It's a heart-thumping heist-thrilling hoonigan's dream on the silver screen. And there's so much more to it than the red WRX that caught your eye in the trailers!
I was fortunate enough to see an early showing of Baby Driver this weekend. Normally I write about Subarus on this blog, and certainly the footage leading up to this film's release had enthusiasts buzzing about the Hawkeye drifting it's way through Atlanta's streets. I'd be lying if I didn't admit that those scenes made me say "I should check this out". As the air date neared, I worried that Baby Driver would be nothing more than a bunch of cool car chases with a few Hollywood icons drizzled in and a plot that meanders from chase to chase. I'm happy to report that this is certainly not the case.
From start to finish, Baby Driver, delivers in droves. Building the character of "Baby" (Ansel Elgort) starts right from the top, but so does the musical choreography that follows the entire film. The emotional connection of music to driving has been something I've loved since I started driving. Seeing it take form in this movie was truly enjoyable to take in. Wright's incorporation of pop songs like Bellbottoms, Harlem Shuffle, and Nowhere to Run, frame each scene so closely that it almost feels like musical theater choreography. Each strike of the music coincides with a door closing, a gun shooting, a crash unfolding. It's so fun to see and hear 30-something songs hand picked by Edgar Wright over the last two decades come together for a truly engaging experience.
If this isn't enough to convince you that this film is worth more than you gave it credit for, maybe the 100% rating on Rotten Tomatoes is. The only things missing from Baby Driver are seatbelts on the theater's chairs. So buckle up and hang on for the roller coaster that'll keep you engaged to the end credits.