Movie Review: Baby Driver
Rated R for violence and language throughout
While I grew up loving and watching films made by Steven Spielberg and Robert Zemeckis, I was always on the lookout for new directors to add to that must-see list, who would engage my senses with their unique vision. In the late 2000’s, the name Edgar Wright quickly made the leap onto that list.
Wright’s films had a nostalgic taste of pop-culture, while often engaging in stories where their somewhat childish protagonists, would need to take charge of their lives, and grow up (often through rather bizarre circumstances!).
After he was let go from the Marvel Studios production of Ant-Man, many wondered just where Wright’s creativity would go afterwards. I will admit, when the title of his next writer/director project came up, my first thought was a mental flash to the poster for the family comedy, Baby’s Day Out.
However, once the first trailers hit for his new film, that image was thrown aside, as I soon felt I had found my must-see film for the Summer of 2017.
In Atlanta, Georgia, a young man known only as Baby (Ansel Elgort), serves as the getaway driver for a number of heists, engineered by a man known as Doc (Kevin Spacey).
Unlike a typical getaway driver, Baby is usually plugged into one of his many iPods (the music helps cancel out the ringing of tinnitus in his ears), which serve as a soundtrack to the numerous jobs he pulls.
One day, Baby chances upon a waitress named Debora (Lily James). Her love of music and engaging Baby in conversation, may be just what he’s looking for. But, in order to have a chance with her, Baby has to get out of his ‘job’…which may not be as easy as he thinks.
While Wright’s Shaun of the Dead focused on 30-somethings, and Scott Pilgrim vs the World focused on teenagers, Baby Driver is his first film to focus on 20-somethings. It definitely helps in a story that deals with a young man named Baby, who is at a crossroads in his life, with a few options…many of which are not the sanest of choices.
Ansel Elgort plays Baby as a quiet-yet-observant young man, who speaks only when spoken to, or when he feels he has something to say. Also of note is the pop-cultural flair that his wardrobe displays, with the white-and-back shirt/vest, looking like it came from Han Solo’s closet. In a sense, Baby is like an earthbound Han: using his driving skills to make money, but not really wanting to get involved in other’s affairs (and like Solo, Baby has a debt or two to pay off!). There is also a sense of dignity to what Baby does, in that while he is helping others commit crimes, he does not want to hurt the innocent.
To Baby, the music on his iPod‘s are a soundtrack to the world he lives in, and to him, the world has to sync up to them in order for him to function (I got a big kick out of him telling some of his cohorts to wait to pull off their job, until he reset a song!).
Along with filmmakers Cameron Crowe and James Gunn, Wright is one of the film filmmakers who really knows how to put together a decent playlist. Every film he’s made has usually featured a catchy lineup, but Driver is the first film he’s done, where it’s playlist is actually hardwired into the film itself!
It’s not just enough that Baby has to be listening to a particular track, but the film’s edits, the firing of guns, and much more, largely keep time to the music being played. Wright even has some fun with this during a coffee-run Baby performs, with a single-take camera move that has some excellent blink-and-you’ll-miss-them-the-first-time song lyrics, graffiti’d onto some surrounding buildings and telephone poles.
The music is often a key to the various car chases and heists that Baby pulls with a slew of other characters. Each one has their own specific eccentricities, with the most violent being Jamie Foxx’s Bats. He’s the guy with a hair-trigger, and his ‘off-the-cuff attitude,’ makes him a character you quickly grow to dread, when the camera lingers on him.
Of the other cohorts Baby works with, two of interest are Buddy (Jon Hamm) and Darling (Eiza Gonzales). Buddy is quick to catch our attention, seeing as he’s the only crew member who seems willing to engage with Baby on a musical level (they soon start comparing playlists at one point!). However, his and Darling’s relationship, almost serves as a cautionary tale of ‘love-on-the-run,’ much like Bonnie and Clyde.
Like Darling is to Buddy, a young waitress named Deborah begins to become a part of Baby’s life. Lily James plays her character as the yang to Baby’s yin. She doesn’t have a big role in the film, but James’ waitress is just as integral to Baby making a change to his life, as Scott Pilgrim was upon seeing Ramona Flowers (however, Deborah doesn’t turn into a battle-warrior like Ramona does). James’ role is brief, but enjoyable.
Reuniting with cinematographer Bill Pope (The Matrix, Scott Pilgrim vs The World), Wright shows that his crew has an eye for capturing and editing action coherently (in a world where quick edits ala Paul Greengrass and Michael Bay are the norm). There’s method to the madness in many an action scene, and the best part is, we are never at a loss regarding where to focus our attention.
While the concept and story are a new and original journey for Wright, the underlying theme of growing up that has permeated through his other films can soon be recognized by ‘veteran viewers.’ However, the twists and turns that are thrown along the film’s path, keep it from ever getting boring. Plus, while there are a few humorous moments, Driver may be one of the more serious films that the director has ever done. There are some points where Wright just had me on edge regarding what would happen to Baby, or Debora.
Wright’s films have not been the easiest for most American theatergoers to zero in on. Even 13 years after Shaun of the Dead, he has yet to have a film that has gone mainstream beyond the small amassings of cult followers to his work.
While Hot Fuzz was his way of paying tribute to his love of action films, Baby Driver appears to be his ode to chase and heist films, notably the ones in which the main character, struggles with keeping their moral compass from cracking.
Final Grade: A- (Final Thoughts: “Baby Driver” is that rare, ‘original’ film buried within a summer of blockbuster sequels, that just delivers as a smart-yet-fast action ride. It is definitely one of Edgar Wright’s less-humorous stories, but it’s musical journey following Baby on his road to self-discovery, is one that is both fast, smart, and an emotional rollercoaster ride.)