THREE STARS A young man with a musical gift for timing is the ultimate driver for Kevin Spacey's gang of thieves
Starring Ansel Elgort and Kevin Spacey
COMEDY ACTION #BABYDRIVER
BABY DRIVER roars across the screen like the super-charged, adrenaline-soaked high-concept movie it is. With an eightie’s gloss, one big idea and an even bigger soundtrack, there’s nothing particularly challenging about this over wrought heist movie. Not that intends there should be; it’s all about the vibe, man. Baby, yes that’s his name, blocks out the ever present, high-pitched squeal of tinnitus with an iPod playlist for every occasion. The cracking soundtrack helps him focus which is handy since he’s the getaway driver for Kevin Spacey’s gang of thieves. It’s a tough job, he needs to focus. Then he falls in love and the inevitable happens.
As mentioned; high-concept, one idea. The fun of BABY DRIVER rests solely in director Edgar Wright’s capacity to stage a scene and edit the arse out of it. It is a thing of exhilarating beauty. Truly. But it comes at a price as plot, dialogue and character development all take a back seat to the scene, the music and the edit. In choosing to keep events in a realm of possibility, kind of, he eschews the exaggerated nonsense that the FAF franchise descended into. BABY DRIVER is big certainly, with car chases that recall the ballsy resonance and humour of THE BLUES BROTHERS and perhaps THELMA AND LOUISE. Yet they’re also small enough to be credible, kind of.
Not that that matters especially, this is a thrill ride, pure and simple. Like riding a theme park jacked up on candy floss and popcorn, there’s an inevitable crash that leaves you tired and wanting. The intoxicating smell of burning rubber has cleared and you find there’s not a whole lot left behind. Again, it doesn’t especially matter. BABY DRIVER is speed for the senses, not food for the soul and on that meter, races across the finishing line first in class.