Director: Edgar Wright
Cast: Ansel Elgort, Kevin Spacey, Lily James, Eiza Gonzales, Jon Hamm, Jamie Foxx, Jon Bernthal
Screenplay: Edgar Wright
112 mins. Rated R for violence and language throughout.
- Academy Award Nominee: Best Achievement in Film Editing [Pending]
- Academy Award Nominee: Best Achievement in Sound Mixing [Pending]
- Academy Award Nominee: Best Achievement in Sound Editing [Pending]
I missed out on Baby Driver last year. I made the attempt several times to get to the theater to catch it, but each time, I ended up missing out on it. It hit home video and I picked it up, and for months, it sat on my watch pile. Thankfully, I needed to check it off my Oscar Death Race. So here we are.
Baby (Ansel Elgort, The Fault in Our Stars, Allegiant) is a getaway driver who works somewhat freelance for Doc (Kevin Spacey, American Beauty, TV’s House of Cards). He suffers from tinnitus, and he plays music to drown it out. He is working his way toward paying off a debt to Doc and finally being free when he meets Debora (Lily James, Cinderella, Darkest Hour), an attractive diner waitress he falls head over heels for. Baby sees a future for him and Debora that is without crime, but when Doc pulls him back in, Baby finds himself in a situation where he is forced to betray everything he knows to escape.
This is the first film from writer/director Edgar Wright (Shaun of the Dead, Scott Pilgrim vs. the World) since completing his Three Flavours Cornetto trilogy, and it’s a hell of a way to break out of the wheelhouse. Wright’s direction is strongly tuned to the music (he reportedly wrote each scene with a specific song in mind and sent an iPod with a playlist out with each copy of the screenplay) so that the film feels like a big concert action film. His writing gives the feeling of larger-than-life characters existing within a realistic landscape.
Ansel Elgort shines as Baby with a performance mostly physical. Elgort uses his body language as dialogue here to react to the building tension, especially in the final act of the film, but everyone in this film feels so strongly placed, from Lily James’s Debora to Jon Hamm (Marjorie Prime, TV’s Mad Men) as Buddy (Buddy was written with Hamm in mind, and rightfully so). I also really liked Jon Bernthal (The Wolf of Wall Street, Pilgrimage) as Griff, though I would have liked to see more of him. To be fair, though, Jon Bernthal should be in every film.
I wasn’t all that taken with Jamie Foxx (Ray, Sleepless) as Bats, though. It just felt like he took his character from Horrible Bosses and reused him here. He isn’t terribly interesting and I would have liked to see someone else embody that psychotic thief.
But the real star of the movie here is the soundtrack and Wright’s expert handling of the action set pieces. This movie got my toes tapping more than once throughout the runtime. Wright’s focus on practical driving over CGI as much as possible helps to maintain a good pace for the film, one that doesn’t overstay its welcome.
Baby Driver is one of the best action films of the last decade. It’s an enjoyable romp with terrific performances and a lot of heart both in front of and behind the camera. A passion project from Wright, the movie is similar to the director’s previous work in that it’s wholly rewatchable and endlessly fun. This is one to seek out if you missed it.
-Kyle A. Goethe
For my review of Edgar Wright’s The World’s End, click here.
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