This is a comprehensive review of Edgar Wright’s Baby Driver.

Baby Driver is one of those movies I had vowed to watch in theaters but never did. After over six months, I finally found time to experience this masterpiece on the 110-inch screen that turns my basement into a boastful home theater. I find it hard to invest time in movies that precariously balance on the two-hour mark, but I am always met with instant regret for not doing so sooner. Since so much time had passed since this movie’s release, it was inevitable for me to hear of a few generalized reviews. Specifically, there was unmatched praise for the film’s opening scene and soundtrack. Considering this, I had incredibly high expectations the second the movie began and, to my surprise, these expectations were met and far surpassed. As expected, Baby Driver’s opening scene sets the film up as fast-paced, action-packed, and devilishly clever. Each action sequence draws you into that specific scene, so my heart is beating out of my chest whilst sitting motionless on my couch for the entire length of the film. Of course, I had anticipated that the soundtrack was absolutely phenomenal. Already aware that Baby Driver revolves around the protagonist’s relationship with music as he navigates a dangerous career, I was overwhelmingly pleased by Wright’s ability to weave the nostalgic tracks into each scene. Which brings me to my two favorite aspects of the film:

Every musical accompaniment of the film lines up with the onscreen actions. It is such a phenomenal tactic that simultaneously keeps the audience engaged on a visual and auditory scale. There are so many moments of synchronicity between a character’s actions and the drum beat or guitar riff of a song Baby is listening to. Even further than that, during Baby’s first coffee run, his jovial self walks by vibrant displays of graffiti. Amongst the city chaos, the street art perfectly sprayed on the buildings aligns with the lyrics of Harlem Shuffle, playing on one of Baby’s seemingly archaic iPods. Similarly, Baby’s interactions with his love interest, Deborah, in the laundromat begin with a pan across washing machines, spinning in unison as the two characters are brought together by the music that they share. Each one holds clothing of a singular primary color, whether it be red, blue, or yellow. These colors may be completely unique, but end up bringing the scene together with warmth and light, a similar approach employed during Someone in the Crowd, an integral song from La La Land. There are endless examples of callbacks to different scenes within Baby Driver, whether it be movie quotes from Baby’s TV, hints of foreshadowing that resemble Jordan Peele’s haunting tactics within Get Out (watch it twice!), or visual displays of art that either blend together with the music or change as Baby’s fast-paced life does. Nonetheless, this cinematic approach shaped the film’s story arc and character development in a profound manner.

Baby Driver’s first person perspective is unbelievably spectacular and surprising. There are numerous movies where the audience ends up knowing more about the plot than the protagonist does themselves. For example, as the Titanic is sinking, the audience is anxious for Rose as she searches for Jack in the depths of the ship even though we already know of his exact location. So many movies take this course of action; as a character is happy, the audience may be devastated as they know the truth of a matter that the character will soon discover. However, Baby Driver breaks this mold and gives such a unique experience for the viewer. Every shot, action, and dialogue has Baby involved and we discover something unique or make life-changing decisions at the exact same time Baby does. Never before have my own emotions mirrored those of a character’s so accurately. Every time Baby interacted with Deborah, played by the utterly captivating Lily James, I felt as though I was falling in love with her as well. When Baby danced around his apartment, I could not help myself from laughing and smiling along with him. During his second coffee run within the film, he takes the exact same route with the same purpose and order as before, but the subtle changes in body language from a character with already limited dialogue immediately put me in a sour mood. This film truly builds upon the character in such a captivating way and creates an unmistakable bond with the audience. Much of this credit goes to the actor himself, however.

As I am writing this review, I am listening to Ansel Elgort’s discography. Elgort, who plays Baby, has always been one of my favorite actors, but he is also a music producer, singer, and dancer. I have always been captivated by multifaceted celebrities, and Ansel Elgort and Jamie Foxx are no exception. Foxx is well known for his solid music and acting career, and his character, Bats, is much darker than many of Foxx’s previous roles, as well as his actual personality.

Baby Driver is chalked full of talent, from Elgort himself, to the supporting actors, director, set decorators, and screenplay writers. It should be noted to those who feel faint at the sight of blood (me) that this film is far more gory and dark than what is conveyed through the trailers. A few drops of blood during a crime thriller/ action flick is far from abnormal, though, and the film is still worth seeing. I usually reserve any high ratings for only about a dozen films, but Baby Driver is positively 5/5 stars.

Live in Peace. Best Wishes, Madee