Director Edgar Wright’s bread and butter, ever since and including Spaced, has been in making genre parodies that don’t only embrace the genre, but flourish in it. Shaun of the Dead, for example, has a lot of fun with zombie clichés, but it works perfectly well as a zombie movie in itself, and has a lot more visual style than most of its straight-faced kin. Baby Driver, Wright’s newest, is similarly aware of the tropes of its genre and picks fun at them, and gets away with it because it, first and foremost, is a good heist thriller. Yet, there is no mistaking Baby Driver for a parody; this is a fun thrill ride almost all the way through, and any laughs to be had at the genre’s expense are purely incidental. Playing it straight maybe makes Baby Driver a less novel outing than Wright’s previous, but the energetic flow, charismatic performances, and dazzling automotive stunts make for a hell of a fun time.
As one might have gathered from Scott Pilgrim vs The World, Wright is one hell of a kinematic director, and the audiovisual vibe he creates throughout is what really sets Baby Driver apart. Baby (the driver) has tinnitus, and always listens to an iPod to drown out the ringing. This simple little plot device gets exercised throughout the entire film, which Wright directs a lot like a music video, with everything from elevators to automatic weapon fire synchronized to guitar solos and trumpet blares. It also makes for easy (but effective and sparingly used) moments of dramatic tension whenever the music cuts out. The mood is so entrancing that when the choreography gets interrupted, we’re just as disoriented as Baby.
The cast is also more than game to play with some archetypes. In particular, the crowd of crooks have an interesting dynamic that could fill up a much longer movie. Kevin Spacey’s ringleader Doc never really comes into focus, with a few consequential moments in the third act that seem to come out of convenience to the plot rather than naturally from the character. However, the dynamic between Ansel Elgort’s Baby, John Hamm’s Buddy, Eiza Gonzalez’s Darling, and Jamie Foxx’s Bats is tense, fraught, and goes in some truly unexpected directions. Foxx almost takes over the movie in a nasty way as a hotheaded stick-up artist, but it ends up being his contrast with Hamm’s more level-headed Buddy that provides the second half with much of its thrust, and both actors relish that chance to play the heel. Outside the crime, Baby romance a waitress played by Lily James, who really only exists as an avatar for escape, a romantic ideal to make Baby wish he was in a different kind of movie. James is charming enough to make it work, but the script is clearly only interested in her insofar as she (a little inexplicably) cares about Baby, dulling the central drive of the second act.
Baby Driver isn’t Wright’s masterpiece. It’s either ten minutes too long or twenty too short, and its central character is not quite as nuanced as I might like. The ending is also a bit haphazard, with a climax that gets a bit too ugly and a bit too chaotic, as a setpiece set against Brighton Rock gets away from Wright’s otherwise steady flow. But it’s a hell of a fun time for the most part, and the kind of popcorn movie that will be endlessly rewatchable on home video. In the post-streaming era, it’s maybe the Blu-Ray release I’m looking forward to most since Fury Road. That should speak volumes louder than any little quibbles.
Baby Driver (2017)
Directed by Edgar Wright
Starring Ansel Elgort, Lily James, Kevin Spacey, and Jamie Foxx
Rotten Tomatoes (94%)