[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.
The Five Faces of **BABY DRIVER**
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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.
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The Final Face::heart_eyes:
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.
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.
"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.
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.
Amazing movie overall. I instantly fell in love with it, it's so charming and funny and the way the soundtrack blends perfectly with every single scene dazzled me. Most of the actors have some sort of musical background and it makes it even better. This movie is an ode to music in a way that it was more important to me than the story it was trying to tell. Every actor was crazy good, but kevin spacey and jamie foxx were amazing. Ansel was great in its way, I know him more for his music than his acting so I don't know if he was looking off because of the character or because of his acting. But it created a weird vibe and I appreciated that.
The only reason why this movie is not a 10 for me is the third act. It felt so rushed, one minute baby is trying to save the girl from the post office, the other he's Impaling Bats with a beam. Deborah didn't even questioned why Baby was suddenly killing people and robbing cars, she just went with it and helped him, all for that sweet escape. Did it ruin he experience? nope, but I left thinking it could have been even better.
Few other thoughts:
Opening credits with Baby walking to the street with his eadbuds: AWESOME.
Ansel pulling an Ansolo with his mixtapes: AWESOME.
Dollar bills and bullets sincronized with the song: SO FREAKING AWESOME!
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.
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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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.
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.
"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.
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.
Review by AcoucalanchaVIP 4BlockedParent2024-01-07T03:56:59Z
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