'Baby Driver' Review

Nominated For: Best Film Editing, Best Sound Editing, and Best Sound Mixing.

Baby Driver follows the antics of Baby, a gifted getaway driver, as he meets a lovely diner waitress and seeks a way out of the criminal world upon falling in love. Once he's payed off his debt, Baby's brought in for one last job that puts his love, livelihood, and freedom on the line.

Edgar Wright is one of my favorite filmmakers working today because he consistently puts out unique quality content and I can confidently say Baby Driver doesn't disappoint. Baby Driver is the first film to be written and directed by Wright following his departure from Ant-Man, so it's understandable that quite a bit of pressure surrounded Wright on this project. Thankfully, Wright proves he's not out of gas though as he rampantly revs his creative engine and shifts gears to bring audiences a heist film unlike no other.

Baby Driver differentiates itself from the rest of its genre by becoming a jukebox musical straight from the get-go thanks to a kickin' soundtrack. From beginning to end, Baby Driver is driven by music with marvelous meticulously staged set pieces and mere movements choreographed to near perfection. When the action accelerates, the music crescendoes with an encroaching accelerando that will have your heart racing. Wright's song choices not only suit the stunts but often times fit the circumstances of the story as well. The soundtrack featuring the likes of Queen and The Beach Boys enhances the events in a way I'm unsure an orchestrated score possibly could, even though Steven Price composes high caliber pieces for the transitional sequences. 

Every single frame of Baby Driver was conscientiously constructed with the intention of not only matching music but popping with a visual flair you'll be hard pressed to find anywhere else this summer. The editing's exceptional, the cinematography captures the pristine and grungy look of Atlanta perfectly, the color palette's as rich as La La Land, and the practical car chases have more hustle and bustle than any Fast and Furious entry. Also don't discount the auditory arena as I'm assured the sound design showcased won't be topped this year.

To top all of this off, Wright's script is roaring with heart, humor, and unpredictability. You'll think you know exactly how things are gonna play out but Wright will boldly blindside you time and time again till the story seems like it's spiraling out of control. Wright keeps a steady hand on the wheel though, taking audiences on a wild ride they won't soon forget. One element I was rather impressed by was how Wright naturally incorporated the rockin' tunes into his high flying narrative. I always admire when music is not only integrated in a film to sound cool but to serve a story purpose and Baby's funky playlist helps drown out the hum of Baby's tinnitus. But Baby doesn't just listen to these tracks to help him function. He has a clear appreciation for every ditty on his infinite iPods and they fully form Baby as a compelling character. There's a lot more under the surface of Baby than meets the eye and Elgort communicates it all with a poignant balance. 

Ansel Elgort portrays Baby with a cool-headed charm and straight-faced silence. Those may sound contradictory but Elgort makes it work. I believe Elgort is stepping into the leading man phase of his career and I can't wait to see what he has in store. Opposite Elgort, Lily James's Debora exhibits the attitude of the southern sweetheart and will delight the audience the second she strides in the background humming "B-A-B-Y." As for their chemistry, Elgort and James set off a spark the moment they step into frame together with their congenial connection.

The tactical team amassed to pull off the heist changes from job to job but the faces you'll see a majority of the time are Jon Hamm and Eiza González's lovesick Buddy and Darling alongside Jamie Fox's deranged killer Bats. Hamm demonstrates the most range of the bunch as he snaps from a calm, collected criminal to an unhinged psychopath in a matter of seconds. In the back seat, González disdainfully files her nails with troublesome thoughts crossing her mind and Fox is dripping from head-to-toe with shameless swagger.

Kevin Spacey delivers deadpanned dialogue like no-one else as the ringleader Doc, imbuing a cold, calculating demeanor while incorporating a sardonic wit when possible. You're never sure where his loyalties lie so he's a fascinating character in this crazy car chase movie. Filling out the ensemble, Jon Bernthal ensures Griff comes across as a gruff gangster and Brogan Hall cleverly quips his way into a memorable role as Doc's snide nephew Samm.

It's not too often I finish a film eager to watch it again right then and there, but I just knew I had to back up and see Baby Driver again after my first viewing a month ago so I naturally sped into the theater again premiere night. After seeing Baby Driver twice, I'd compare the experience to cruising down an unfamiliar street. You go in search of something fresh and exciting and are pleasantly surprised to discover everything you hoped for, never missing a beat along the way. That's why Baby Driver's now my favorite film from Edgar Wright in addition to being my favorite film released this year.

Film Assessment: A+