Edgar Wright melds old and new in this brilliant new take on an old formula.

Rating: 10/10 (6 February 2018)

I could say that Baby Driver is a complete rehash of the Fast and Furious genre. I could say that it has no original flair or plot, and that the characters were all one-dimensional cardboard cutouts. But this would be patently false. Baby Driver is the perfect meld between old and new. The plot is atypical Hollywood, but every other element reeks of style, flair, and perfection that seems only achievable in modern cinema by Edgar Wright and Wes Anderson. If I could describe this film in one word, it would be love. Edgar Wright loves this film, it is completely his, and it certainly shows. This film is a visual and audial tour de force, unmatched by the bloated spectacles of the majority of modern Hollywood. Somehow, Edgar Wright has packed a relatively small budget film (for this day and age) with so much love and care that it will keep internet film buffs talking about it for years to come. Welcome to Edgar Wright's heist movie fantasy.
First off, I'd like to talk about sound. The music and sound design take a front seat in the hard-shifting, tire squealing world of Baby Driver. From the very first moment in the film, even before it has faded up from black, the main character Baby (Ansel Elgort), is introduced by a slight ringing in the background. We learn later in the film that this is because Baby has tinnitus, an incessant ringing in the ears caused by a plot relevant incident. This small moment sets the stage perfectly for the detail present in the rest of the film. Whenever there is no music playing, the ringing creeps in unbidden, like an intrusive afterthought. Baby uses the music to drown out the ringing. When the music stops, Baby loses his rhythm and concentration. The entire film becomes more jarring whenever the music stops, reflecting the unease the ringing brings to Baby. Whenever the music is playing, the film maintains its beat perfectly. Every single gunshot in the film is synced with the music. Every action performed, every cut, practically every step is in time with the music. It is relentless in it's pursuit of musical perfection. From the opening scene, straight into the second scene, the film demonstrates its dedication to music. Baby drives, walks, and even talks to the beat of whatever he's listening to. The keen eared viewer can learn more about the characters in this film by listening closely, than just about any other film. In this way, Baby Driver is basically one of the best pieces of musical theater in the last decade. Who knew "Bellbottoms" and "Harlem Shuffle" could fit so perfectly as heist music.
Secondly, I'd like to discuss the visual aspect of the film. Edgar Wright has a reputation for showing subtly striking visuals that stick around in your brain long after they have faded from the screen. This is most often not achieved through flashy VFX, but through clever lighting, costuming, and camera angles. For example, a simple ¼ rotated high angle shot of Baby's instantly recognizable sunglasses, earbuds, and jacket behind the wheel of a car becomes a staple for the film after only the opening scene. That opening shot holds so much information, it's mind boggling. The sunglasses convey that he's emotionally distant, the ipod gives him a slightly carefree attitude and introduces the entire films love for music, the black and white color scheme of his jacket and shirt show he's divided between the light and the dark in his life. These are only the things I picked up on. I'm sure there was so much more that I missed. This is only a taste of what is to come in the rest of the film. That sort of attention to detail and loving care is kept up throughout the entire film. There are so many examples of small details that really make this film. The first time Baby sees his love interest Deborah (Lily James), a piece of heart graffiti in the background changes from black to red. That sort of detail doesn't happen from just any film. Things like that are what make this one special.
The things I've mentioned in this review so far are mostly technical. It is most definitely worth mentioning that every performance in this film is stellar. The star-studded cast list truly does not disappoint. Ansel Elgort, Jamie Foxx, John Hamm, Eiza Gonzalez, an Lily James are all exceptional. All in all, I believe this movie is truly something exceptional. It is a masterwork of craft and style. Come for the car chases, stay for everything else.