Logan Sork Film Reviews
Baby Driver
Over the past few decades in film, one of the most popular genres have been heist films. They often contain exciting action that keep audiences entertained and usually present us with characters that we route for, despite them being criminals who break the law. In the years past, heist films have been similar regarding setup and usually stick to mainly just being heist films. What makes Edgar Wright’s Baby Driver so different is that while it sticks to the usual clichés of a heist film, it also adds so many different genre elements that it almost becomes a genre on its own.
The film stars Ansel Elgort as Baby, a young man who has a hearing issue who is a get-away driver to repay a debt he owes to a criminal. The reason he is so good at driving is that he has a hearing issue which he overcomes by listening to music, allowing him to focus on the road. While on his path to redemption, he meets a young girl named Debora, played by Lily James, whom he falls in love with. Now, he must try to settle the score with his boss while preventing his criminal life from affecting his normal life.
The setup and story are fairly standard in regard to the genre. What makes this film so special is the way it mixes in other genre elements without feeling like a mess. There are elements of a classic heist film yes, but there is also a romance which is as equally strong as the heist plot. In fact, one could make the argument that this is more of a romance film than a heist film. There are even elements that could make it more of a musical than a heist film. Granted, there is never a moment where the characters break out into song and dance, but the soundtrack is so much of a part of the film, that it’s almost a character in it of its own. There are also comedic elements thrown in as parts of the dialogue and action, as well as some heavy dramatic moments regarding Baby’s tragic past involving his mother. With all these elements thrown into one movie it sounds as though it shouldn’t work, but somehow director/writer Edgar Wright manages to walk a fine line between all the genre elements to create a viewing experience unlike any other.
As I mentioned before the core storyline harkens back to classic heist films. What makes this film feel so modern is the direction, particularly in the action sequences. Most modern action films feel very choppy and are only cut this way to maintain audience’s attention. What makes Edgar Wright’s direction so unique is that it feels like every cut is there for a genuine reason and really helps add a sense of energy to the film. Thanks to modern technology we can be in so many places in the action sequences. Whether it’s in the car with the crew or acting as a bystander, Wright manages to present us with both what our characters are going through and what it’s like for the world around them. The fast-paced editing coupled with Bill Pope’s excellent cinematography make this a fast paced visually pleasing film
The soundtrack also plays a pivotal role in what makes this film standout from the rest of the genre. What makes the soundtrack standout so much is that it is most often what the film is centered around. The heist and action sequences are cut to match the beats of the fast-paced song that’s playing at the moment. Every gunshot or sound is part of the soundtrack, almost as if the music is playing the characters in the film. There are also moments when the soundtrack takes a back seat and doesn’t overpower the more dramatic moments between characters.
Speaking of which, the characters in this film are very entertaining. Everyone is a stereotype that would be in a film like this, you have your crazy person, calm leader, runaway character etc. Despite being stereotype however, the writing and performances give the characters so much more depth than a normal heist film would. The performances are also excellent, with the real standouts being Kevin Spacey as the leader Doc, Lily James as the love interest Debora and Jamie Foxx as the unhinged Bats, who really got on my nerves for all the right reasons. The script also manages to throw in some twists that I didn’t see coming but also didn’t feel out of place in the story.
In the end, Baby Driver is a love letter to classic heist films of the 60’s and 70’s with enough modern elements to keep today’s audiences entertained. With excellent directing, editing writing and performances as well as including elements from different genres, the film is a unique thrill ride that thrill ride, with so much more under the hood.
9.5 /10