Baby Driver is the latest film from director Edgar Wright, who is known for Scott Pilgrim vs. the World, Shaun of the Dead, and a handful of other movies. The premise is simple: Baby is a getaway driver, but he’s got a hum in his ear that requires him to listen to music to drown it out. The music plays a big role in the film. Baby gets pulled into some messy work, and he eventually tries to break free from it, but isn’t quite so simple.
Baby Driver is a stellar movie. It’s the best 2017 release I’ve seen thus far. It’s got some serious heart, and it sets a new high for what can be done with music in cinema. It has, as one would expect, riveting car chase scenes. But it also has a more touching, lighter side with some great humor thrown in. Baby is a sympathetic character, and I was rooting for him and his love interest, Debora, the entire time. I was really surprised and enjoyed where the story goes. Baby Driver really sticks the landing in the final act.
There wasn’t a minute while watching Baby Driver where I wished I was somewhere else.
On the subject of the music, the tracks throughout are top-notch. Baby is almost always listening to music in his headphones. He’s even got multiple iPods to match his mood. A lot of the edits and choreography match the music, and it all feels seamless. I got lost it the synchronicity.
There are great performances by all of the cast. Each character felt unique and interesting. They all beamed personality. Add on top of that the directness of the dialogue without any fluff, and it gets brought to the next level.
A special shot out to the stellar editing, which is what makes a film like this work. For the synchronized shots, the editing glues it together with the music. But there are also some great transitions, like a washer machine running and fading into a record spinning.
Going into Baby Driver, I was expecting a great action film and not much else. It was a joy that there’s more to it than just that, as it has a balance between the action and what happens in between. Timing is everything for Baby Driver to work, and it confidently nails every beat of it.
The Bottom Line: Baby Driver is the best (and longest) iPod commercial of all time.