Review: Baby Driver

It’s been a disappointing summer for blockbuster films, with Transformers and the Mummy both being flops for reviewers and film goers alike, but luckily one Brit has returned to save us.

Edgar Wright, the director behind The Cornetto Trilogy and Scott Pilgrim vs The World, has finally returned to the directors chair with his first film debut since 2013’s World’s End. I have been eagerly awaiting another film from Wright since his sudden departure from 2015’s Ant Man, and he has not disappointed with his new film, which I can only describe as a masterpiece.

Baby Driver sees a getaway driver named Baby (Ansel Elgort) being coerced into working for a crime boss (Kevin Spacey) in a series of heists, but there’s a twist; Baby has tinnitus and uses music from several different i-pods to drown out the “hum in the drum.”

ansel-elgort-in-baby-driver
Credit: Sony Pictures

The film is an amazing blend of toe tapping music, jaw dropping car chases and quick, witty dialogue delivered by an all star supporting cast consisting of Lily James, Jon Hamm, Jamie Foxx, Eliza González, and Jon Bernthal. Even Red Hot Chili Pepper Bassist, Flea and a few other musicians make some great appearances in the film, adding to the theme of a world built on music.

Elgort is fantastic as the lead character and brings a kind of innocence to the silent character, while also bringing a hero to life that the audience can truly rally behind.

The action is non stop and extremely well filmed, no car chase ever feels like it has gone on too long and nothing ever feels boring or repetitive. In fact, some of the car chase sequences could be some of the best in film history, definitely earning a place beside high rankers like Ronin, Bourne Identity and the Blues Brothers. 

baby-driver-movie-cast
Credit: Sony Pictures

However the best part of the film has to be the music. With 30 songs from artist like Queen, The Beach Boys, The Commodores, Blur, The Button Down Brass and many more, the film will have music lovers grooving along in their seats. The film does not just simply use the music as a background tool though, the film is entirely built upon it.

You could argue that the music is the foundation on which Baby Driver is built on. We hear what Baby hears through his headphones and it adds an extremely special feel to the film. When Baby zones out and stops listening to other characters, the audience stops listening to other characters, when someone pulls out one of Baby’s headphones the music gets quieter and becomes less of a focus in the scene.

Not just that, but in scenes of intense action everything seems to work perfectly together in harmony, gun shots match drum beats, long drifts match the length of guitar solos and camera cuts match gear shifts.

Baby Driver is like nothing I have ever seen before, a true modern genre defining entry into the action, crime and heist genres. This is the film that will be taking me to the cinema multiple times this summer, and every penny will be well spent.



Baby Drives arrives at Macrobert on July 14 book your tickets here. And for other films and great entertainment checkout their website.

macrobertartscentre.org

 

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