Baby Driver Film Review :
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Baby is a young man who creates remixes of his life. He records conversations had around him (almost always around and not with him) on an old-fashioned mini-cassette recorder, and then mixes them into songs with some wonderfully antiquated keyboard and rhythm equipment. The first one we see him create is called “Was He Slow,” using a question asked by an accomplice about Baby’s mental capacity as a hook. Much like Baby turns the world around him into music, writer/director Edgar Wright remixes the movies and tunes that have influenced him into the wildly joyous and fantastically entertaining “Baby Driver.” As CGI robots clang into each other and superheroes take to the sky, here’s Wright to ask if you remember how movies used to thrill us with a turn of phrase, a squeal of a wheel, a diving plot twist, or a romantic kiss. “Baby Driver” feels both influenced by the modern era of self-aware, pop-culture filmmaking and charmingly old-fashioned at the same time, which is only one of its minor miracles. It’s as much fun as you’re going to have in a movie theater this year.
Yes, his name is “B-A-B-Y, Baby” (Ansel Elgort). At least, that’s the name he gives people when asked, although he’s more often ignored. He’s the nearly silent getaway driver for a robbery syndicate managed by Doc (Kevin Spacey), who organizes the crime, hires three criminals, and then puts them in Baby’s car. You see, Baby can drive. But he needs music to do it. After a car accident as a kid left him with tinnitus, he spends the vast majority of his waking hours with ear buds in his ears to drown out the ringing.
“Baby Driver” feels both influenced by the modern era of self-aware, pop-culture filmmaking and charmingly old-fashioned at the same time, …This high-revving thrill ride about a music-obsessed teenage getaway driver is a terrifically stylish piece of work with a banging soundtrack.