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Film Review: ‘Baby Driver’ Runs on the Fast Track of Movieland
CHICAGO – While it may seem that we’ve seen this type of tough-guy robbery gang film before, “Baby Driver” lives in its own universe, that of the movieland of movies. It is rich in squealing tires, bang-bang guns synched to the soundtrack, and a mystery cool boy creating his own star-crossed romance.
Rating: 4.5/5.0 |
What distinguishes “Baby Driver” from the other Quentin Tarantino-type attempts is the building of its environment. The atmosphere gets more dense as the film goes on, the feeling more fantasy like and idyllic as the story of the expert getaway driver unfolds. The film is specifically cast to take advantage of that build-up, including simply great performances from Ansel Elgort as the title character, supported by a different-looking Jon Hamm, a bombastic Jamie Foxx and the amped-up boss image of Kevin Spacey. Writer/director Edgar Wright (“Scott Pilgrim vs. the World”) combines his snarky comedic style with the creation of his Baby Driver world, and the result is pure entertainment.
The enigmatic crime boss Doc (Kevin Spacey) is an expert in gathering the right gang together to execute his elaborate robberies. The only constant in the ever-changing cast of criminals is Baby (Ansel Elgort), the specialty getaway driver whose elusive skills practically guarantee they won’t get caught. Baby is paying off a debt to Doc, and just as the last installment is due he meets waitress Debora (Lily James).
There is one last heist, naturally, and it involves Buddy (Jon Hamm), Buddy’s wife Darling (Elza González) and the mercurial Bats (Jamie Foxx). They are going to hit a Post Office, but the situation goes sideways. Because of this shift in circumstance, Baby is now being pursued for revenge, and his new pursuit becomes is to find the open road with Debora.
All American: Ansel Elgort as the ‘Baby Driver’
Photo credit: Sony Pictures Entertainment