Baby Driver: Movie Review (No Spoilers)

By Michael Momper

Edgar Wright has time and time again proven himself to be an action-comedy writer almost without equal- and his newest brainchild, Baby Driver, may quite possibly be his best work to date.  This came as a huge surprise to me, as his repertoire is nothing short of astounding and has been keeping me entertained since I was in grade school.  I feel that providing some context to this genius’ work is appropriate here, because you might be surprised at how much top-notch work he has put out- and, perhaps even more impressive, his complete lack of any duds or flops.

                

Wright has written and directed some hilarious and action-packed films that have style and coolness all their own; namely, the three cornerstones of Simon Pegg’s comedy (Hot Fuzz, Shaun of the Dead, The World’s End), the incredibly original cult film Scott Pilgrim vs the World, and Paul Rudd’s bafflingly underrated Ant Man (which Wright did not direct, but did write).  But Baby Driver is his most critically acclaimed film yet, and it certainly seems to me to be his most stylish, cool and downright fun film ever.

               

  Baby Driver perfectly displays the reasons Americans love good action movies- they provide edge-of-your-seat thrills, high stakes, adrenaline-pumping fun and some relatability along the way.  All of these phrases ring true and then some, as we are thrust into a thrill ride like no other from the very first scene of the movie.  It is an extremely original story about a young man who goes by the name “Baby” and is the best getaway driver that any of his criminal passengers has seen.  Baby is a kind-hearted and soft spoken young man who lives his energetic and coffee-fueled lifestyle from song to song, going nowhere without his headphones and Ipods (of which he has multiple, “for different days and for all different moods”).  He is a conflicted and misunderstood character from the get-go, as his emphatic love of music and groove is very quickly perceived by other characters as a tendency to ignore, condescend and avoid human interaction.  Baby is rounded up as the getaway driver for a series of heists, as his hand is forced by a menacing and at times hilarious portrayal by Kevin Spacey, a local crime boss who requires a debt to be paid by Baby for a past mistake. 

                

One of my favorite elements of this movie is its thorough insistence on memorable characters- Wright is not as much concerned with realism as he is with characters that are colorful, boisterous, villainous to a fault, and just plain fun.  Jon Hamm and Jamie Foxx also play fellow bank robbers under the tutelage of Spacey’s crime boss; and they add even more sinister thrills to the robberies.  Don’t get the wrong impression, the movie is certainly relatable- but what makes it such a pulse-pounding ride is its dedication to fun and lightning-fast speed.

                

One of the best aspects of the movie in my mind is the fact that we see everything through Baby’s eyes.  We hear the songs he hears (an excellent soundtrack follows), we feel the things he feels, and more than anything, we see the things he sees.  The cinematography is absolutely razor-sharp, and perhaps even unparalleled with regards to the car chase scenes.  The camera sways and bobs with Baby’s every move, with whip-fast editing that is never overly chaotic, but instead feels sleek and incredibly focused (luckily, you will not find any “shaky cam” here).  On top of this, there are phenomenal shifts of tone that come at a moment’s notice- but unlike most movies, it is expertly pulled off.  We will journey with Baby from a hilarious and tension free moment in one scene, to an instant shift into an emotional and anxiety-ridden flashback in the next.  Somehow, Wright manages to make these tonal shifts feel natural instead of jarring; they are almost like the sudden stops and starts along a far-stretching freeway.

               

  All of the acting in the movie is top notch, but perhaps most impressive is the main work by young actor Ansel Egort, and his love interest in the movie, portrayed by Lily James.  Both of them convey unconventional dedication to each other and are believable for every second they share on screen.  Their love story is another beautifully maneuvered tonal shift throughout, as they are constantly fighting for survival but also to reach each other while free from the bonds of the crime world.  Their relationship is noble, and most importantly shows us a glimpse into Baby’s soul and kind-hearted motivations as he is constantly stuck in a world he doesn't belong.

                

More than anything, Baby Driver is a perfect summer movie.  It is riveting, frenetic, and fun beyond a doubt.  Viewers of the movie almost unanimously claim how the movie made them want to put their lead foot down on the pedal and shoot off down the road; a feeling that is so inescapable because of how well the cinematography captures Baby’s movements and the weaving of his many cars.  See it because of its hilarity, its witty and completely human writing, and its commitment to true Hollywood entertainment.