Baby Driver is a 2017 American crime comedy thriller film with musical elements written and directed by Shaun of the Dead and Scott Pilgrim vs. The World director Edgar Wright and starring Ansel Elgort, Lilly James, Kevin Spacey, Jon Hamm, and Jamie Foxx. The film follows Baby, a young man and extremely skillful driver who unfortunately became indebted to criminal mastermind “Doc” at a young age. Baby is forced to work off his debt as a getaway driver for various jobs organized by Doc. Baby meets an attractive diner waitress named Deborah and falls for her, hoping to have a normal life after reluctantly working off his debt. Baby is coerced into a series of increasingly high-risk jobs and must balance the criminal part of his life with the life he wants to have with Deborah.
I’m just going to tell you right off the bat, Baby Driver is an amazing movie. Edgar Wright has, quite simply, outdone himself in every imaginable way with this film. This is certainly the very talented writer and director’s magnum opus. I cannot think of a single thing I didn’t like. It’s hard to review this movie because, in my opinion, everything was so good.
Ansel Elgort was an amazing lead, every line he spoke was almost dripping with charm. Kevin Spacey only had about ten minutes of screen time, but he was excellent, as is to be expected. Jamie Foxx and Jon Hamm were the perfect mixture of crazy and unstable that made portions of the film wrought with tension and fear, but in a good way. Lilly James was also excellent as Deborah.
I feel now is a good point to mention something I found excellent about the script; there is no dialogue in the film that doesn’t need to be there. Baby as a character is very laconic and Doc is a man of all business, so when they talk, you need to listen. Every word spoken in this film is very important. In fiction, no matter what the medium, everything that is in a scene should be there for a reason. Wright takes this idea to heart. There is not a single breath nor frame of film that is wasted. In so many films, there is a lot of dialogue that doesn’t need to be in there; this is not the case for Baby Driver and it is all that much better for it. Whether dialogue is meant to be sly and comedic or deadly serious, it all serves a purpose. Make no mistake, although this is Wright’s most serious movie so far, there are portions of it that had my friend and I cackling out loud. Such is the true genius of a filmmaker like Edgar Wright.
The best aspect of this film by far is its use of music to inform, and sometimes even propel, the plot. Baby was stricken with a case of tinnitus following a car crash, so he listens to music constantly in order to drown out “the hum in the drum.” As such, the majority of the scenes in this film are given a score of their own. During the opening scene for example, Baby is rocking out to Bellbottoms by Jon Spencer Blues Explosions in the midst of a bank robbery. This musical motif runs throughout the entire film. In the hands of a lesser filmmaker, this could be a horrible decision. Thankfully, Wright is as good a DJ as he is a director, turning what could have been the most annoying parts of an otherwise good film, into the most memorable part of an amazing film. It is almost reminiscent of an actual musical without cheesy showtunes or dance numbers. My musichead friend is considering getting this soundtrack on vinyl, and I’ll just say that if there was ever a soundtrack to get on vinyl, it would be this one. It is just great.
The action in this film is also nothing short of a grand achievement. At about the halfway point of the film there is a shootout set to Tequila by Button Down Brass that may very well be my favorite scene of the entire movie, although the opening car chase presents a fierce competition. The car chases are extremely well-done and well-shot, like everything else in this film. I have not seen Bullitt but I can say with certainty that the opening car chase alone outpaces The French Connection. The car chases might not be the best put to film, but they are some of the best that I personally have seen.
Even scenes without action or bare-knuckled chase sequences are masterfully filmed. There are a number of brilliant long takes and deftly edited sequences. There is a three-minute long coffee run set to Harlem Shuffle by Bob & Earl, and thanks to Ansel Elgort’s acting and Edgar Wright’s filmmaking and never-ending supply of style, it is captivating.
To put it simply, Baby Driver will certainly end up being one of my favorite films of the year. It is full of awesome music, amazing acting from all involved, unique and inventive chase sequences, and a well-written script, all masterminded by one of the most underrated directors of my generation. Everything about it is well-done. Even if you are not an action movie fan, there is enough different stuff there, whether it be romance, comedy, or music, to draw you in. It puts every other movie Wright has done to shame, and he has already made some films that might as well define my generation. Baby Driver, especially its soundtrack, will stay with me for a very long time, and I will be telling people to see it as long as I live. It has broken both mine and my friend’s personal Top 10, possibly even Top 5. You should go see it.