Why the second half was so so bad?
The film starts quite strong and is enjoyable for the most part. It seems to be about 30 minutes too long as it falls apart quite sharply towards the end.
middle of the road fun.. some cool scenes but overall just meh
I loved it at first, but the closer to the end we got, the cheesier it became and the more I recoiled on the inside. Still love the big role that music plays in it and how they underlined that by making the screenplay be part of the songs.
Never watched it because I thought it was going to be a comedy with an Actual baby driver. Found out it wasn't.
It was interesting until the last 30 plus minutes where the movie took an obvious turn into Romance and it became too much of a cliche where those last 30+ minutes were agonizing and makes you want to stop watching because the main character makes extremely obvious choices.
Worth watching once and only once.
To see a middling piece of filmmaking from the otherwise transcendent Edgar Wright really comes to underscore what makes the great masterpieces resonate through the passage of time. Take his Cornetto trilogy: Wright achieved the impossible by taking superficially screwball premises, ostensibly more suitable for skits or video games, and using them as backdrops for three hilarious stories of poignant human growth & experience: the irresponsible Shaun needs direction in his estranged personal life, arrogant officer Nick needs respect for those lesser than him, and the immature Gary needs to break from his juvenile tendencies. With each subsequent film, viewers not only walked out exhilarated by Wright’s balls-to-the-wall aesthetic, but also inspired to become better human beings, having been successfully tapped by Wright into something present or missing in their lives.
Baby Driver marks a violent change from these works in both facets of style and narrative, and while much of it proves inspired & effective enough to his benefit, there’s an equal much that detriments the film’s emotional center, making questionable sidetracks from Wright’s trademark execution to provide something more subtle and unfortunately conventional. Don’t get me wrong, Wright’s newest is a finely functional film, and he still manages to carry over some of his sweeping entertaining flourishes. The film’s car chases are powerfully executed, melded together with a seamless beat-to-beat blending of soundtrack and action to maintain consistent engagement and capture the flow of an off-kilter music video. Baby’s backstory is well-conceived, making emotional sense of his passive temperament. Furthermore, seeing his desires reflected onto waitress Deborah creates a solid empathetic latch, with Wright even using thematic parallels within Baby’s questionable life of crime to further emphasize his need for escape. And seeing this predicament come to a head in its third act is an undoubtedly visceral joyride, using surprise to amp up the tension at every turn, provide something blisteringly in-the-moment, and end its simple narrative track on a satisfying moral note.
Yet despite this pleasurable shift in Wright’s creative voice, the film can’t help but ring hollow, even in the midst simple storytelling ambitions...because that’s where the problems lie: its simplicity...both in a scene-to-scene and thematic basis. In comparison, with each of his Cornetto films, Wright added a dramatic weight to his threadbare plots by giving Simon Pegg’s titular characters respective existential crises and flaws in need of fixing, therefore keeping a crucial emotional want and need in each of them and establishing a strong empathetic link. By putting these characters’ traits through the wringer in extremely exaggerated scenarios (zombies, robots, and all), human truths are discovered and thematic complexity is mined, naturally leaving a mark on their audience, all while finding hilariously subversive routes with the comedy & action genres. Baby Driver, however, plays it entirely straight, taking no narrative risks with its genres and placing a heavy reliance on flash and contrived circumstance to propel us through. Even our protagonist’s plight doesn’t go beyond the plain, needing only to break from the box of crime he’s trapped in in order to run off with his girl; so much for inner conflict. And when Wright tries to integrate some of his inflated Cornetto comedic tone into the proceedings, it fails to land amongst the sharply dramatic tone he’s already established, that instead favors the understated.
Now, one may be thinking: “dead simple stories like this can work if that’s all the creator is going for”, and they certainly can. Take Nicolas Winding Refn’s masterpiece Drive, a stunningly visceral film that elevates its humdrum yet steady sequencing with a meticulous capturing of its characters’ every emotional nuance. Baby Driver possibly could have worked outside of the complex, but unfortunately, the film is mostly inanimate throughout its second act. Important plot points and character traits masterfully established in its first act are strangely drawn out here, placing a needless timespan on Baby’s growing relationship as well as the tense preparation for the climactic heist. While certainly entertaining in the moment, with Baby’s partners-in-crime proving distinctive and menacing characters, most of the scenes add no further complication, conflict, thematic element that carries over into future sequences.
On an honest note, though: don’t let these flaws detract from the explosive experience Edgar Wright has bestowed upon us. He has remarkably lost sight of some key fundamentals, and taking a secondary narrative backroad did not always work to prime benefit, but the man clearly knows how to tell a story, instill emotion, and gracefully execute an action sequence; his creativity is well and thriving, and it’s always a visceral delight to take the drive with him.
