This is truly a unique film, and Edgar Wright has absolutely smashed it out of the park
Baby (Ansel Elgort) is a getaway driver locked in with criminal bank robbers after a mistake he made as a young teenager. Helmed by Doc (Kevin Spacey), the same team is never used twice, but Baby is always the driver. Desperate to get out of the business, Baby saves all the money he can, and counts down until his last heist when he has repaid his debt to Doc. However, when it is over, Baby realises he’s in deeper than he thought.
The intricacy, the delicacy, and the precise nature of Baby Driver is astounding. The use of music throughout is not just beautifully curated, but it’s diverse and unique. From the background noise of headphones, to the blaring anthems during the car chases, the use of music in Baby Driver is literal genius.
In fact, the whole picture is perfect in its sense of precision and entertainment value. It’s remarkably knowledgeable for an action film, and doesn’t lack any of the intense and cinematic moments a standard hard hitting film would. It’s fast paced in its nature, but there’s enough time to absorb the full experience of what is on show.
This is in due part to a brilliantly balanced cast, headed by the basic but immaculate Ansel Elgort as he portrays his ‘guy in the wrong place’ personality perfectly. While his relationship with Lily James is not just refreshing but thoroughly enjoyable. It’s different and that is definitely something to celebrate. Wright has pulled together a cast of incredible actors and reworked them into a group of criminals with so much history. Each character is clearly meticulously thought out, and it is this character development that puts the film on the top level.
Baby Driver is a film about standing by morals, facing things head on and enjoying every moment of whatever is happening. This is truly a unique film, and Edgar Wright has absolutely smashed it out of the park. And for that, he deserves the greatest of accolades.