2904
3.5/5 stars
It’s official, the oldies are making a comeback. And they’re taking over. First it was with fashion trends, then it was with music. And now it’s the film industry. Baby Driver is a modern manifestation of the classics, a literal and metaphorical blast from the past. Director, producer, and writer Edgar Wright creates a film that leaves most audiences and critics amazed with its combination of action, comedy, romance, and a killer soundtrack.
The film centers around getaway driver Baby (Ansel Elgort). Yes, his name is actually Baby. When Baby was a young child he survived a car accident, leaving him without parents and with chronic tinnitus, a medical condition where his ears experience a constant ringing that is only flushed out with music. Baby works as an involuntary getaway driver for heist director Doc (Kevin Spacey), paying back a decade-old debt and providing for his deaf elderly caretaker, Pops (CJ Jones). After working for Doc for ten years, Baby wants out. Around the same time, he falls hard for lovable diner waitress Debora (Lily James). However, like always, there’s a catch: one last job, and one last offer. Will fate play in Baby’s favor? Or will he be stuck in the criminal world for the rest of his life?
The film is an exciting rollercoaster ride with great music, outstanding cinematography, and strong performances by the cast. The Fault in Our Stars alum Ansel Elgort breaks free from his teen drama roots to play the honorable criminal, Baby—bad in legal terms, but a golden star in terms of morality. Elgort crushes the role of Baby through his innocent charm and unexpected dance skills. Along with Elgort, Kevin Spacey graces the audience in the role of Doc, a man who is always put together and poised, and definitely someone no one wants to mess with. However, the true entertainers are Jamie Foxx, Eliza Gonzales, and Jon Hamm, playing low-ranking criminals Batts, Darling, and Buddy, respectively. This band of crooks are indescribable, because calling them psychos would be an understatement. The actors played their neurotic characters with precision, accuracy, and intense heat, ensuring that audiences come to hate all of them by the end of the film.
Wright creates a visually pleasing movie through amazing cinematography, with angles and transitions that leave critics wide-eyed. But the action sequences, with their rhythmic flow set to retro tunes stealing the show. Wright brings the funk back with old school hits that are the basis for the entire movie. Each song has a specific role, making the soundtrack the highlight of the film.
However, while the critical aspect rises high, the entertainment aspect falls slightly low. The plot seems like the standard ‘criminal who wants to do good because he is in love’ type of film, with the music being the only original twist. The plot has the tendency to go off track in spots, making audiences confused and slightly annoyed.
All in all, Baby Driver is a comeback from the classics that brings amazement to the eyes, and happiness to the ears.
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