Baby Driver, directed by Edgar Wright (2017).
Baby (Ansel Elgort) is a melomaniac getaway driver who suffers from tinnitus. He lives with his deaf foster father Joe (CJ Jones) and meets the girl of his dreams (Lily James), but as much as he wants to turn to an honest life once he has paid off his mentor in crime Doc (Kevin Spacey), his godfather won’t let him make this heist the last one.
Much has been said about Wright’s visual style, and his evolution continues with Baby driver. He had already worked with scenes set to significant music, but his latest movie takes it to a whole new level. From the opening sequence, Baby is established as a character for whom life has a soundtrack, and every moment must be set to the right tune. We all like to walk down the street with our headphones on and pretend we’re in a music video, he just takes that as seriously as it’s humanly possible. And so the whole movie is set to an awesome playlist and carefully choreographed, car chases and gunfights included. We hear what Baby hears at all times, including a faint ringing in the rare moments of silence. Colour is used to cue us into the tint and hue in which Baby sees the world at any given time.
It’s a very fun movie to watch. The car chases are frantic and beautiful, completely immersed in the music. I was worried I was bothering the other moviegoers because I was literally dancing in my seat. It makes me very happy that some young directors are instilling new life in the musical genre (I already wrote about Damien Chazelle): this is no West Side Story but there is no denying it’s a musical, in that music is an integral part of the experience, in a new, exciting way.
It’s not a parody or a pure comedy like the Cornetto Trilogy but it still has some brilliant comedic moments, such as “you’ve got a tattoo that says ‘hat’” and Samm at the post office, but don’t expect to laugh out loud all the time because that’s not the point.
But wait! There’s more.