Baby Driver 2017

Where do I even start with this? From the first scene right through to the very last credit, Baby Driver is an utterly absorbing blast of absolutely fabulous music and choreography. This isn't an action movie, it's a musical! Oh, man, the music! Even the tracks pulled from genres that I normally don't like just blended together so well. There is no way this film can not win at least one Oscar next week, for sound editing or mixing. It's all so well done.

Ansel Elgort* just kills it as the titular driver (called Baby, because what else would his name be?). Rarely have I seen such a young actor disappear so completely into a role—and he's in every scene. I was impressed by his seemingly effortless performances, and intrigued by the character. When a character is truly interesting, the way Elgort's Baby is, it's like a breath of fresh air after all the bored, tired, flat stereotypes we usually see in big Hollywood films. Baby isn't unique, by any means—plenty of characters in film, television, and stage plays get their core drive from some sentimental attachment to the past—but it's his way of moving, of taking what life throws at him, that makes Baby an interesting young man to watch. Most of the seemingly stock characters in Baby Driver come alive, actually, and that's a major credit to all the actors involved.

On the action side, there's a bit of Die Hard feel thrown in there, just for fun. The police chases feel pulled straight out of The Blues Brothers. The nods in this film keep coming, and they don't stop coming (but sadly that song was neither referenced nor used).

I'm throwing away my movie rating rubric for this one. I don't care how predictable or far-fetched the plot is, it's a "totally ninja" ride!

* — Elgort's father was a photographer, so it's not hard to guess why he was named Ansel.

[9.3/10] At first blush, Baby Driver writer-director Edgar Wright and fellow director Wes Anderson don’t seem like a natural pairing. Wright’s films, like Hot Fuzz and Shaun of the Dead tend to be overtly comedic, include a good quotient of action, and bring an adventure-focused quality to the proceedings. Anderson’s, by contrast, tend to be quieter, more droll pictures, that are certainly funny and have their share of exciting moments, but which find their form in the more reserved, music box sensibilities of Anderson’s oeuvre.

And yet, Wright and Anderson’s films have something very much in common. They both create films where it seems like the world was built to fit their characters, rather than more typical films where the main personalities find themselves struggling in a world that’s indifferent to them or even more commonly, which doesn’t fit them at all. Whether it’s Anderson’s elegant dioramas or Wright’s “everything’s foreshadowing” rube goldberg machines, the environments of these films bend to our heroes, not the other way around, resulting in some wonderfully well-choreographed cinema.

Baby Driver is the apotheosis of this tack, brought to bear in the form of car chases, gunfights, and the best jukebox soundtrack this side of the galaxy (and any attendant guardians). Indeed, Marvel Studios’ Guardians is a nice reference point, as both films not only feature countless rockin’ tunes, but also center on roguish but decent young men, holding onto to the last holy artifacts of their mother, finding solace in music and falling in with a rough crowd before deciding to stand for something more. It’s kismet that star Ansel Elgort, who plays the lead (appropriately named “Baby’), is signed on to be the past and future Han Solo in the latest standalone Star Wars flick, a character who’s very much in the DNA of Guardians’ Peter “Star-Lord” Quill.

Independent of any comic book counterparts, however, Baby Driver doesn’t offer much in terms of an original premise. Baby is a badass driver and a decent kid, mixed up with some bad folks, tentative about the prospect of blood and his hands, wanting to start a new life with his lady love. There are a lot of tropes in the film: the quiet but effective young naif, the loose cannon gangster, the slimy mastermind, the ingenue who represents a beacon of hope, the inevitable moral dilemma.

But what the film lacks in originality in its setup, it more than makes up for in performance, texture, and execution. Baby Driver has a murderer’s row of performers who chew up and spit out Wright’s script and make what could otherwise be stock character come alive and compensate for any dearth of depth with the sheer vividness of their presence.

Kevin Spacey looks alive for the first time in ages, bringing a blasé menace as the organizer of each heist. Jamie Foxx is at his extroverted best, rolling through pointed monologues and bringing a lived-in flavor of crazy. Lily James has enough homespun, wanderlust charm to balance out her underwritten part. Elgort is necessarily more reserved, but equally endearing and a fine fulcrum for the movie. And Jon Hamm brings his Mad Men practiced-gentility in a fashion that makes him seem like that much monstrous when the scales fall.
But while the performances carry the film in its quieter moments, what sets Baby Driver apart is sequence after superlative sequence of breathtaking kinetic cinema. Not content to simply toss in explosive but empty action to keep the heart-pumping, Wright, cinematographer Bill Pope, and editor Paul Machliss create these elegantly constructed set pieces of gorgeous synchronous stunts, twists, and turns, the hum right along with the music, just like the protagonist.

