B-A-B-Y, Baby! [+77%]

Rating: 8/10 (19 September 2017)

The first and foremost reason why I loved 'Baby Driver' is because I could relate to the protagonist Baby's (yes, his name is Baby!) fixation on recording sounds (and conversations) that he hears around him and making mixes out of them - yes, that's something I used to do when I was fifteen. Baby (Ansel Elgort) is a seemingly quiet getaway driver (one of the best that there is, point made clear by a superbly crafted opening chase set-piece that unfurls to 'The BellBottoms' by The Jon Spencer Blues Explosion) working for Doc (Kevin Spacey), whose varying crews specialize in undertaking heists. He carries a series of iPods (suited to different moods/occasions) and suffers from tinnitus (a condition when you hear sound when no actual sound is made) which he tries downing out by way of listening to music all the time.
Baby takes care of his mute foster-dad (CJ Jones) and falls in love with a diner waitress Debora (Lily James) while bonding over mutual interest in music. What I like about Edgar Wright's films most is the fact that he puts realistically grounded characters in a purely cinematic setting. The film is set in modern day Atlanta but there are plenty of vintage aspects attributed to the proceedings: the picture-tube TV, the phone booths, the age-old method of stacking stolen money under a floor-plank, and the best of all, a portable walk-man (why are movies featuring the inclusion of a walk-man so entertaining by default? hint - Guardians of the Galaxy).
The chemistry between baby-faced Baby and adorable Lily is played out surprisingly well. They may have known each other for just a few days, yet when two souls connect over their common love for music, highways and long drives, it is by all means a well-nurtured filmic trope. Wright's narrative ingenuity is evinced throughout the film: the couple's (unlikely) first date takes place at a laundromat that culminates in a transitional shot (the rotation of the washing machine seamlessly fluxing into a gramophone record) with Beck's 'Debra' playing in the backdrop.
Baby's equation with his wheelchair-bound foster dad is also wonderfully expounded when they speak to each other in sign- language. Also, we have subtle bits of situational humor sprinkled throughout the film: like how one of the heist-crew members unknowingly buys everyone Austin Powers (who was played by Mike Myers) masks instead of Michael Myers from Halloween (as was planned); like how Doc's 8- year old nephew is a better observer than Baby (he gets a mint, haha!); like how the old lady exclaims WTF! when she is robbed of her vehicle by Baby who comfortingly hands out her purse, pop- culture references..there are plenty of instances!
Now, onto the supporting cast: Jon Bernthal's Griff is absent post the opening sequence, so I really wonder they billed him as top cast. In the limited screen-time that he is seen, he pulls off an intimidating yet funny gangster. Spacey sortof repeats his '21' act but still manages to stand-out with his sarcasm-filled quips. Jamie Foxx's character Bats is expected to appear unthinkingly menacing and he does exactly what's required of him. Eiza Gonzalez's Darling is imagined to be wildly seductive and she fits the role to the T. Jon Hamm plays the major antagonist Buddy - a gangster with a wild past, who tries to get back at Baby for reasons that cannot be *spoiled*.
Wright (with his cinematography & edit department regulars - Bill Pope and Paul Machliss respectively) has tried to package 'Baby Driver' as one long, exciting music-video with most crowd-pleasing elements inculcated. Kudos to Wright and crew for coming up with something utterly authentic in an era that is punctuated by reboots and remakes. 'Baby Driver' is a fantastically handcrafted concoction of humor, thrills and romance, powered by a kick-ass soundtrack.
Verdict: Must-see!