After Edgar Wright’s infamous leaving of Marvel’s “Ant-Man” project, the anticipation for his next film has grown exponentially. And with “Baby Driver”, his fans are treated to a high-adrenaline, nostalgic, soundtrack-driven thrill ride.
Baby (Ansel Elgort) is a kid conned into working for a crime boss, Doc (Kevin Spacey), as his driver on heist jobs. Using iPod music to navigate his life, he becomes smitten with a waitress, Debora (Lily James). He has to protect her as some of the crazies from his crime life such as Bats (Jamie Foxx), Darling (Elza Gonzalez) and Buddy (Jon Hamm) question his loyalty.
The film is dynamic, utilizing all the tenets of good filmmaking (editing, score, cinematography, writing, shot design, sound) to tell an engaging, if not completely original, story. While the soundtrack-as-plot-driver is a little contrived, it is handled well enough that it is not too annoying. The action chase scenes are pulse-pounding and a lot of fun, the film using sound, editing and camera work to build up action rather than CGI bologna and explosions.
The film’s biggest problem is that it’s characters are not too original, more representative rather than three-dimensional. The love story between Debora and Baby is a little forced and bland, not given the opportunity to be fleshed out while psychos like Bats are rather one-note. While not a huge detriment, it keeps the film from being character-centered engaging.
Edgar Wright has always specialized in creating homage to an earlier era and here he incorporates 1950s idealism with 1980s car chases and millennial music obsession. It’s a fun ride if not perfect.