And when Baby meets a lovely waitress named Debora ( Lily James), he finds a reason to go straight. Of course, we all know how that typically turns out in crime movies. He has one more job for Doc and then he’ll be back to his normal life. Baby had a brief dalliance with crime, and he made the mistake of robbing from Doc, who now forces him to drive as penance. Much of the joy of this film is watching it unfold so I’ll be brief with plot.
There’s enough story and action here to satisfy without the music that drives the filmmaking. Trust me when I say that Wright doesn’t skimp on the former. The last paragraph probably makes “Baby Driver” sound like a music video, and has likely pushed out potential viewers looking for more substance than style. It’s fluid and jaw-dropping-the kind of thing you want to see immediately again after it’s over to catch all the things you missed. The sound of someone typing a text message on a phone or placing stacks of money on a table will work with the beat of a song, creating a film that has a rhythm, flow and structure from first frame to last that works in conjunction with its soundtrack. We’ve seen countless action scenes scored to pop or rock songs, but how many have you seen in which the action works in unison with the music? And Wright takes this brilliant concept a step further, making even everyday normal activity feel like it’s part of Baby’s soundtrack. Everything from this point on moves in rhythm with the music from the slamming of the car doors after the bank robbers return to the squealing tires of one of the best car chase scenes in years. Three criminals-Buddy ( Jon Hamm), Darling (Eiza Gonzalez), and Griff ( Jon Bernthal)-leap from a car outside of a bank just as Baby cues up “Bellbottoms” by The Jon Spencer Blues Explosion in his 'buds. Sometimes the world seems to respond to his choice, sometimes his choice seems to influence the world around him-either way, music is as essential to the success of “Baby Driver” as it was to “ La La Land,” maybe more. And the world around him moves to the music on one of his many iPods-he has various ones for different moods. After a car accident as a kid left him with tinnitus, he spends the vast majority of his waking hours with ear buds in his ears to drown out the ringing. He’s the nearly silent getaway driver for a robbery syndicate managed by Doc ( Kevin Spacey), who organizes the crime, hires three criminals, and then puts them in Baby’s car. At least, that’s the name he gives people when asked, although he’s more often ignored. Yes, his name is “B-A-B-Y, Baby” ( Ansel Elgort).
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It’s as much fun as you’re going to have in a movie theater this year.
“Baby Driver” feels both influenced by the modern era of self-aware, pop-culture filmmaking and charmingly old-fashioned at the same time, which is only one of its minor miracles.
Much like Baby turns the world around him into music, writer/director Edgar Wright remixes the movies and tunes that have influenced him into the wildly joyous and fantastically entertaining “Baby Driver.” As CGI robots clang into each other and superheroes take to the sky, here’s Wright to ask if you remember how movies used to thrill us with a turn of phrase, a squeal of a wheel, a diving plot twist, or a romantic kiss. The first one we see him create is called “Was He Slow,” using a question asked by an accomplice about Baby’s mental capacity as a hook. He records conversations had around him (almost always around and not with him) on an old-fashioned mini-cassette recorder, and then mixes them into songs with some wonderfully antiquated keyboard and rhythm equipment.
Baby is a young man who creates remixes of his life.
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