Thanks to Sony Pictures Releasing we had the chance to see ‘Baby Driver’. This is our review of the film, but – as usual – no matter what we say, we recommend that you still go to your local cinema and see the film because there is no better critic than yourself!
Every decade or so an auteur makes a genre pastiche that feels like the beginning of some new era in cinema, like Star Wars, Pulp Fiction or The Matrix. Edgar Wright‘s perfect Cornetto Trilogy (Shaun of the Dead, Hot Fuzz and The World’s End) was an extended, character-driven homage to all his favourite genres, and it had us wondering if he could take his parodic expertise beyond comedy.Baby Driver fuses action, comedy and music into a Swiss watch of a heist film that is the most entertaining ride in years.
Baby (Ansel Elgort) is a gifted getaway driver that wants out of his profession, but Doc (Kevin Spacey) isn’t going to make it easy for him. His life is further complicated by having to work with the violently psychopathic Bats (Jamie Foxx) and a budding romance with the lovely Debora (Lily James) and his need to care for his elderly roommate Joseph (CJ Jones). The characters are archetypes, but are brought to life by the winning cast.
Wright gives his hyperkinetic, stylised sensibility an entirely new spin by making an almost-musical crime film. Starting the film with a robbery and car chase synchronised perfectly with the disco-rock skronk of The Jon Spencer Blues Explosion’s “Bellbottoms”, the movie barrels along with total precision. Gunshots synchronise with drums and the cast and cars move like dancers to the film’s utterly exuberant soundtrack.
Not a second is wasted. Not a second is not entertaining. See it big, see it loud!