Baby Driver (2017)

Directed by: Edgar Wright | 113 minutes | action, crime, music, thriller | Actors: Ansel Elgort, Jon Bernthal, Jon Hamm, Eiza González, Micah Howard, Lily James, Kevin Spacey, Morse Diggs, CJ JOnes, Sky Ferreira, Lance Palmer, Hudson Meek, Flea, Lanny Joon, Jamie Foxx

Edgar Wright is a genius. And as is so often the case with geniuses, he is not understood by the masses. His films (including ‘Shaun of the Dead’, ‘Hot Fuzz’ and ‘The World’s End’) are masterclasses in editing and are therefore subject to considerable scrutiny in many film studies. In terms of visitor numbers, however, it is always a bit disappointing. Wright’s film technique is catchy, but the click with the average film audience is often hard to find. A headstrong man, that Wright. He fits right in with Tarantino and Scorsese, also directors who will always do their own thing, and who can also put together a very cool soundtrack. In the latter, Wright may even be the boss of his colleagues.

Because the soundtrack is paramount in ‘Baby Driver’. Not only is it part of the plot (main character Baby listens to music to drown out a constant ringing in his ears), it’s part of Wright’s signature qualities. Every shot, every object that makes a sound, is to the rhythm of the pop music that accompanies the whole. It is a find that only Wright can execute with the right finesse. He also uses it sparingly so that it doesn’t distract from the viewing experience or become too much of a gimmick. The result is something so obvious to do, make a film to rhythm, but strangely enough, it has never really been performed in this form.

But just a good collection of songs doesn’t make a perfect movie. And despite the forthcoming hymn, ‘Baby Driver’ isn’t perfect. However, the lesser points are so minuscule that they are hardly worth mentioning. The biggest is towards the end of the film when the various motivations of the characters become somewhat clouded by the extra high gear in which the film is then.

Not that the film is slowly evolving to get to that point. No, ‘Baby Driver’ is like a raging NASCAR racer and opens right away with a bank robbery with accompanying chase scene. A burst of adrenaline kicks in, after which a little bit of throttle is slowed down and the characters, especially Baby (Ansel Elgort), are introduced. Baby is a good boy, obviously with a troubled past. A car accident that killed his parents forces him to live with his deaf godfather. When one day he comes into conflict with the mob boss Doc (Kevin Spacey), he has to carry out a number of assignments for this criminal. This leads Baby to become the regular getaway driver for the robberies Doc and his gang are planning.

In this way, the viewer is introduced to a large number of colorful characters. The big outliers are the crazy Bats (Jamie Foxx) and the intense but charming Buddy (Jon Hamm). Both actors visibly enjoy playing their roles, especially when they are allowed to go a little overboard. And then there’s Debora (Lilly James), the most charming love interest since Mia in ‘La La Land’ (2016). The chemistry between Debora and Baby explodes in all its coolness and makes for some intense scenes when their love inevitably becomes part of Baby’s criminal antics.

Edgar Wright was once associated with the superhero film ‘Ant-Man’ but did not continue with this due to discussions with the studio. If that was the reason we’re getting ‘Baby Driver’ now, then that was a very good deal. Because there is simply very little to criticize about this print. Secretly is arguably Wright’s best work to date. With an enthusiastic cast, a simple yet very charming script and above all that soundtrack that is almost literally the heartbeat of the film, this is certainly a contender to join the best films of 2017. Now let’s see where he crosses the finish line.