Warning: This review is going to be biased. The incredible Edgar Wright is one of my favorite directors, and it’s hard for me to see anything but magic when watching his films.
For me, Edgar Wright is one of the few directors that not only creates a unique and robust world in his films, but also references the real world with honorable relevance. His projects don't shy away from current pop culture. He never pretends that the fourth wall is present, even if he never breaks it. He creates balanced films that are pure enjoyment to experience. All of his projects, from the TV Spaced to Baby Driver, you can tell you are watching an Edgar Wright production. The difference with the newest release is that he has taken all the lessons he’s learned before and produced an unforgettable film.
It was always hard for me to choose my favorite of his films, as each one had something wonderful the others didn’t, unique yet equivalent in their brilliance. At the time of this writing, Baby Driver is by far the best one. The way he blended all the necessary elements that make up a film—music, acting, visuals, story—into a compelling heart racing story is mind blowing. From the moment the film starts you realize you are about to strap in for one hell of a ride.
Baby (Ansel Elgort) is an impeccable driver. He knows how to weave his way elegantly around barriers, creating an expansive road for him, and those around him, to accomplish their goals without worry. Granted, this usually means being a get-away driver for criminals, but either way he knows how to get the job done. His employment under Doc (Kevin Spacey) introduces him to a wide range of characters, from the extremely loving couple of Buddy (Jon Hamm) and Darling (Eiza Gonzalez) to untrusting Griff (Jon Bernthal) to the ruthless Bats (Jamie Foxx). The jobs aren’t always easy, and sometimes forced upon, but he’s determined to get out of them alive.
Now comes the hard part. How do I discuss the elements of the film that make me squeel with joy without giving too much away? A favor you can do for yourself with this film is go into it knowing as little as possible. The little things that pop up throughout the film that you may not realize at first are much welcomed surprises. I don’t want to ruin it for you.
One of those phenomenal surprises is the way music was worked into the story. It’s known that Baby constantly has ear buds in his ears for he does love his music. It’s a bit part of the character and one many of us can relate to. We all have that killer track that we listen to when we need to get pumped, or calm down, or the one that just makes us happy. Wright knows this, and incorporates it in a way that literally has you saying, “same.”
Beyond the explained universal connection we have to music is the way all of that is woven into the film seamlessly. It goes beyond having the soundtrack of the movie actually be the song Baby is listening to, which is always fun when that happens, but into the core of the film. It becomes the heartbeat of the film, and the editing techniques that match the rhythmic beats of the songs are so precise it’s breathtaking. The collaboration between these two timed elements is so detailed it’s as if they line up at a molecular level, atom for atom.
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