Baby Driver Review:

The world/humor of Edgar Wright is genuinely well loved over the course of a decade or so. Hitting his genre smashing debut film with Shaun of the Dead, and then moving into Hot Fuzz, Wright has always had an eclectic, fast paced rhyme to his films.

Over the course of the years, one could easily say Wright was the culmination of a Tarantino-esq dark comedy/violence, with the pop culture obsession of Kevin Smith.

Wright has always stuck to his guns and as a result, produced some of the most exciting films of the last ten years, that they fade into the background as being one of those “universally loved” films. This most obvious one being “Shaun.”

I can’t then, how much I adore what Edgar Wright did for car chase films in general. It’s hard to compare a film like Mad Max: Fury Road because that film burns from under with the rage not seen in cinema, but was somehow portrayed with the camera and characters constantly in motion, at all times, rarely allowing us viewers to catch our breath from rage being pour out onto us from the screen.

In this very similar sense Wright pushes the medium and us to watch this narrative controlled by his love for music. He implements this successfully by using clever editing techniques and have all the characters buy into this world he’s created for us.

Make no mistake, this film is every bit as fantastical and mythological as Mad Max: Fury Road. This isn’t a film based in reality. It’s a fantasy film, one that can’t help but put a smile on your face, and near the end of the film, put you on the edge of your seat.

Think about the characters from La La Land went and mixed up with The Fast and Furious characters. Then you’d have something a little close to what Baby Driver resembles.

But then again, we’re dealing with Edgar Wright people. This guy loves to bust up expectations. And boy does he do it with such deft, you don’t even realize he’s hit you until it’s too late.

Baby is our getaway driver. He works for Kevin Spacey’s character. He has a ring in ear, so he needs music to help him drown it out. All this you know from the preview. And yet there’s so much you’re missing from not watching this film.

An opening credit scene that has you studying the wall graffiti. A tape collection that has you wishing to hear every single one. An ending so batshit fun and insane, you’ll want to rewatch the film the minute it ends.

All the while, the movie’s music, all through the perspective of Baby, pushes the film through all its gritty and exciting twists and turns. It’s the heartbeat of Baby’s life. We find out why as the film goes on.

This is a film stylized for the ages. Just as Wright did for zombie movies, and as he proclaimed his love for video games in “Scott Pilgrim”, so does he stylize a film for music lovers, in the form of an outdated but iconic iPod. One with those earbuds plugged in, jamming to your favorite song on the car steering wheel, waiting until the light turns green. That’s who this movie is made for. Damn if that person isn’t me.

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