SPEED OF SOUND
If pure sensual action made a soundtrack, then someone made a movie based only on that soundtrack, then 'Baby Driver' is that movie.
The latest work from director Edgar Wright, "Baby Driver" takes us back to an old-school sense of exhilarating action, colourful anti-heroes and a banging score to keep pulses racing. Set against a sprawling Atlanta backdrop, and in a time that proves hard to pinpoint, the story of young getaway driver Baby (Elgort) driving for his life proves as one of year's strongest works so far.
Suffering from tinnitus that resonates from a childhood tragedy, the true star of "Baby Driver” is the eponymous hero’s co-pilot; his music. Where Baby needs the pounding production of a classic hit to drown out a perennial ringing, audiences instead experience a perfectly in-sync dance between on-screen action and superb soundtrack. Every song was written into script, allowing for some masterful stunt choreography to twist and turn to what we hear from the speakers. It’s direction and production at it’s best, and a resounding testament to the shared expertise between Wright and long-time collaborator in stunts, Ryan Heffington
In terms of narrative, there is a warning to audiences; it’s another re-hashing of the “one last job” heist trope. Not to say the film doesn’t pave new directions within the tried-and-tested cliche, but it’s worth noting that many of the archetypes you find in that kind of story rear their ugly heads at some point in the film. Nonetheless, the tale is as enthralling as any other in 2017, as Baby becomes increasingly entrenched in audacious bank robberies under employer and criminal mastermind Doc (Spacey). Elgort gives a well-to-do performance as the stoic and systematic driver, not insofar as the emotionally distant hero from “Driver” or the unashamed brashness of “Fast & Furious” but the true drivers of the film lie in its supporting cast.
Spacey plays a relatively ‘made-for-Kevin-Spacey’ kind of character and does exceptionally good work as it. His presence as a somewhat father-figure to Baby while also threatening to break his legs over job refusals marks him as a antagonists of-sorts for much of the film. Other criminals that move in and out of Baby’s job include Darling (Gonzalez), Griff (Berthanel) and Bats (Foxx). Foxx in particularly excels as a unhinged career criminal, unafraid to kill innocents in cold blood and a prickly thorn in Baby’s side, as well as attempts to keep a safe and manageable getaway. However, the likely star of the cast is the handsome and hot-headed Buddy (Hamm). Part of a very sensual and smart criminal duo with Darling, Hamm weaves the outstanding acting skills he flexed during ‘Mad Men’ as a who cares for Buddy’s talent, but indomitable when in rage. His movements between friend and foe to Buddy as the film progresses make him a joy to watch, much out of uncertaintly for if his next action is kindness or killing.
The film is a pure adrenaline blast. The directorial techniques that melds soundtrack, stunt and suspense together is nothing short of pure art. With outrageously outstanding production, some solid performances and above all, a willingness to have fun, “Baby Driver” rides into the sunset as one of 2017’s must-sees.