Edgar Wright strikes again! The director of Shaun of the Dead and Scott Pilgrim vs the World appears again with a romantic musical thriller. The synergy of the music is what makes this film so special, it has Edgar Wright written all over it. “A film by Edgar Wright,” the credits casually announce as the opening sequence finally screeches to a halt. To which you find yourself replying in your head ‘no kidding’.
Ansel Elgort plays Baby, a young getaway driver who works for big Atlanta crime boss Doc, played by Kevin Spacey and has a sad past with both his parents fatally dying in a car accident, this means that Baby can’t drive without blasting music into his ears, making his co-workers question his sanity. Baby’s job is a dangerous one, but one he has to take to pay off his debt to Doc (Spacey) but when he meets Debora (Lily James) his world completely changes. The films supporting cast is the films biggest strengths. The boss (Spacey) is menacing but also oddly cares for Baby. Bonnie and Clyde’s doppelgängers, Buddy and Darling, are played by Jon Hamm and Eiza González, they have a very loving relationship but if anyone looks at Darling in the wrong way buddy will not stand for it, and finally Jamie Foxx plays the hard-nosed Bats. This star studded cast adds a lot to the film, these potentially disposable characters are the glue that holds the film together.
Baby is always ‘one job away’ from freedom as he cares for his blind foster father at home, storing away his money so he can seemingly use it when he gains his freedom from Doc, the only certain thing in Baby’s life is that he is in love with Debora, a waitress that he meets in a diner, they hit it off straight away because they both have a love for music they don’t reveal much about their lives to each other but they both know they are right for one another the second they see each other, Baby decides he has to make a move to get out of this life of crime and when he does it all goes downhill for him. The films storyline isn’t too complex but is a good one.
The first two scenes were the best through the whole film, easily. The opening chase, then Baby bopping down the street on his way to the rendezvous—are somewhat better than the rest of the movie, the comedown from the opening two scenes puts a downer on the viewing because this pace is expected throughout the film and will disappoint you if you believed it would. There are parts of the film where the characters don’t fully follow their initial motivations which is confusing but by the end you gain an understanding of why.
One thing that is particularly brilliant is the soundtrack. I love the use of classic songs in films, and here it’s no different. Baby’s iPod library consists of such works by artists like Queen, Focus, Barry White, T-Rex and The Beach Boys. For me, it’s one of those elements that add a certain character and charm to the movie that I feel prevents it from being just another run-of-the-mill action flick, aside from its characters and direction style. Speaking of which, Wright’s frantic style is distinguishable more than ever, he uses his usual supply of tracking shots, quick cuts and sleek cinematography. The action, from the car chases to the gun-play is very well shot, with every cut being done in perfect coordination with the music. Wright’s love of pop culture also shows, with nods to films like Austin Powers and Monsters, Inc, as well as a genuine love of classic car chase films.
One negative about the film is the sexism, I wouldn’t usually bring this up but it is quite blatant in this film, there are only two female characters in the film and are both somewhat disposable characters. Debora (James) and Darling (González) are both the girlfriends, yes Darling is a strong character and does not need saving but Debora is your typical damsel in distress, she is the target of the evil and she needs a hero to save her, although the film doesn’t play on this too much there is still that aspect throughout the film.
For the most part, I’d say it’s one of Wright’s best films in years, easily tied with Hot Fuzz as my favourite of his films. You may like it; you may just pass it off as an over-stylised mess with too much hype. However, I loved it from start to finish. A stylish, quirky and brutal thrill-ride that’s some of the most fun I’ve had at a cinema this year.
Without being the most amazing film, it’s definitely the most entertaining film of 2017. This film is maybe the broadest Wright has ever gone with character and undeniably the most strained he’s ever been with genre, but also the most committed he’s ever been to the raw energy of a piece… Baby Driver isn’t as clever and funny as Scott Pilgrim or as personal and moving as The World’s End, but it’s very fun. Edgar Wright had the idea for this film sitting in his bedroom listening to the song ‘Bellbottoms’ around 22 years ago, and it’s clear to see this is Wrights passion project, and I’m sure glad he kept this idea in his mind for so long!
Film Reviews by Chloe 