The fast pacing of "Baby Driver" could sometimes leave the audience behind, but overall is a wonderfully made.
BY MEGAN DERBYSHIRE AND AURORA HARRIS
A triumph for Edgar Wright, “Baby Driver” is a fast-paced, action-packed romp that doesn’t slow down for the entire 112 minutes.
Baby (Ansel Elgort) is a young getaway driver who sets his life to a constant stream of music with various iPods for different moods and locations. Music plays a key role in Baby’s life and the music we see him listening to throughout the film creates a unique score that perfectly fits the on screen action.
The score of the film is one of the many characteristics that sets this film apart, as the audience hears the music as Baby is listening to it himself. A winning combination of efforts by choreographer Ryan Heffington and stunt team Darrin Prescott, Robert Nagle and Jeremy Fry result in “Baby Driver” almost coming across like a musical, with perfectly timed action sequences and emotional beats in the film.
We are thrown straight into the action of the film with the opening robbery sequence, and find out bits of information to piece together the characters pasts, as we journey further into the film. We find that Baby is trapped in a world of crime as a result of a mistake made in his past.
Doc, who is played by Kevin Spacey, is both menacing and an unlikely friend to Baby and is the mastermind behind all of the heists featured in the film. We also come across a range of characters working within the criminal underbelly of Atlanta, such as Buddy (John Hamm), Darling (Eiza Gonalez), and Bats (Jamie Foxx), all with a story to tell. As Baby tries to escape this world we witness a whirlwind romance blossom between himself and Debora (Lily James), a young waitress who shares his passion for music and the open road.
Although “Baby Driver” is unlike Edgar Wright’s previous works, the film is still akin to his signature style with a Hollywood twist. Wright pays homage to his earlier works with the first sequence lifted from his previously directed music video for “Blue Song” by Mint Royale. In tone and feel, “Baby Driver” is similar to Wright’s other features, such as “Sean of the Dead” and “Scott Pilgrim Vs. the World” but differs in the genre and is less comedic overall.
In spite of this, “Baby Driver” will put you through a range of highs and lows, including light comedy, heart-in-your-throat moments and heartfelt emotion for the genuine connections between characters. Within the stylized musical world of “Baby Driver” the love story anchors the film and humanizes the character of Baby. Lily James and Ansel Elgort are well cast and have undeniable on-screen chemistry, making for a modern twist on classic love stories.
For keen film lovers, this film is technically stunning with meticulously thought-out set design and a variety of hidden Easter eggs throughout the film, such as lines from one scene in which Baby watches TV making a comeback further on in the film. Although a cinematic achievement on all fronts, the fast pacing of “Baby Driver” could sometimes leave the audience behind, but overall is a wonderfully made, fun and action-packed piece of cinema.
Megan Derbyshire and Aurora Harris are British filmmakers currently residing in Albuquerque, New Mexico.
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