Directed by Edgar Wright. Starring Ansel Elgort, Lily James, Kevin Spacey, Jon Hamm, Eiza Gonzalez, Jamie Foxx, Jon Bernthal. Running time: 113 minutes.
For some reason, until I watched the trailer for this movie, I had pictured an animated film when hearing its name. Perhaps this was because I subconsciously enjoyed the idea of a whimsical cartoon film about an infant chauffeur, or (more likely) I was just mixing it up with The Boss Baby.
Baby Driver certainly isn’t a film for children, but it is tremendous fun in spots. Its main selling point is its soundtrack; music, almost always diegetic, is a near-constant feature of the movie. This is because the titular Baby (Elgort), a reserved, slightly awkward yet often charming protagonist, suffers from severe tinnitus, and employs the eclectic mix of music on his many iPods to drown it out.
A high octane opening sequence, accompanied by the funky strains of Jon Spencer Blues Explosion, sets the pace. A bank is robbed; Baby is the (impossibly skilled) getaway driver. We learn that the necessity for his criminal lifestyle lies in a debt owed to Doc (Spacey), a criminal mastermind with unclear motivations and an odd sense of humour. Foxx, Hamm, Gonzalez and Bernthal are the supporting gangsters, each blessed with a different degree and variety of psychopathy. After the first robbery, we are told that “one last job” will sever Baby’s ties to the shady outfit; there are no prizes for guessing that it doesn’t all transpire quite so straightforwardly as that. Debora (Lily James) complicates matters in the way only a love interest can.
Music is more than the glue that holds this film together; it forms the structure of a healthy percentage of it. There is a deliberate, magnetic rhythm to much of the action, and Elgort’s movements mirror beats to hypnotic effect on more than one occasion. Even the dialogue has a musicality to it; Doc merrily referring to Baby’s tinnitus as “a hum in the drum” is but one example.
This all lends Baby Driver a watchability it would otherwise have struggled to achieve. The storyline, promising at first, gives way to uncertainty about halfway through, and the final act stumbles from contrivance to convolution, with a closing set piece that manages to bore despite its generous helping of bodily harm and explosions.
Unfortunately, the characters are similarly limited. Debora is little more than a plot device with a cutesy Southern accent, and Kevin Spacey’s acting talents are largely kept under wraps. Other than Elgort, whose portrayal of Baby is nuanced enough to keep us interested, the only thespian given a great deal to do is Jon Hamm, who also acquits himself well. Jamie Foxx’s garrulous Bats shows promise, but is lamentably overcooked.
Ultimately, then, what are we left with? This is undoubtedly a film with an array of flaws. None of them, however, manage to fully outweigh the raw energy and atmosphere of fun that oozes out of Baby Driver from the first scene. Enjoy it for what it is.