At first glance, this may seem like a typical heist movie, complete with a star studded cast and Fast and Furious stunts. It’s certainly the feel you get upon watching the trailer. Just one more job, and he’s out. Of course, if you’ve seen any of Edgar Wright’s other movies, you know that he likes to take the genre and more or less parody it, while also creating something that fits right in. Be it a zombie movie filled with comedy, an action movie that completely unloads in the final act, or a heist film with a musical on a collection of iPods, you can always expect a fresh twist on a played out genre from Mr. Wright.

Baby Driver starts off in a manner that is very similar to Nicolas Winding Refn’s Drive. You see Baby (Ansel Elgort) in the driver seat as the rest of the crew heads in to perform the robbery. He waits in the car listening to Bellbottoms by Jon Spencer Blues Explosion, singing along and playing the air instruments as they come about. The song, as is made more evident as the movie continues, is set to sync up with the action happening in Baby’s world. Have you ever been walking along as you are listening to a song, and notice that your tempo syncs up with the song? Perhaps you’re working out and a particular song fits just right with what you’re doing at the moment, giving you an added boost of energy. That’s how Baby lives, and if something isn’t right, he’ll rewind so it is.

Once the crew makes it back to the car, you’re treated to all the tricks Baby has up his driving sleeve, switching cars in a parking garage just in time for the title credits to appear. For a movie with a focus on driving, there didn’t seem to be a whole lot in the movie. But when there was, it was fast-paced and adrenaline pounding. Baby doesn’t speak much throughout the film, as he lets the music do the talking. And this is something that is constantly picked at by his crew that is always handpicked by Doc (Kevin Spacey), who we soon find Baby is paying off for something he previously did. When we come to find this revelation, we hear that one more job will make them straight. Of course, this is said in response to Baby saying he’s done. You can imagine the threats and events following him thinking he’s out, because the best aren’t simply let go.

The more prominent characters such as Buddy (Jon Hamm), Darling (Eiza González), and Bats (Jamie Foxx) have the most interaction with Baby in the heists. Buddy is the most likeable, being much more human to Baby than everyone else that comes into contact with him. It appears that everyone is leery of Baby and the fact that he doesn’t talk much, always wears sunglasses, and never takes his earbuds out. It’s made clear later on why he has such a fixation to music, as a previous event lead him to having tinnitus, a constant ringing in the ears. You know the sound – after leaving a concert when you were right by the amps and you can’t hear anyone unless you’re yelling at them, and you find yourself outside the building with a high pitched hum that won’t stop. Throughout the movie you’ll hear this when the music isn’t playing, and sometimes when it is, serving as a constant reminder of his past and his motives.

Baby has no intention of living the criminal life, and he wants anything but that once he meets his love interest, Debora (Lily James). Debora is a waitress at a diner that catches Baby’s attention from the moment he sees her, and he is willing to sweep her off her feet as soon as he can. She has dreams of just hitting the road with no plans, meaning they’re a match made in heaven, considering. Unfortunately, things aren’t so easy; they never are in crime. In addition to the love interest, Baby also takes care of his foster father who is disabled, sharing tender moments with him and seeing how supportive he’s been despite the life of crime. These sections of the movie humanize Baby, helping to show that while he’s a criminal, he’s one you should root for in the end.

Outside of the normal story telling you would expect from this type of film, the movie oozes with style. As previously mentioned, Baby loves his music. He has several iPods with different songs depending on his mood. Just like Wright does with Shaun of the Dead, each gun fight becomes the percussion to the songs played. The squealing of tires becomes the rhythm of a song. Without the soundtrack in place, the movie is a very different beast. Music has always been a vital part of Wright movies, as well as sound design in general. You’ll find audio transitions hear that he’s practically famous for, and visual cues that are so smart you likely won’t notice them.

If you’re a fan of heist films, car chases, and all around style, Baby Driver is likely for you. Starring a cast brimming with Hollywood klout, it’s nice to see Ansel be such a tour de force. While not my favorite directed film from Mr. Wright, it’s easy to see why it’s being so highly praised. Every story has been done before, and this film has all the tropes you’d expect from the genre. But sometimes it’s the tired ideas that work best when revitalized by the likes of a true artist.

9 out of 10

Baby Driver was written and directed by Edgar Wright. It was released in theaters on June 28th, 2017, and does not currently have a date available for purchase. The film was not provided to us for viewing.

 

Here at GBG we use a rating method that you are more than likely familiar with – a scale of 1 to 10. For clarification, we intend on using the entire scale: 1-4 is something you should probably avoid paying for; 5-7 is something that is worth your time, but probably not at full price; 8-10 is a great movie that you can feel confident about paying money to see in theaters or at home. If you have any questions or comments about how we rate movies, please let us know.

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