Look like a baby, drive like a baby.
Ever since a near-fatal car-accident left him with a severe case of tinnitus, Baby (Ansel Elgort) has been living his whole life with and by music. Strapped with ear-buds always in, and music always playing, he lives life to a soundtrack, knowing just the right sound, for the perfect mood, no matter what he’s doing. And in his line of work – as the go-to getaway driver – this matters most. After all, without Baby’s insanely impressive and crazy driving-skills, the bank jobs he’s apart of wouldn’t ever get done the correct way. But Baby wants more to life than just driving bank-robbers left and right, and after he meets a local waitress named Deborah (Lily James), he can’t help but see a bright and lovely future. The only issue is that he’s still on the hook to his employer Doc (Kevin Spacey), who’s not only the one feeding Baby all of these jobs, but actually making sure he, as well as those that he loves, are still alive. It’s something Baby doesn’t like to have hold over his head, so he does every job, without any questions asked, but with the arrival of rough and tough criminal Bats (Jamie Foxx), let’s just say things get a little tricky.
Baby Driver isn’t Edgar Wright’s best. Not by a long shot, in fact. However, it’s still everything you love and expect from a movie of his: Fast, witty, exciting, hilarious, silly, weird, full of obscure pop-culture references you don’t ever expect to hear, action-packed, and yes, charming-as-hell. In a way, it’s just nice to see an Edgar Wright movie, regardless of how great, lovely, or near-perfect it is; after what he went through with the whole Ant-Man debacle, it’s just nice to say we have a new Edgar Wright movie, rather than none at all.
Regardless, Baby Driver is still a good movie, all junk aside. It’s typical of Wright to take on the whole heist/crime-genre and never seem to lose an ounce of momentum throughout the whole two-hour run-time. Sure, it’s a movie about an insanely skilled getaway driver, so you’d automatically assume that it was just fast for the driving-sequences (which it is) and slow down for everything else, right?
In fact, Wright is just as energetic with the scenes of people sitting around tables, talking and going on and on about random stuff, than he is with any of the car-chases. Don’t get me wrong, the car-chases are still performed, filmed, and paced incredibly well, but Wright never lets up for a single second here, but it doesn’t matter, because it works and just adds an extra level of enjoyment to an already enjoyable movie. Rather than being way too much, for way too long, without a single breather to be found, Baby Driver turns out to be the well-deserved burst of energy that never lets up, keeps on trucking along, but keeps on finding ways to make it more exciting than before.
Which is to say that, nope, Baby Driver is not repetitive. It’s just a fun movie, plain and simple. It’s hard to totally pin-point down what about makes it such a blast to watch, other than to say, yeah, it’s fun. Obviously, you should see it.
And honestly, that’s why I have such an issue talking about Edgar Wright movies. I enjoy all of them immensely and while it’s a close battle between Shaun of the Dead and Scott Pilgrim as my favorite, it’s really hard for me to find total flaws with any of the others. In a way, some are just more enjoyable than others, and it’s more or a feeling that’s hard to actually put into words; call it lazy, call it what you will, but it’s been a problem for me ever since I started writing these things and have wanted to give Wright an extra shout-out, here and there.
It’s just that his movies are all solid pieces of entertainment, to say how and why, doesn’t really matter.
And yes, that’s sort of beauty about Baby Driver, as a whole. It’s just an honestly great piece of summer blockbuster fun that, unfortunately, probably won’t make a lot of money, because it’s too weird and too off-kilter for its own good. But it’s also a perfect sign of why visionaries and creative-genius’ like Wright deserve to make movies, no matter what they’re about, how much money’s behind them, and who actually wants to see them. Cause, at the end of the day, everyone’s going to enjoy them, it’s just all a matter of where and when.
So yeah, see Baby Driver.
Consensus: Even if it’s not Wright’s best, Baby Driver is still the same old kind of energetic, stylish, crazy, wacky, wild, and genre-smashing bit of fun we’ve come to know, learn, expect, and love from him and his incredible talents.
8 / 10