, sharp dialogue, clever pop culture references, a few surprises and, above all, exhilirating action scenes, of which the car races are the absolute best. His action film is of the intelligent kind, with a backstory to support the characters and personal motives to create tension.
The scenes in Baby's home featuring the deaf man (CJ Jones) and communication through sign language is oddly calming to watch.
The climactic action sequence is one of the most glorious and entertaining chases in an action film ever. And that's just the beginning for a tight and exciting final act and an emotional ending that neatly ties the film together.
:smiley:
In many ways Baby and Debora represent the kind of life modern teenagers live - constatntly living in a busy world with music playing in their ears. Even though their relationship is the most unoriginal part of the film, it still feels warm and very lovely.
Kevin Spacey (L. A. Confidential, 1997) gives a strong performande as the crime boss Doc, acting both as a father figure and a sore thumb for Baby. His chemistry with Elgort is admirable.
Wright's script isn't all mindless action. There's plenty of scenes developing the characters, settings and relationships. Wright makes sure we get to know the main characters and feel for them.
Jamie Foxx (Django Unchained, 2012) and, in particular, John Hamm (Mad Men, 2007), give great supporting performances. Those two bickering with each other and Baby is wonderful to watch.
The tension inside the group is palpable - that between the violent and unstable Bats, the negotiator Buddy and the conflicted Baby.
:neutral_face:
Lily James (Cinderella, 2015) is her usual cute self in this film, but her character Debora isn't all that interesting. The chemistry between her and Elgort is genuine but she is given little material to work with and her relationship with Baby doesn't really evolve throughout the film.
The middle part of the movie gets somewhat repetitive and dragged out before the script moves on to new things.
:frowning2:
//
:face_vomiting:
//
The Final Face::heart_eyes: