Baby Driver opens with car chase perfectly synced to “Bellbottoms” by The Jon Spencer Blues Explosion. We see the titular Baby (Ansel Elgort) align every move to the music — timing a heist to the song’s bluesy riff, flooring the pedal as the same song explodes into a cacophony of frantic garage rock. It’s the movie accompanying and adjusting to the soundtrack and not the other way around. The scene feels familiar but at the same time fresh — a cliché no one’s ever encountered. And maybe that’s just the best way to describe Baby Driver: a smart, stylish, unconventional take on a conventional tale you’ve probably seen before. ALSO, there’s a good chance that it’ll be the most fun movie you’ll see this year.
So a bit of backstory (because every genre movie protagonist has to have one), fresh-faced Baby is the laconic getaway driver of Atlanta crime boss, Doc (Kevin Spacey playing the smoother cousin of Frank Underwood). Baby has a debt to settle with Doc and thus has become his go-to getaway driver. He is a reluctant criminal, good great at what he does but cringes at the sight of violence. He also has this quirk (again, because every genre protagonist has to have one!) where he has to drown out with music the constant buzz in his ear, a defect caused by a childhood accident. Baby wants out, especially after he meets the plucked-straight-from-the-50’s waitress Debora (Lily James), but (come on, say it with me) he’s got to do ONE, MORE, JOB! Paired with a ragtag group of criminals with code names like Buddy (Jon Hamm) and Darling (Eiza Gonzales) and, the psychopathic even for criminals, Bats (Jamie Foxx), the group embarks on the last big heist we all know’s bound to go awry.
Like I mentioned, as story conventions go, Baby Driver scores a bingo. There’s no deconstruction going on here, the characters are what they are. This is more of a fresh throwback. Reading the synopsis, it’s not hard to imagine that if you’re not “in on the joke,” Baby Driver could easily be mistaken as a cookie-cutter B genre movie. If you’re “in on it” and are familiar with director Edgar Wright, this could also easily be mistaken as an overly-ambitious passion project that will turn out to be just an overindulgent exhibition of style — sleek cinematic sequences tied together by narrative strings either too generic or only slightly resembling a plot. Edgar Wright defies these doubts though and proves why he is one of the best geek directors out there by balancing the saccharinity of style with his intelligently funny script, a fine eclectic choice of soundtrack, and meticulously shot and choreographed action that feels all too concrete and, ultimately, gripping.
Baby Driver is a testament of how conventions can still work granted they are in the right hands, given the proper execution. Execution that could be achieved by granting formula narratives the same amount of hard work warranted by prestige projects like, say, a movie about a dystopic society ruled by apes or a nonlinear war film that plays with time and perspective.
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I saw the movie two weeks ago and I’ll say it again. My feelings haven’t changed: Baby Driver is a hazard for anyone driving home after its screenings. It’s not Fast and The Furious, there’s this believability that even you could be a Baby. It leaves you pumped, buzzing with adrenaline. It may mislead you into thinking that it’s a film that’s all style over substance (and it IS stylish) but all that is counterweighted by a tight narrative and witty tongue-in-cheek dialogue. Baby Driver like its titular driver will be your getaway ride. Yes, the story may not be anything new per se (you will not be left pondering on philosophy here) but in this case that doesn’t even matter, it doesn’t make Baby Driver any less of a delight.
https://www.youtube.com/watch?v=n4cvNfb1Mlk&feature=youtu.be
