But Elgort and Lily James turn their diner meet-cute into its own pulse-quickening set piece.
#OH BABY DRIVER SOUNDTRACK CODE#
And as in Drive, Baby violates his code ofself-preservation by falling hard for a woman he barely knows.
#OH BABY DRIVER SOUNDTRACK MOVIE#
Knowing when not to explain is an undervalued skill in storytelling.Īs in Drive, this is the kind of movie where we stay in the car while whatever violent business is happening inside the bank goes down.
That's a choice by Wright, and it's the right one. Nor are his superheroic reflexes, calm, and spatial reasoning behind the wheel. He has others, of course, but his fealty to a device almost as old as he is is explained, though his preference for cassette tapes and micro-cassette recorders over digital devices never is. He is never without his old-timey click-wheel iPod, the one that cost $499 in 2001 dollars, was the size of a cigarette pack and weighed as much as a baseball. Like the cat burglars in the immortal classic of the heist genre Hudson Hawk, he times his extra-legal maneuvers to specific songs. Baby wants out of his life of crime, but it takes a lot more than just two weeks' notice, as you know if you've ever seen a movie.īaby manages his chronic tinnitus by listening to music almost all the time, but certainly when he's working. Jones), who makes known his disapproval of whatever it is Baby does to earn those fat stacks of bundled bills he hides under the floorboards. Anyway, Baby is the caretaker of his elderly, hearing-impaired foster dad (C.J. This is the 20th-century Spacey, the one who always turned his supporting parts into something memorable not the sweaty scenery-chewer he became after American Beauty. He plays a laconic wheelman in the employ of Atlanta crime boss Doc - Kevin Spacey, sucking in his Frank Underwood persona to give his most appealing performance in many years.
He has no taste for violence but no fear of it, either. star Ansel Elgort brings that pacifist-tough-guy thing that the famous amateur racer Paul Newman possessed. (He retained screenplay and story credit on Ant-Man, which was ultimately directed by Peyton Reed.) He remains best known for his collaborations with writer-actor Simon Pegg Baby Driver is the first of his five features on which he is the sole credited screenwriter.Īs Baby, 23-year-old Y.A. It's also overcaffeinated auteur Wright's first feature since his terrific dramedy The World's End four summers ago in the interim, he signed on to make Ant-Man before finding the Marvelverse to be less creator-friendly than he'd hoped. Like most of the soundtrack (save a new banger from Danger Mouse featuring Run the Jewels and Big Boi), it's defiantly old-school, but in the franchise-clogged summer multiplex it feels like the boldest, most original thing around. The writing is sharp and fun ("That's Johnny No-Nose, formerly Johnny the Nose"), the performances vivid and dimensional, the pursuit sequences crisp with analog discipline. It's supercharged with wit and visual invention even when its characters are just making sandwiches or doing laundry.
This is a squealing-tires symphony that owes more to Jacques Tati, William Friedkin, Nicholas Winding Refn and Michael Mann than to Justin Lin or Michael Bay, channeling equal parts Heat and High Fidelity.
Walk or take public transit to the theater, as the urge to drive recklessly on your way home will likely prove overwhelming. And burns enough rubber to make Vin Diesel's purely metaphorical hair stand on end.īaby Driver is a rush of a movie, is what I'm trying to convey to you. Also Exhibits D, E, G-flat and whatever other notes one might require to play the Jon Spencer Blues Explosion's "Bellbottoms," the first of many expertly curated soundtrack selections Wright uses to elevate his natty comic romance into a genre deconstruction that sings like Freddie Mercury and dances like Freddie Astaire. He's right about that, and I offer into evidence Edgar Wright's intoxicating new chase flick Baby Driver as Exhibit A. The director John Woo, whose filmography contains an aggregate body count in the quadruple digits, has frequently observed that action movies and musicals are close cousins. Baby (Ansel Elgort) looks dubious as Doc (Kevin Spacey) convinces him to do One! Last! Job! in Edgar Wright's Baby Driver.
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