That works whether Baby is blowing the doors off the film’s opening with a series of death-defying terms perfectly sequenced to his backing track. It works when the young man finds himself embroiled in a firefight where surprise shots and returned fire blast back and forth in time with the beat. It works in chases on foot as the rhythmic thump of the tune of the moment matches the energy of pursuers and pursued alike. Even when Baby goes to get coffee, the world moves with him; from the graffiti on the walls to the buskers on the street everything goes where he goes.

In the same way, the film doesn’t so much present action scenes as it does ballets of chrome and octane. Baby Driver oozes with style and tempo, knowing how to hold the audience’s attention through great escapes that and close scrapes that keep topping one another, and quieter scenes where the tension comes from sweet interactions juxtaposed with combustive elements, leading the viewer to wonder which will win the day.

It’s also a near perfectly-paced movie. Like a perfect mixtape, Wright knows when to kick things into gear and when to slow things down to let the audience catch its breath before putting his foot on the gas once more. While the film starts to feel a bit overextended at the very end, with the villain creeping into unkillable slasher territory, for the vast majority of its runtime it holds your attention from moment to moment and scene to scene expertly. In that, Wright matches the talents of his protagonist, directing and maneuvering this complex machine like it were a rough-and-tumble ballerina, full of slick thrills and inimitable grace.

He achieves this with a movie, a setting, and a lead character, that each move like clockwork in sync with one another. While Baby Driver is neither as quiet or twee as Wes Anderson’s work, it brings with it the film’s own sense of longing and melancholy beneath an intricately constructed world. Every scene is a dance, every moment a confluence of sound and imagery and movement, whether in the pulse-pounding races against cops or robbers, or gauzy imaginings of another life that might be. In Baby Driver, Wright has built his most elegant, intricate toy, and it’s a treat and a pleasure to see him play on the screen once again.

–"What's with the earbuds?"
–"Just his music."
–"Yeah, he's loony. He's just like his tunes."

This was B-A-N-A-N-A-S!! Drive meets Money Heist. The story isn't anything particularly original on paper but this is how it's done right. Perfect mix of adrenaline action, quality Edgar Wright comedy, effective emotional beats and even a good romance subplot. Very stylish and the soundtrack is on fire.

Ansel Elgort nailed it as the main character, what they did with him and the music is pretty clever. The characters are so fun and the interactions between them very entertaining. Jamie Foxx is a standout, he was hilarious. I liked Jon Bernthal at the beginning but he just disappeared from the movie for some reason. Kevin Spacey is both hilarious and scary. Lily James and Ansel Elgort have great chemistry.

I'm totally surprised by the quality of the action here, it was spectacular. Some of the best chases i've seen, be it by car or on foot. The editing, camerawork and quick camera changes make it look even better. It was an 8/10 before the third but it totally deserves a 9/10 because that third act was perfect. Can't wait to rewatch this!

I wanted to hear the "Mozart in a Go Kart" song so bad

"Was he slow?"

Just when I thought "Dunkirk" was a surreal movie experience, along comes "Baby Driver". A beautifully directed fast peace film with a mix of comedy and action. Just imagine La La Land, but if it was directed by Michael Mann.

I've been a fan of Edger Wright for awhile, as every film he directs I will watch and support it the best I could. Edgers way of visual comedy and know when to switch tones is achievement of it's own. And I know a lot of film makers struggle with that or don't know how to pull it off. What Edger managed to pull off in "Baby Driver" should convince film studios or the average audience member, he's one of the most gifted directors alive right now. The stunt driving and the brilliant coordination with each scene, it's hard not to love it. This was he's passion project and it freaking shows.

Good thing I watched this on the last week it was playing at my cinema. Imagine me missing this.

The movie is literally driven by music. Because everything is edited to a beat of the music. The way the music tunes with the environment of the characters was both unique and different. Gunshots, car horns, or any action will sync up.

Besides having a story that's been done before and you having a sense of things you know is going to happen, but what stops it from being predictable is you never know how things are gonna play out. Almost like the main characters mindset.

All the acting was pretty superb and everyone added something to their characters. With Jon Hamm being the stand out for me. Even well known actors who didn't do much still shine on their own. Like Kevin Spacey dose he's usual thing and there's nothing wrong with that, as it was suitable for that character.

