With films like Hot Fuzz, The World's End, Scott Pilgrim to his credit, director Edgar Wright is one of the best directors of this era. Wright's latest movie Baby Driver, a crime thriller, digs into various interesting subjects like a car chase, criminals, slick heists etc.
Baby Driver revolves around a young but skilled getaway driver named Baby [played by Ansel Elgort] who is always listening to music. He always relies on the beat of his personal soundtrack to be the best in the game. Eventually, he falls for a local waitress (Lily Evans) and he tries to escape from the life of crime for her. But he faces the music after being coerced into working for a crime boss.
The movie cast includes stars like Kevin Spacey, Jon Bernthal, Eiza González, Jon Hamm, and Jamie Foxx. It will open in theatres on June 28, 2017.
Here's what the critics are saying about the movie:
Baby Driver is a little like Jean-Jacques Beineix's 80s Parisian thriller Diva, with its tape providing soundtrack excitement, and giving us a popping score that comes somewhere between diegetic and non-diegetic music.
As this type of crime genre flick goes, Wright paces it so explosively you don't have time to realise there isn't much credibility to this plan, but you go along for the ride just as Baby does, unfortunately.
Baby Driver is also, of course, an action thriller. Wright has orchestrated every swerve and near smashup—and one glorious foot chase—with precision, a rarity in action filmmaking these days.
The plot is shaggier than it needs to be, but it's still more streamlined than any other picture Wright has made, including Shaun of the Dead, The World's End and Scott Pilgrim vs. the World.
Watch the trailer for Baby Driver here.
The Washington Post
"Baby Driver" begins with a bang, a showstopper of an opening number reminiscent of the ecstatic traffic jam in "La La Land," only this time with the cars themselves as the dancers.
"Baby Driver" culminates in pulverising havoc, its overworked, hyper-stimulated ethos barely offset by a too-tidy final reckoning. Appropriately enough, "Baby Driver" ends by promiscuously borrowing from yet another genre: the time-honored cake-and-eat-it movie whose vicious, vicarious pleasures are both exploited and exonerated.
The film's clicky synergy of music and movement is its big selling point and is set out immediately in a breathless introductory bank heist. Baby (Ansel Elgort) revs and swerves his cherry-bright Subaru in time to Bellbottoms, by The Jon Spencer Blues Explosion – the first in a near-unbroken string of songs Baby cues up as an on-the-hoof soundtrack.