Skrrt! Baby Driver is an absolute adrenaline rush, take a Lyft to see this or play Mario Kart afterward because it’ll leave you wanting tear up the road. I absolutely loved Edgar Wright’s (Hot Fuzz, Scott Pilgrim) latest film as it turned out to deliver not only the thrilling caper flick I expected, but also a love story with wonderfully incorporated and choreographed musical elements. The latter hits you right off the bat; Baby’s first coffee run around Atlanta is reminiscent of overly staged opening credits scenes from classic 70’s and 80’s movies. You immediately know you’re in for a unique ride as he saunters along to his meticulously chosen tunes.
Baby, played by Ansel Elgort, reluctantly serves as the brooding getaway driver for crime boss Doc, played ever so cooly by Kevin Spacey. Until he’s square with Doc, Baby has no choice but to continue to partake in heists which all happen to be attuned to his iPods. Doc ensures that each job consists of a different team of criminals, all of whom Baby stands out from. Jon Hamm and Eiza Gonzalez are Buddy and Darling, the millennial version of Bonnie and Clyde of Baby Driver. Jamie Foxx as Bats, along with Jon Bernthal as Griff seem to be the only ones harboring something against Baby who somehow infiltrated their underworld.
Outside of his driving gig, Baby happens to take out his perpetually inserted earbuds long enough to listen to waitress Debora, played by Lily James, singing. Baby and Debora have instant chemistry, which is key to believing that now the two will risk everything for one another having only just met. Of course just as soon as Baby thinks he’s out, Doc drags him right back in again and he and Debora must face the music.
With this, Wright has created another universe full of suspense, wit, and per his usual style, dozens of references to pop culture. Every scene in Baby Driver appears to have been carefully crafted. This was not only obvious during parts with quirky choreography, but every moment that contained music. It’s as if the soundtrack drove Baby and the entire film; a great soundtrack at that. Despite some of this being unrealistic, it only serves to add to Baby Driver’satypical aesthetic. Wright is not a realist, he always uses film’s capabilities to create more entertaining worlds. This is one of his movies that you watch over and over and find new references and inside jokes each time. It was a risk, one without his usual key players, but every actor and every creative choice absolutely paid off.
It is a relief to see a completely original film that somehow drew so much inspiration from others without mimicking. The enthusiasm Wright has for action packed films is tangible in Baby Driver. It’s inspired by other crime caper films, not only through its use of action but with the comedic relief as well. It reminded me most of Raising Arizona with its least capable and likely group of criminals you can’t help but feel for and who can’t catch a break. Not to spoil anything, but it also borrows from a classic horror flick at the end there. You’ll see. Well, you SHOULD see!
Roxy De La Rosa
