BABY DRIVER
Director : Edgar Wright
Year : 2017
Genre : Action
Rating : ****
With every blockbuster release having to be part of a wider cinematic universe or adapted from an already existing source, it is becoming increasingly more difficult to find true originality in mega-budget filmmaking. However, every once in a while, a movie comes along boasting such expert craftsmanship both in front of and behind the camera that it simply puts all other competition to shame. Edgar Wright's stylish retro action comedy 'Baby Driver' ticks both of these boxes and so many more.
Set against the backdrop of Atlanta's sordid crime underworld, the film follows the unorthodox life of Ansel Elgort's eponymous Baby, a young petrol-head whose considerable skill behind the wheel has made him the getaway driver of-choice for the ruthless kingpin Doc (Kevin Spacey). Afflicted with tinnitus from an early age, Baby uses carefully chosen music from his wide range of iPods to drown out the constant ringing in his ears and it is to these songs that he orchestrates not only his driving, but his entire life - whether it be escaping from a dangerous bank heist with his criminal co-horts, flirting with the beautiful waitress in the coffee shop (Lily James) or making a peanut butter sandwich for his deaf foster father at home (CJ Jones).
As has always been the case with his movies, music forms the thematic vertebrae of 'Baby Driver' and Edgar Wright has gone above and beyond to choose tracks which perfectly suit the emotion and the tempo of every single scene, tracks which are themselves meticulously choreographed and edited to the movements and actions of the characters on screen, with gunshots, indicator clicks, footsteps and beat shifts timed to the exact beat of the songs. Its a truly astonishing feat of editing and one that should be remembered at the forthcoming awards season.
Of course, this stylistic device has been used a number of times by the director in the past. Many will remember the now iconic snooker cue/Don't Stop Me Now scene from 'Shaun Of The Dead' (2005) and Queen take centre stage once again in 'Baby Driver', with Wright utilising the majestic guitars of Brighton Rock to score the films final thrilling car chase.
However, this song is only tip of the iceberg of what is a truly fantastic soundtrack filled to the brim with both stone cold classics and little-known indie oddities. If 'Hot Fuzz' (2007) was made for those endeared to the cop genre and 'Scott Pilgrim Vs. The World' (2010) was made for video game aficionados then 'Baby Driver' is a movie made for those whose love for music, as well as cinema, knows no boundaries.
Echoing the very high quality of the songs, the direction and the choreography are the performances. While barely given a word to say, 'The Fault In Our Stars' Ansel Elgort is brilliantly charismatic in the titular role of Baby, bringing to the character both an adolescent vulnerability and a gung-ho determination giving the film a strong and likeable centre - an aspect that is greatly magnified by the lovely chemistry between him and his beautiful co-star and on-screen love interest Lily James.
On the other side of the moral coin, Kevin Spacey delivers a wonderfully sinister performance as the enigmatic Doc while the rest of the crime gang played by Jon Hamm, Jamie Foxx (in arguably his best role to date), Jon Berthnal and Eiza Gonzalez all bring depth and, in some cases, a violent and unpredictable psychopathy to their characters.
However, this song is only tip of the iceberg of what is a truly fantastic soundtrack filled to the brim with both stone cold classics and little-known indie oddities. If 'Hot Fuzz' (2007) was made for those endeared to the cop genre and 'Scott Pilgrim Vs. The World' (2010) was made for video game aficionados then 'Baby Driver' is a movie made for those whose love for music, as well as cinema, knows no boundaries.
Echoing the very high quality of the songs, the direction and the choreography are the performances. While barely given a word to say, 'The Fault In Our Stars' Ansel Elgort is brilliantly charismatic in the titular role of Baby, bringing to the character both an adolescent vulnerability and a gung-ho determination giving the film a strong and likeable centre - an aspect that is greatly magnified by the lovely chemistry between him and his beautiful co-star and on-screen love interest Lily James.
On the other side of the moral coin, Kevin Spacey delivers a wonderfully sinister performance as the enigmatic Doc while the rest of the crime gang played by Jon Hamm, Jamie Foxx (in arguably his best role to date), Jon Berthnal and Eiza Gonzalez all bring depth and, in some cases, a violent and unpredictable psychopathy to their characters.
Visually or thematically referencing everything from 'Bullitt' to 'True Romance', 'La La Land' to 'The French Connection', 'Baby Driver' is unashamedly rich in the traditions of Hollywood's past while conversely being it's own truly unique entity. With unanimously great performances, heart-stopping car chases, wonderfully diverse characterisations, a witty and, at times hilarious screenplay and a toe-tapping soundtrack to simply die for, 'Baby Driver' is a truly exhilarating experience from start to finish and the thrilling apotheosis of a directorial career that has continued to shape and evolve the art of film direction, editing and execution.
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