Like a botched bank robbery, I’m not sure what the hell went wrong here. Baby Driver has all the makings of a good piece of crime drama under the hood but ultimately fails to deliver a coherent, or even capable, movie. Edgar Wright has vision, I’ll give him that. The movie is full of vibrant colors and an excellent soundtrack, which drives (I couldn’t resist) the action scenes with a sort of silly confidence you just don’t see in most movies about robbery and murder.
The titular Baby is a special kind of getaway driver. He only speaks when he must. He always wears sunglasses, and he absolutely never leaves home without several iPods full of killer music with which to fuel his peerless, on-the-dime driving acumen. Ansel Elgort knocks his role out of the park as Baby and is without a doubt the best reason to watch the movie. He brings equal parts charm and innocence to his character. You can see the hard edges starting to form around a kid who is a victim of circumstance and it’s a wonderful performance throughout. And, man, he really is a devil behind the wheel.
- Bubbling over with style. The soundtrack, use of colors and action scenes are great fun, if a bit silly at times.
- Ansel Elgort’s performance.
- Terrible dialogue. It’s almost as if Wright has never seen or read another work of crime fiction.
- Not a whole lot of substance to balance out the style. Drowns in its own ambitions.
- Doesn’t add anything new to the crime genre.
- Doesn’t have much to say, much like Baby himself.
There’s a bit of fun to be had here and I wouldn’t completely swear this movie off if you’re a fan of crime stuff. Just don’t expect this to be anywhere on par with works like Heat or even The Town.