With 2004’s Shaun of the Dead, Edgar Wright marked one of the most memorable statements for original film since the emergence of Quentin Tarantino and David Fincher in the ’90s. Ever since, Wright has made films that challenge expectations and shock us with their depth, remaining both roller coaster rides of action and emotion while committing to genre and character. Baby Driver is no different; Wright’s latest is a immersive piece that enraptures its audience with a musical track, taking us on a wild adventure that never fails to entertain.
Baby (Ansel Elgort) is a getaway driver of great talent, and uses music to drown out his surroundings and better his craft. When he falls for a beautiful waitress (Lily James), Baby finds himself drawn back into his old life by his former employer (Kevin Spacey). While the story works well, it’s the craft that makes the film so special; Wright put us in the mind of Baby, and through music we’re able to explore his mind.
Elgort is brilliant here, remaining a unique and subtle lead who’s simultaneously a hero to care about and the coolest guy on screen. Spacey adds a sharpness and wit to an already intelligent movie, and the additions of Jamie Foxx and Jon Hamm make for brilliant side additions. Each actor is able to transition from the humorous to the serious at any point, yet the tone always feels the same; it’s crazy, thrilling, and touching, and it all works in the unique world Wright has created.
There’s also no shortage of action, and Wright pulls of some of his most impressive sequences to date. To say these are well choreographed is an understatement; each sequence is perfectly plotted with creative uses of music and sound, exploding with style at every moment. There may not be a film as relentless this year as Baby Driver, and with Wright’s engrossingly funny, adrenaline rushing style, there may not be one as entertaining. Grade: A+