This movie is just as good as you would expect a movie titled baby driver would be.
The plot is incredibly foreseeable, the characters aren't that interesting, and the whole backstory as to how the main character baby ended up in this position was incredibly far fetched. But the movie isn't all bad, it has some great action scenes, and the way music is used is down right genius. The plot may be terrible, but i would still recommend watching the movie purely for its soundtrack. The songs were great, and it was such big part of the story, i loved the scenes in which they synced the beats up with the gun shots. Sadly i can't rate it higher than a 5 overall.
5/10 Meh
Starts off strong, but becomes more and more convoluted as it goes on.
Just one example: Towards the end a guy is in a car that falls several stories off of a parking garage, and then the car immediately bursts into flames. A moment later he teleports to the place the car fell from, and he's seemingly suffered no injuries that he hadn't already gotten before.
The concept here is sound, the soundtrack certainly elevates it, but all in all it fell flat for me. This is certainly ripe for a supercut of all the driving scenes, and perhaps a few others that feature the soundtrack. If someone's made that, then go check it out. Otherwise this is skippable.
The movie was absolutely exhilarating during the action sequences, especially the car chases. But, the second the action sequences stop, the movie grinds to a halt with stereotypical writing and characters. What also doesn't help is the self-conscious need to be cool that the film has. Some would call it style, I would call it distracting.
One last job? Seen it before. And the characters in the film are cardboard cutouts. The worst of the bunch is Jamie Foxx's character Bats. Bats is a homicidal maniac who is hired by Spacey's Doc for a two jobs. Doc seems to be a very careful man who plans meticulously. Why Doc would pick an unhinged impulsive person like Bats to do a job is beyond me. The whole thing reminds me of the same flaw in Michael Mann's otherwise excellent heist film Heat where De Niro's McCauley hires a similarly homicidal and impulsive Waingro onto his team.
Did I like the film? Kind of. Yes, for the action sequences that are fantastically shot by Bill Pope and edited by Jonathon Amos and Paul Machliss. No, for pretty much everything else.
Best part of the movie is when Baby kills Bats. You can see it coming from miles away and I absolutely loved it. Bats was so damn annoying. I only wish he could go through an hour of agony like he made me sit through with all his stupid ass BS.
Unfortunately, this is where the movie turns south. Our main character was (mostly) smart, collected, and competent up until this last job. Then he suddenly becomes stupid, reckless, and incompetent.
I say "mostly" because he was a dumbass for wearing the same exact outfit in the heist and in public and never really covered his face. That is so retarded. The outfit was so distinctive he should have been spotted at least a dozen times as he is walking the streets.
Kevin Spacey and Jon Hamm were awesome. It's a shame they were both killed. I loved both of their characters.
This should be added in the Musical category, my ears literally hurt from all the mix matching of various songs and genres.
No inside heist action, just a demented kid listening to old music all the time and driving a car.
I'm sorry I waisted my Sunday morning on this!
Really bad movie with an even worse sound track.
wearing the same outfit as a civ on multiple heists and not even a mustache or a wig.
unrealistic to the point it breaks immersion
3+1(for the needledrops)
I love Kevin Spacey, and I love watching his movies. Also the TV series "House of Cards" is one of my all time favourites. But, I don't know why I have a feeling that tells me that this movie is going to be a failure and very disappointing?
Overrated, basic hero locked in Bad situation, basic lovestory called early, music's great but doesnt make an old action movie a sudden masterpiece
Damn this movie could be so fucking good! If not for the fact that baby is a little whining bitch who blow of the whole operation just becasue he felt sick of his little tummy! To make everything better the hot ass darling dies and all of the sudden kevin Spacey decides that is worth to sacrifice himself for that bitch ass lady they call baby and her girlfriend.
Really? Bitch please!
That is the kind of shit that only makes me angry.
this movie had potential to be good; so good!
Thought I'd watch this movie for the positive reviews it got. Alas I was proved wrong. This movie is for music lovers. Just boring.
Oh wow this was a tiresome cliche heist flick if I've ever seen one. Big mouth tattoo bad boys and cars that go brrr. Golden heart protagonist that needs to redeem himself. Innocent girl gets dragged into it. Kevin Spacey is a criminal mastermind. Soul soundtrack. Very testosterone.
Wow does this have such a high rating! I found it surprisingly terrible. Strange.