Overall Rating: "Baby Driver" is extremely thrilling, funny, and a total blast to watch. Stylist with it's colors and music choices. The best mix of all film genres and you have no idea how refreshing to see something like this.

Bullets going along with the beat of the music was beautiful.

"Was he slow?"

Just when I thought "Dunkirk" was a surreal movie experience, along comes "Baby Driver". A beautifully directed fast peace film with a mix of comedy and action. Just imagine La La Land, but if it was directed by Michael Mann.

I've been a fan of Edger Wright for awhile, as every film he directs I will watch and support it the best I could. Edgers way of visual comedy and know when to switch tones is achievement of it's own. And I know a lot of film makers struggle with that or don't know how to pull it off. What Edger managed to pull off in "Baby Driver" should convince film studios or the average audience member, he's one of the most gifted directors alive right now. The stunt driving and the brilliant coordination with each scene, it's hard not to love it. This was he's passion project and it freaking shows.

Good thing I watched this on the last week it was playing at my cinema. Imagine me missing this.

The movie is literally driven by music. Because everything is edited to a beat of the music. The way the music tunes with the environment of the characters was both unique and different. Gunshots, car horns, or any action will sync up.

Besides having a story that's been done before and you having a sense of things you know is going to happen, but what stops it from being predictable is you never know how things are gonna play out. Almost like the main characters mindset.

All the acting was pretty superb and everyone added something to their characters. With Jon Hamm being the stand out for me. Even well known actors who didn't do much still shine on their own. Like Kevin Spacey dose he's usual thing and there's nothing wrong with that, as it was suitable for that character.

Overall Rating: "Baby Driver" is extremely thrilling, funny, and a total blast to watch. Stylist with it's colors and music choices. The best mix of all film genres and you have no idea how refreshing to see something like this.

Bullets going along with the beat of the music was beautiful.

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:

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:face_vomiting:

//

The Final Face::heart_eyes:

Baby (Elgort) is a getaway driver who spends his days listening to music on his multiple iPods and driving fast cars for a criminal syndicate led by Doc (Spacey). He records their conversations and creates remixes from them. Between heists, he meets and falls for a waitress named Debora (James) and wants to leave the criminal life with her. However, Doc has one more job for Baby to complete.

The film features thrilling car chase sequences that are well choreographed and accompanied by a great soundtrack. Elgort's portrayal of Baby is cool and mysterious and the supporting cast, including Spacey, Hamm, Foxx, and James, all deliver solid performances. Although the story becomes predictable, the film remains enjoyable to watch. However, the ending feels slightly anticlimactic and the structure of the film feels odd in places. Overall, "Baby Driver" is an entertaining blend of "The French Connection," "Drive," "La La Land," and "The Driver," with a modern pop culture twist.

Baby (Elgort) es un conductor de fugas que pasa sus días escuchando música en sus múltiples iPods y conduciendo autos rápidos para un sindicato criminal liderado por Doc (Spacey). Graba sus conversaciones y crea remixes a partir de ellas. Entre atracos, conoce y se enamora de una camarera llamada Debora (James) y quiere dejar la vida criminal con ella. Sin embargo, Doc tiene un trabajo más para que Baby complete.

La película presenta emocionantes secuencias de persecución de autos que están bien coreografiadas y acompañadas de una excelente banda sonora. La interpretación de Elgort de Baby es genial y misteriosa y el elenco de apoyo, incluidos Spacey, Hamm, Foxx y James, ofrecen actuaciones sólidas. Aunque la historia se vuelve predecible, la película sigue siendo agradable de ver. Sin embargo, el final se siente un poco decepcionante y la estructura de la película se siente extraña en algunos lugares. En general, "Baby Driver" es una mezcla entretenida de "The French Connection", "Drive", "La La Land" y "The Driver", con un toque de cultura pop moderna.

Loud, raucous good times with fast cars, tough guys, beautiful girls, a talented young wheelman and his ever-present set of earbuds. The key to this picture is its music, which thumps and grooves in time with the chaos outside our driver's private little bubble, so it's a good thing the soundtrack is so hip and catchy. Peppered with a broad mix of genres - motown hits, classic rock, old school hip-hop, first-wave punk, britpop - somehow it all fits together swimmingly, an expertly-paired tune for each mood that smoothly eases right into the next track. It's stylish and fun, with subtle winks and clever lyrical Easter eggs snuggled lovingly into the scenery, but the gimmick never feels too cute.

