BABY DRIVER – FILM REVIEW

Make sure to strap on your seat-belts. Director Edgar Wright (Hot Fuzz, Shaun of the Dead) goes state-side for a thrilling heist movie that’s well worth the ride.

Image result for baby driver poster

“Baby Driver” is one of the latest films to employ a musical soundtrack at its heart, another obvious example being “Guardians of the Galaxy.” While “Baby Driver” has less high profile rock classics,  it weaves the songs into the narrative in a way that’s not only fun but totally natural.

“Baby”, the central character, has tinnitus and therefore listens to loud music through his headphones almost constantly to drown out the noise. His playlists soundtrack his day to day life, and more importantly his criminal activities. “Baby” is a getaway driver, and an excellent one at that. He meticulously plans the heists in advance, not only so the job goes smoothly, but also so he knows which tracks to pick.

It’s this kind of irreverent fun that runs through the heart of “Baby Driver”, and assures it becomes more than your average car chase thriller and rises to something special with that distinct Edgar Wright edge.

Besides “Baby” himself, the ensemble cast all have their moments to shine. Kevin Spacey excels as a cold, calculated criminal mastermind, managing a diverse and erratic set of people to carry out his dirty work. Among these are a volatile Jamie Foxx who brings an underlying tension to every scene he’s in, and a very different side to John Hamm as he plays a smooth criminal.

“Baby Driver” harks back to many other films, wearing its influences of style and genre on its sleeves, yet remains its own fresh piece of cinema. It’s fun, it’s cool, it’ll make you laugh one minute, then wince the next. It’s full of fast paced action and the odd moment of shocking violence. What’s not to love?

4/5

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