The concept of the car chase suffered in limbo for too long with inexperienced directors too often cutting corners instead of respecting why films like “The French Connection,” “Bullitt” and “Ronin” are still held in high regard today. Like all great students, Wright tips his hat to the teachers and refuses to phone in the camerawork on his stunts.
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Baby Driver, Wright’s first-ever solo screenplay, is a thrilling and original cinematic joyride that pays homage to heist masterpieces while creating a legacy of its own.
Baby Driver is exhilarating, fantastically entertaining, and mildly frustrating, all at the same time.
The director’s most ambitious work to date is a wildly successful romantic heist comedy, propelled from scene to scene with a lively soundtrack that elevates its slick chase scenes into a realm of musicality that develops its own satisfying beat.
A crime-flick love story as Pop-conscious as Wright's earlier work but unironic about its romantic core, it will delight the director's fans but requires no film-geek certification.
Baby Driver proves why we should never doubt Edgar Wright's vision, because few filmmakers can back their ambition with such quality thrills.
No Hollywood suit and no diehard fan could have had the foresight to picture something like this, namely because nobody but Wright had any idea what this was supposed to be. This is something that’s been brewing inside his head for over two decades, and that unquestionable dedication, confidence, and passion fuels each and every scene of Baby Driver.
Like all Edgar Wright movies, Baby Driver is a blast, featuring wall-to-wall music and a surfeit of inspired ideas. But it’s also something of a mess, blaring pop tunes of every sort as it lurches between rip-roaring car chases, colorful pre-caper banter, and a twee young-love subplot.
The mechanisms at work in Baby Driver, while calibrated with hair’s-breadth precision, are nothing new. Here’s what is: the sheer glee with which the film prods around in its own clockwork to show you what spins what.
Rarely do we see a filmmaker start so strong only to end with a whimper. All in all, though, Baby Driver is still worth seeking out, if only for that first hour. Inside those opening 60 minutes is the best action-comedy of the last ten years — full stop — featuring a breathtaking amalgamation of rip-roaring combat, a star-making performance by Ansel Elgort, and a string of clever bits.