The plot is simple and straightforward, no risk of bucking distracted viewers here, and while a little extra depth might have given us more to chew on, it also would've robbed the film of its charm. There's a certain puppy dog innocence to the whole thing, despite the storm of bullets and bloody end to so many primary cast members, that's not unlike director Edgar Wright's earlier films. A great dose of pure, high-octane summer entertainment with a musical spirit to rival Guardians of the Galaxy, it's just a hair on the light side.

I've seen this a s a sneak preview and I was really entertained - cool movie, a lot of fun. It's not a master piece, and after the incredible good critics I can understand that some might have been disappointed, but other than that, it's just a lot of fun. I liked the action, the cool driving scenes, some really great compositions as well as the incredible good symbiosis of music and pictures. The thing that bugged me most, is that the general idea of having an action movie married to a great 80s soundtrack is not that new, and since the success of Guardians of the Galaxy somewhat exploited. Only this year we had Guardians of the Galaxy 2 and Atomic Blonde, doing the same thing, so this is already the third one in one year. And especially Guardian of the Galaxy has some parallels with the soundtrack and an antique music playing device being in the center of attention.

Other than that it was however a good movie. I liked all of the main actors; after coming out of the cinema I was a bit dissapointed by the small roll Kevin Spacey was playing - at that time I would have liked to see him a bit more (of course that was before the scandals).

Other than that, great action movie.

Don't put baby in a corner...Oh wait wrong movie...There is nothing girly about this one! Baby Driver is a good movie with a good soundtrack and special effects. Although the soundtrack isn't as good as the Guardians of the Galaxy vol 2 it is a nice one. Why bring up Guardians you say? Well director Edgar Wright and James Gunn (for people who don't know.... James Gunn is the brilliant mind behind Guardians of the Galaxy vol 1 and 2...and working on 3) texted about the soundtrack. And it's true because James Gunn tweeted about this himself and I think it was on Facebook too :P ! I did love the soundtrack of Baby Driver and kudos for using Queen.. too bad it was from Sheer Heart Attack not my fav album, they made so many amazing albums and songs... also Radar Love from the Golden Earing(s) XD is an epic move. Always love riding my car on that one and having a serious problem controlling my gas on it. Also the soundtrack tries to blend in with the movie, which is pretty cool.

Enough about the music, the movie itself might not be that original story wise but it is surely entertaining. Great acting by everyone and of course great driving! Cause that Baby can drive!!! I am truly jealous of his driving skills, and those scenes are the best scenes in the whole movie not the story line / romance stuff but the driving action! If we would've had 1,5 hours of driving action and only 30 min of story I would've been happy too. It's definitely a movie you would want to see in the theaters because of the big screen and sound, only problem is driving home after the movie... I seriously wanted to drive like Baby :D

It's nothing too special so I don't think it will show up at the Oscars maybe for sound editing or special effects but not one of the big ones, but hey that's my opinion, I have been wrong lately with the Oscars.

I give this movie 8 out of 10.

BABY DRIVER (2017) REVIEW
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:scroll: Plot : Baby is getaway driver who works for a criminal kingpin named Doc who sets up new team for his of his heist with baby being the only constant. Now after Baby sees bloodshed during one of the heist decides to stop doing it and lead a normal life with a legitimate job and continue a relationship with Debora. Things Go wrong when team become incompatible in their last heist and all things go messed up. What happens next is the story all about.
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:man:‍⚖ Review :

Baby Driver is a musical , action thriller which seems to hit right notes for its genre. The gradually increasing and well shot action scenes are a treat to watch. The Actors are brilliant be it Kevin Spacy's dialogue delivery or Jamie Foxx's homicidal image along with his accent the movie has all elements of an entertainer. The Unpredictable Music is the highlight of the movie which sets the tone of it.

Ansel as Baby is the heart of the movie who is a victim of an accident during his childhood because of which he has developed acute tinnitus, which leaves a constant humming sound in his ears. He drowns out the noise with music, stored in a collection of vintage iPods, one for every mood. He is brilliant as a fearless driver , a romantic lover and a responsible son .

All in all Baby Driver may seem like a old school action musical. Oh Wait for the final hour — a high-octane, tightly choreographed violence, action, drama and, yes, love. A heady, intoxicating combination that Wright, the Director manages to get just right.
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:thumbsup:Goods : Brilliant Action Set Pieces, Chemistry between Baby and Bats (Jamie Foxx), Thrilling Climax
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:thumbsdown: Bads : I Expected a little more from it and felt betrayed.
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:fire: Final Rating : 7/10
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:white_check_mark: Recommendation : Watch it for a time pass, a popcorn worthy flick which has everything merged into one. Action, Drama, Melodrama, Romance, Music and Thrills.
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