Cast: Ansel Elgort, Kevin Spacey, Lily James, Eiza González, Jon Hamm, Jamie Foxx, Jon Bernthal
Director: Edgar Wright
Writer: Edgar Wright
Before working on this film Edgar Wright famously walked away from the production of Ant-Man over creative differences, stating that the studio would not allow him to make the movie he wanted to make. That experience must have had a profound effect on him because with Baby Driver what Edgar Wright has delivered is a movie that only he could have made. As with Hot Fuzz and Scott Pilgrim vs. the World, Baby Driver is a movie that is positively bursting with life and energy. There is always something happening on screen and it is always something interesting, creative and entertaining. There is also a clash in genre that is similarly typical of the director’s work as this movie brings together the adrenaline-fuelled car-chase thrillers of the 60s and 70s with the romantic musicals of Gene Kelly and Fred Astaire. Wright has distinguished himself before with his enormously funny and inventive films, but Baby Driver feels like more of a passion project than any other movie he’s made, making it his most personal work to date.
Baby (Ansel Elgort) is a getaway driver in Atlanta, working off a debt he owes to the fearsome criminal mastermind Doc (Kevin Spacey). As a child Baby and his family were caught in a car crash that killed his parents and left him with an eternal ringing sound in his ears. He blocks this sound out with music, keeping a sizeable library stored on his iPods, and now choreographs his daily routines, including his getaway driving, around the songs he listens to. After his latest job he stops by a diner and there meets the waitress Debora (Lily James), whom he starts dating. After his next job goes awry Baby is ready to get out of the game, but Doc isn’t ready to let him go even after their debt is squared away. Instead Doc blackmails him into working on another heist, teaming him up with the psychopathic Bats (Jamie Foxx) and the happy-go-lucky couple Buddy (Jon Hamm) and Darling (Eiza González). Stuck in this predicament where there are no happy outcomes, Baby has to decide what kind of man he wants to be and what he must do to save Debora and himself.
Baby Driver isn’t a musical in the sense that it has characters bursting into song and partaking in elaborate dance routines, but it has the mood, sensibility and logic of a musical. Baby chooses his music to reflect his state of mind and whether he’s losing the police to the tune of ‘Bellbottoms’ by the Jon Spencer Blues Explosion in a car that dances in its own way or skipping along to ‘Harlem Shuffle’ by Bob & Earl on his way to pick up some coffee, there is such seamless synchronicity to his movements. Wright shoots these scenes as if everything surrounding Baby were in perfect harmony with him, matching the tone and tempo of the song, lining Baby up with visual cues and even placing lyrics in the background. This synchronisation is vital to Baby’s process and when he loses it, that’s how we know things have gone badly. When Baby abruptly halts and delays a job in order to sync up with The Damned’s ‘Neat, Neat, Neat’, it’s a hint of the dark turn that the job is going to take.
The story isn’t as interesting as the execution, but then that tends to be the case with action films. Take some good characters and put them in the hands of a great director and you can make the plot almost irrelevant (just look at Mad Max: Fury Road). Baby himself however wasn’t as interesting as I would’ve liked and I cannot help feel that he was miscast. Elgort gives it a good try and he’s certainly baby-faced enough for the role, but he just didn’t have the charisma to pull it off. I think the role would have been better served by more of a Steve McQueen/Burt Reynolds type. Still the movie had some great side characters to pick up the slack, especially in Foxx’s Bats and Hamm’s Buddy. Foxx brings a volatile sadism to his role not unlike Joe Pesci’s in Goodfellas and every scene he’s in is rife with tension as we wait to see what will or won’t set him off. Hamm (and González for that matter) are both great as the criminal couple who are as dangerous as they are passionate.
The superb soundtrack, the inspired choreography, and Wright’s keen instinct for visual storytelling all make for a movie that’s as imaginative, as stimulating and as enjoyable as La La Land. There are some weaknesses like the lead and the rather bland romance that never quite hits the wild fairy tale love story of True Romance that it was going for, but compared to the sensationalist experience of watching this film I’m willing to dismiss those complaints as nit-picks. Who cares about that kind of stuff when you’re enjoying an adrenaline-pumping finale to the tune of ‘Brighton Rock’ by Queen? This is a Hollywood blockbuster that doesn’t get made any more, not based on any popular property nor part of any franchise. It pays homage to the dozens of movies that inspired it, but it is also modern and self-aware enough that it doesn’t feel in any way outdated. It is a movie of its time and of times gone by, a balance that not many movies can hit. Edgar Wright put his heart and soul into this film and it was a pleasure to watch from beginning to end.