Baby Driver review roundup: A funny and engaging film, with the best soundtrack of the year
Writer director Edgar Wright is back after his brilliant and beloved Cornetto trilogy (Shaun of the Dead, Hot Fuzz, and The World's End) and Scott Pilgrim vs. the World, with his next film, Baby Driver.
The story of the film revolves around a twenty-something named Baby (Ansel Elgort) who can basically do anything he wants in a car, as long as he's got his tunes playing on his iPod. With that skill set, Baby is a getaway driver for a crew of bank robbers in Atlanta. Wright gets right into the action from the start, showing Baby's moves as he escapes the police following his team's robbery, headed by Buddy (Jon Hamm).
What's new about the heist film is that the a large part of the film is literally set to great music and each scene is stylishly directed.
Some reviews of the film are already out.
Here's what Business Insider has to say about Edgar Wright's selection: "Baby Driver has been a passion project of Wright's for years and it certainly shows. There are some movies where you can see the care put into it, and this movie has it. From the sound editing that has almost every movement and gunshot in sync to the music, to the meticulous song choices (tracks by The Beach Boys, Beck, T. Rex, and The Commodores are just a few featured), Wright has made a movie that showcases his incredible moviemaking talents and should be instantly included in the conversation with the best car chase/heist movies of all time."
Here's what The Guardian has to say about the film: "It’s such a funny and engaging film, packed with good nature, showcased most entertainingly in Baby’s amble down the street to get coffee for his comrades, and then his amble back, showing all the resulting streetscape vignettes in reverse."
Rolling Stone said, "Blessed with old-school car chases and the year's best soundtrack, this crime thriller is the most fun you'll have at the movies this summer"
The New York Times reviewer commented, "There’s much to enjoy, including the satisfactions of genuine cinematic craft and technique, qualities that moviegoers can no longer take for granted. The edits snap, the colors pop and the cinematography serves the performances and the story rather than embalming them in an emptily showy, self-regarding directorial conceit. The emotions are mostly rote and cold, but the car chases are hot... with a beat Baby carries with him out of the car whether he’s on the stroll or the run."
The Los Angeles Times said, "This is movie craftsmanship and showmanship of a very high order... “Baby Driver” is a lavishly souped-up gimmick movie, and I don’t mean that as a knock. The gimmick here is so good that I actually wanted more of it: more killer tracks, more death-defying car-eography, more chase scenes shot to look like renegade Uber commercials."
Slant said, "The film literalizes Edgar Wright's fascination with people's emotional over-reliance on pop culture as a cover for arrested development."