Basically an iPod play list that they tried to cobble a movie around with not much success. A predictable caper with some actors of good ability stifled by a poor script. 'Baby' as he is known is a real insufferable juvenile jerk, like the college kid trying SO hard to be Uber-cool (finger drumming, dancing in the street, and wherever else he can, cutesy look and cringe worthy character), never have I wanted a lead character to meet an unpleasant demise. Total crap!
great Actors but but terrible movie. The first part was okay but the end of the movie... no no no
Ok. I Do not agree with other comments that the backstory is lame or unfeasable or what not. But considering that Doc is a manipulative bastard coercing baby into his role as criminal, how likely do you think is the scenario of him becoming an philantropist laying his life on the line just after this brat ruined his good running enterprise? And the only one who had tried to connect with Baby turns out the vengefull wacko who is out to kill him? all toghether, I have more problems with the actuall plot than with the exposition, background and all.
I liked the music and driving. Being hit over the head with the romance aspect of the movie? Not that cool. Also, not even a little bit believable. Maybe it would have been a better choice for him to have a little sister, or something, that he wanted to protect, and leave the lady love angle out of it. Also, Baby is a stupid name. Maybe there's some kinda reference there that I'm not getting?
(Why did they keep repeating Baby's and Debora's names? It got so annoying and awkward)
This movie was so good 8/10 in my opinion.
i would never put this movie anywhere close to my top 10 favorites but there's something about it, i keep coming back. also holy shit buddy looks like negan so much in this film
Imagine a sandwich with the world’s best filling, but placed between two pieces of stale supermarket bread.
That’s Baby Driver. The start and end will leave you cold, but the middle is delicious cinema indeed.
While I look forward to the last part of Edgar’s Little Horns trilogy, made up of dubious teens like Scott Pilgrim, Baby and the heroine(s) of Last Night in Soho, I’m still not sure whether it’ll be a great film
Edgar Wright is someone who I have liked since the first time I have seen his work with Spaced way back in the day. Hot Fuzz, Shaun of the Dead, all good stuff, all hugely influenced by other films and directors. Baby Driver is going to be that way – anyone who does not realise this has not been paying attention.
We are clearly and most unequivocally in a cinematic world here, nowhere else, so there is not much actual realism, no sense to be properly had, if you let it go, let the colours, sound and action take you in you will be fine. The car driving action is up there with any you have seen recently and probably in the past too, fast past, ridiculous and mainly in vehicles that would fall to pieces if you really did what you see on the screen. Music and pop-culture has played an important role in Wright’s artistic career so using music as the timing for the heists and action fits perfectly in the film. There is the conceit of tinnitus to power this plot point but in all honestly who cares, it is just an entertaining film and we are here for the colour, sound, action and cool characters.
If I have a quibble, and if you do read these typo-infested little works you know I always do, it would be the tone of the story seems a little inconsistent. For the most part we are looking a criminal caper movie with what is obviously a kind-hearted, good kid who is mixed up with some real ‘baddies’ who air menace and talk about death and mayhem but mainly seem to shout and scream but later we get blood and death and menace and the most menacing character becomes kind-hearted, definitely to my little mind a bit off-kilter.
The music is eclectic and drives on the action scenes well, all good stuff if you are a music-head, unfortunately I am not but I do understand and see the artistry at work here.
Ansel Elgort is particularly good in the main role of Baby, perhaps a little too cool for my liking, but he was consistent and engaging throughout the film, clearly his supporting actors John Hamm, Jamie Foxx, Jon Bernthal, Eiza González and Kevin Spacey all flirted with parody as they turned the nasty up to 10 but it was just restrained enough not the pantomime although all rather familiar. None of them had any sort of story other than bad criminal and thus they appeared even more peripheral than normal in a film of this type.
The weakest part of the film was the love story shoe-horned in with Lily James seemingly playing a character from another film. I was not sure how she was told to play her role but for me it was over the top twee and cutesy and even within the world we were being shown it just seemed out of place. Chemistry was clearly lacking between the young actors and it showed on the screen. I cannot say it is a minor gripe because it is a large part of the story but the whole film is just about strong enough to withstand it.
All in all, this is a strong entry to Edgar Wright’s filmography and it shows what good directors and film makers can do if they are given a little more freedom than big studio blockbusters allow. It will not be for everyone and has no place in the pantheon of serious films about crime. It is bright, colourful and as noisy as any comic book with acting and characters to suit that look it probably is not the sort of film I would seek out to watch again but this does not make it a bad film.
If you like colourful action and cool characters mixed in with some classic music tracks and you are not averse to a bit of violence, then this is the film for you – if you are the right mood for it this is a fantastic film for that, I am sure.
I was expecting something else... Truth be told, wasn't that great.
a couple of years ago , I had seen " begin again" like this music movie
It's been a while since I've not wanted a movie to be over. I coulda and woulda watched 10 hours of this awesomeness.
Shout by AlaaBlockedParent2017-09-14T12:20:44Z
Nothing so special about this movie, it could be far better.. just good soundtrack. 6/10