Thank God for Edgar Wright. In an era where so many movies (looking at you, Transformers) feel like the filmmakers are making them up as they go along, Edgar Wright is a guy who makes movies that are coherent, thrilling, and emotionally resonant. He makes movies where you can see that he had the whole movie planned out in his head before the cameras even started rolling, and the results are spectacular.
Baby Driver is only his fifth theatrical feature, and he is five-for-five. I adore all three films he made with Simon Pegg and Nick Frost. Shaun of the Dead is my favorite zombie movie of all time, and I absolutely love Hot Fuzz and The World’s End. Those three movies are endlessly rewatchable, as is Scott Pilgrim vs. The World, his hyperkinetic take on the beloved comic book series. It’s been a long four years since The World’s End, which was his last feature (he was going to direct Marvel’s Ant-Man but ended up leaving the project), but since Wright is only 43 years old, hopefully we’ll see a lot more films from him in the future.
Baby Driver is the story of Baby, who is a driver. Baby is played by appropriately baby-faced The Fault in Our Stars heartthrob Ansel Elgort, who is fantastic in the lead role. Baby is a man of few words, who expresses himself through body language and music. He suffers from chronic tinnitus as the result of a car accident when he was a kid that also killed his parents, and drowns out the humming with a constant stream of music from one of several different iPods. He has different Pods for different moods, and you get the feeling that he knows every song on every one of them by heart.
He’s also the best getaway driver in the business. He works for a gangster called Doc (played perfectly by Kevin Spacey), who makes not-so-veiled threats like “Your waitress girlfriend, she’s cute. Let’s keep it that way.” Once, Baby made the mistake of stealing from Doc, and now gives Doc most of his take from the various jobs they do as a means of paying off his debt. Also along for the ride are various miscreants, the most notable of which are Buddy (Jon Hamm), his girlfriend Darling (Eiza Gonzalez), and the violent sociopath known as Bats (Jamie Foxx).
Every actor seems tailor-made for the part they play, and Jamie Foxx is just terrifying. He clearly enjoys being a criminal way too much, and his violent outbursts during their heists are part of what makes Baby long to escape from these dangerous people he finds himself involved with. Baby’s problem is that he has a conscience. “The moment you catch feelings,” Bats explains to him from behind the barrel of a shotgun, “is the moment you catch a bullet.” Bats hasn’t caught a bullet yet because he has no feelings for any of the people he hurts, which sets him on a collision course with Baby.
Further complicating matters is the aforementioned waitress girlfriend Baby meets one day in his favorite sparsely-occupied diner. Her name is Debbie, and she is played by Lily James, who is perfect as the girl the hero must risk everything to be with. Debbie is as sweet as Bats is frightening, and when Bats brings Baby, Buddy and Darling to the diner partway through the movie the tension is nearly unbearable. It’s a beautifully-acted and -directed scene, with Debbie and Baby pretending not to know each other and trying not to make eye contact, lest Bats figure out that Baby cares about her.
Edgar Wright directs the hell out of this movie. The many car chases are beautifully chaotic, and they manage to be frenetic and intense without sacrificing clarity. While Baby Driver is not a comedy in the way Wright’s earlier films were, there are still some very funny moments, and Wright deftly balances the tone of the movie so that it never feels out-of-control.
And of course there’s the music. I’ll admit that most of it is music I was unfamiliar with, but much like the actors, every song feels perfect for the scene it’s in. Wright is also a master of editing, and precisely times moments during the action scenes to correspond with the beats of a song. That’s what I meant when I said earlier that you can tell how he’s envisioned the whole movie is in his head before he even starts filming, since that level of precision with the music, editing, and stunt choreography doesn’t happen by accident. It all blends together to create a seamless experience.
The movie is very stylized, and some might say it’s style over substance, but I disagree. Partly that’s because I love Edgar Wright’s style, but there’s also a strong emotional connection to the characters. I really cared about Baby and Debbie, and during the suspenseful, action-packed second half of the film I was on the edge of my seat. This movie is such a breath of fresh air after the pair of crummy blockbusters that were the subjects of my previous two posts.
If there’s one thing I didn’t love about the movie, it’s the ending. It’s not terrible, and I won’t spoil it, but it’s the weakest part of a really good movie so it stands out. I don’t hate the ending, but it goes on a bit longer than it should. It’s one of those endings where there’s a perfect moment where it could have ended, but then it keeps going for two or three more scenes that didn’t need to be there. This is a minor complaint when I loved everything else about the movie, but I do feel that Wright didn’t quite stick the landing with regards to the movie’s conclusion.
I hope it doesn’t take four years for Edgar Wright to make another film, he’s one of my favorite directors. But until he makes another one, I’m very glad we’ve got this one to rewatch. Coming up next on the Summer Movie Watchlist is Spider-Man: Homecoming, the latest reboot of everyone’s favorite wall-crawling superhero, so look for that next week.