Movies like this aren’t supposed to get made anymore. If you believe the perceived wisdom, the one-off, daring dramas that used to dominate the box office have been squeezed out by greedy studios, as they chase the next mega-bucks tentpole. Baby Driver has no truck for convention. A hair-raising joy-ride of sweetly executed car stunts set to a foot-stomping soundtrack, this irreverent musical thriller is real pedal-to-the-metal filmmaking and quite possibly the most original movie you’ll see this year.
From it’s opening set-piece, Baby Driver outlines exactly why it’s so extraordinary. As the finger-tapping beat to Bellbottoms kicks in and Ansel Elgort’s eponymous getaway driver launches into an outrageously inventive car chase through L.A.’s crowded highways, it’s clear that this is a movie that has music stitched into its very DNA. And not it’s not just the action: every single frame is painstakingly choreographed to the thrum of Edgar Wright’s impressively eclectic playlist. Even a morning coffee run turns into a La La Land-esque urban waltz as Baby struts and slides through a busy highstreet to the strands of Bob and Earl’s Harlem Shuffle.
What’s truly remarkable about this movie, though, is how effectively Wright orchestrates such a relentlessly paced thriller without ever allowing his leading-man to get lost in the tire smoke. A demon behind the wheel who always wears ear buds to drown out the “hum in the drum” caused by a childhood accident, it would be easy for Baby to become a clawing bundle of clichés. Yet he’s disarmingly easy to warm towards because Elgort and Wright wisely imbue him with a genuine heart of gold. Orphaned as a child when his mom died in a car accident, Baby now cares for his deaf foster dad Pops, who only communicates using sign language, and spends his nights making mixes from secret recordings of people he’s come across that day.
As Wright gradually unspools his heartbreaking backstory, we slowly learn how such a decent kid got caught up with a bunch of petty crooks and violent criminals. Before he was old enough to see over the steering wheel, Baby foolish nicked a swag-loaded car belonging to ruthless gang leader Doc and has been forced to work for him every since, paying off his debt one job at a time. Elgort pitches his performance perfectly, displaying just the right mix of roguish charm, cheeky confidence and genuine sincerity that promises much for his upcoming high-profile turn as a young Han Solo.
The supporting cast are no slouches, either. Jamie Foxx has a ball going fully-blown crazy as unhinged career criminal Bats. John Hamm, playing a former stock broker who ran off with his favourite stripper, strikes up a fun double act with Eiza Gonzalez’s persuasive Darling. Meanwhile, Kevin Spacey is suitably menacing and oddly paternal as bank heist extraordinaire Doc, and he gets the pick of the best lines too (“Putting the Asian in home invasion…”). Every one of them can be relied upon to deliver moments of levity and breezily reel off exposition when required.
Only Lily James feels short changed as Baby’s dreamy love interest Debora. A young waitress who dreams of jacking in her dreary life and hitting the highway with no plan of where to go, Debora’s useful as a symbol of everything Baby desires, but she’s completely without a backstory or agency. She’s simply just along for the ride, unwisely clinging on to Baby’s tire tracks even as his predicament spirals into increasingly dangerous – not to mention illegal – territory. It’s a shame because James does solid work as Debora, being suitably desirable but with a wit, charm and strength all of her own.
If there is one real criticism of Wright’s work here, it’s that the familiar story – a good kid trapped in a bad situation – unfolds pretty much as you would expect. Yet the fact that we’ve heard most of the story beats before hardly matters when the notes are played with such a refreshing verve and style. And when Baby Driver squeals into its break-neck, gas-guzzling, bullet-strewn final act, you’ll be enjoying the ride far too much to remember that you already know where the journey will end up.
Runtime: 113 mins (approx.)
Director/Screenwriter: Edgar Wright
Stars: Ansel Elgort, Jamie Foxx, Kevin Spacey, John Hamm, Lilly James
Star rating: 4/5