The Movie Maestro's Reviews: Baby Driver (2017) dir. Edgar Wright
Playing to genre stereotypes is nothing new for Wright, although the way he employs them is always interesting. Shaun of the Dead and Hot Fuzz were very much parodies of zombie flicks and buddy cop film, respectively, and Scott Pilgrim vs. the World was an incredible ride into a terminally-Canadian 8-bit world of classic gaming and young love. With Baby Driver, Wright goes a little bit more subtle, but don’t worry. It’s still as out there as anything else he would concoct. This time he tackles the heist film, specifically, the classic getaway driver story. It may have been done to death, but Wright’s style and flair are kicked into overdrive to compensate for the more down-to-earth narrative he is telling, resulting in one slick picture that is as pleasing to the ears as it is the eyes. The film’s vantage point is exclusively Baby’s, as he weaves in out of lanes on the road and pedestrians on his daily coffee walk, set to any number of classic pop and rock songs. Almost everything with a beat, whether it be the footsteps of the robbers or the reports from their guns, is synced perfectly to the beat of the current song, and when the music drops away, we are greeted with the persistent ringing of Baby’s ears. Wright’s attention to detail is exquisite, and the many easter eggs to be found among the periphery should make repeat viewings as fun as the first go around. It's story is just as energetic, starting light but amping up the tension to incredible levels as Baby's last heist begins to go terribly, horribly wrong.
Read the full review at themoviemaestroblog.wordpress.com
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