Baby Driver: Movie Man Jackson

Baby…cab driver. Can you take me for a ride? Young man Baby (Angel Elgort) makes his living—reluctantly, as a getaway driver for Doc (Kevin Spacey), a big-time crime lord in Atlanta. Over the years, Doc has employed many underlings to carry out his elaborate heists, but one piece never changes, that being Baby. Give him an iPod and he’s that damn good in the heat of the moment, constantly needing music due to a condition that produces nonstop ringing in his ears.

Baby’s had enough though, and he’s ready to get out of the game, especially after meeting the beautiful waitress Debora (Lily James). The two are ready to leave their lives behind and just go West. Unfortunately, one last job requires Baby’s efforts, working with Buddy (Jon Hamm), Darling (Eiza González), and Bats (Jamie Foxx) to rob a post office with bags upon bags of valuable money orders. There’s a way out for Baby and Debora, but it’s going to involve a lot of driving. And maybe some blood shed.

A postmodern musical? The deconstruction of a musical? That’s the first thing that popped into my head upon the first 10-20 minutes of watching Baby Driver. Director Edgar Wright’s (Shaun of the Dead, Hot Fuzz) latest uses mostly licensed music to accentuate whatever’s on the screen at any given time. There’s little to no singing, but this is almost as much of a musical as, say, La La Land. So the music is a big part, but not the only part. Edgar Wright delivers a pretty spectacular and inventive crime/romance/musical movie that laps much of the 2017 summer movie fare.

Baby Driver is escapist fare, and I believe it is fair to look at it more as of an exercise in style over any notable substance. That is not to say that the story Wright has penned is poor, but it is simply adequate, partly rushed in spots such as the romance component, and 50/50 in the hit/miss comedy ration. A final act character twist doesn’t make a ton of sense. But it’s probably best to look at Baby Driver as a pure fantasy rather than a grounded crime-drama. With that said, Wright certainly makes things unpredictable in the last act, and that is a good thing.

The overall average story works, however, because the great cast elevates the material. Angel Elgort plays the enigmatic Baby with a lot of cool-calm charisma and likability, whether in the driver’s seat or lip-syncing and grooving to the myriad tracks on his iPod. Though her role is very basic, Lily James injects her character of Debora with enough honest heart. With no real elaboration on time elapsed, one has to assume that everything is happening pretty quickly in Baby Driver. As such the relationship that spawns between the two lovebirds is again rushed, but Elgort and James carry so much natural and endearing chemistry with one another that it becomes easy to buy into by the end of the film.

As for the rest of the cast, it’s comprised by professionals who know how to own each minute of their screentime. Kevin Spacey and Jamie Foxx (who starred in Horrible Bosses together), play slightly paired-down versions of their roles there; Spacey still delivering dialogue in a pompous and superior way, Foxx relishing his turn as a buckwild and unstable entity. Even Jon Hamm and Eiza González, whose characters initially seem to be the least important of the criminal stable, turn out to play huge parts in the latter stages of the film.

But, it is the technical stylings of Edgar Wright that is the true star of Baby Driver. As stated, the music is a noticeable piece, snapping into place into much of the happenings either by way of effectively capturing the feelings of our main character, or as another sonic layer to the existing musical track via finger taps, whizzing bullets, and the like. Baby Driver plays a little like Grand Theft Auto V, with its heist setups and resulting chaos that arises afterwards. The action is extremely exhilarating and tightly choreographed, enhanced by precise cinematography and bold colors. There probably won’t be chase sequences that top these in the remaining months of the year.

Baby Driver is easily one of the best times anyone will have viewing a movie in theaters this entire year. Who needs Dominic Toretto when you’ve got Baby?

B+

Photo credits go to slashfilm.com and empireonline.com.

For additional detailed thoughts on films both small and large, games, and the key moments that comprise each, check out ThatMomentIn.com

Follow the Movie Man @MovieManJackson

Advertisements

8 thoughts on “Baby Driver: Movie Man Jackson

  1. “the music is a noticeable piece, snapping into place into much of the happenings either by way of effectively capturing the feelings of our main character” — I love this, I felt this was true as well. the way the music tapped into the feeling of the moment. I absolutely loved the use of music in this. Reminded me a lot of the way John Carney makes his movies. Baby Driver was so much fun.

  2. Finally the summer is really starting to deliver. Between this, The Big Sick and The Beguiled, the movie season is starting to heat up. ( Oscar season too).

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s