Baby Driver (2017)
Director: Edgar Wright
Screenwriter: Edgar Wright
Starring: Ansel Elgort, Jon Bernthal, Jamie Foxx, Eiza González, Jon Hamm, Lily James, Kevin Spacey
Review
Baby Driver, directed and written by Edgar Wright, is a high-energy 2017 crime thriller that blends meticulous sound mixing, a standout soundtrack, and a love of classic car-chase cinema. Starring Ansel Elgort as the titular getaway driver known only as Baby, the film follows a young man with tinnitus who is drawn into a series of heists to repay a debt to a crime boss. The film’s premise—action choreographed to music—gives it a unique rhythm and makes it one of the most audibly distinct entries in Wright’s filmography.
From the opening sequence, the soundtrack functions as an essential storytelling device. Baby listens to a carefully curated mix of songs on his iPod; the film’s editing syncs gunshots, tire squeals, and engine revs to that playlist, turning each chase and shootout into a tightly timed set piece. The sound design and mixing are among the movie’s strongest assets, and they elevate Wright’s concept far beyond a standard heist thriller. The result is an intoxicating audiovisual experience that holds the audience’s attention through both thrills and quieter, character-driven moments.
Wright peppers the film with affectionate nods to classic car-chase pictures—most notably influences from late-1960s and early-1970s films that made vehicular pursuit a cinematic staple. Rather than parodying those films, Wright integrates their spirit into his own style, creating sequences that feel both referential and fresh. This tribute-driven approach keeps the film playful and self-aware without undermining its emotional beats.
Comedy is central to Baby Driver, but Wright also weaves in elements of tragedy and tension. The screenplay balances humor with the threat of violence and the trauma underlying Baby’s life. That tonal blend largely succeeds, though the film’s final act shifts noticeably toward a heightened, almost fantasy-like resolution. That choice amplifies the movie’s musical and comedic impulses at the expense of some dramatic plausibility. While the finale delivers spectacle and entertainment, it softens certain character stakes and resolves conflicts in ways that favor style over grounded consequence.
Casting is another strong suit. Jamie Foxx and Kevin Spacey stand out as memorable members of Baby’s crew, each bringing a distinct comic and menacing energy to the supporting roles. Jon Hamm, Jon Bernthal, and Eiza González add texture to the ensemble, contributing to the film’s blend of menace and humor. Ansel Elgort and Lily James anchor the story with a young-romance thread that propels Baby’s coming-of-age arc. Their performances are earnest and sympathetic, though the characterization of Baby occasionally feels stylized to the point of being anachronistic—his musical taste and demeanor sometimes read like an older sensibility transplanted into a younger body.
That characterization raises a larger question about audience identification. Baby Driver often feels designed to appeal to cinephiles and older viewers who share Wright’s references and musical sensibilities. Teenage viewers may still enjoy the action and romance, but some of the film’s nostalgic touches and in-jokes land more readily with viewers familiar with Wright’s influences.
Despite those reservations, the film’s strengths are significant. The choreography of sound and image is inventive, providing moments of pure cinematic joy. The pacing is brisk, and the heist set pieces deliver excitement and clever staging. Wright’s signature comic timing is present throughout, and several supporting characters provide genuine scene-stealing moments that add personality to otherwise familiar genre beats.
In summary, Baby Driver is a stylish, entertaining film that stands out for its creative use of music and exceptional sound mixing. It successfully merges heist mechanics, car-chase thrills, and romantic ambition into a kinetic summer picture. While its final act leans toward fantasy and undermines some dramatic stakes, the overall experience remains highly enjoyable. For viewers who appreciate precise editing, a strong soundtrack, and playful genre homage, Baby Driver ranks among the most inventive mainstream films of its year.
Score: 17/24
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