Baby Driver (2017) Poster

(2017)

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5/10
Starts out great, falls apart halfway through
fb1237 July 2017
Warning: Spoilers
This movie had a lot of potential. It started out great, but it began to fall apart rapidly just after the halfway mark.

A more complicated plot could have developed, but the second half just seems rushed. The movie could have gone in several different and more fulfilling directions, but it went full cheese instead. Disappointing. It ends up being just a variation of "The Last Ride" (2004).

SPOILER ALERT

It's a given that being in debt to a crime boss means your debt will never really be cleared, so that's okay for a movie.

And you can suspend disbelief for driving physics and non-deploying airbags...

But...

Doc sending the third crew to meet with arms dealers was totally unnecessary for the job they had the next day, because they already had all the equipment they needed, so that whole scene was forced just for a plot device.

Bats proved he was willing to kill for no reason, so there's really no reason he would have left Joe alive.

There is no way Buddy would have been able to escape all those cops swarming him downtown. Then Buddy shows up again later after getting shot in the chest. Superhuman villains in a non-superhero movie tend to ruin the whole thing.

Doc remaining in the place from where the heist was launched at risk of being caught for no reason (even though he knew it was botched) made no sense, just like his sudden change of heart in "helping" Baby made no sense.

Oh and Jon Bernthal is only in the movie for about 10 minutes, so not sure why he was given top billing, when he's pretty much just an extra with a couple of lines. Baby's deaf foster dad had more lines (sign language) than Bernthal, yet he's not considered a main character.
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5/10
A film so in love with itself, it needs its own cinema seat
Deathstryke2 July 2017
SPOILER: "Baby Driver" is showy, cliché-ridden and irritatingly self-aware. It's like that yappy drama society kid at college who is so consciously trying to act cool by breaking into song, dancing around chairs, drumming on desks and spitting jokey one-liners with a hand pistol flourish....the kind of person a cynical SOB like me just wants to punch in the throat.

The central premise is about a young, good-at-heart kid forced into a life of crime in order to pay off a debt. The annoyingly slick, Abercrombie-faced "Baby" is not only the fastest getaway driver in Atlanta, we later find out he's also a self-taught music producer, dancer and talented free-runner...are you rolling your eyes yet?

The main mechanic, so lauded by critics, is that everything in the film revolves around music, from the editing to the dialogue. Since Baby is constantly plugged into his i-pod (so, we are told, to drown out tinnitus from a car accident which killed his parents), the film essentially plays like one giant music video, with nearly every gunshot, tire screech and sassy put down edited meticulously with the beats or riffs of whatever track is playing during the sequence.

Unfortunately for me, the songs didn't make what was happening on screen that much more interesting. While there are some splendid car chase sequences (too few in my book), one must endure cringey moments of Baby miming and dancing to James Brown, dull characters waxing poetic about song lyrics and saying cliché bull$hit like "Sometimes all I want to do is head west on the 20 in a car I can't afford with a plan I don't have". Everyone in the film is pretty, none of the gangsters really look like gangsters, least of all the Latina 'Darling', who can't even hold a gun convincingly and is just there to show cleavage and lick her lips at camera.

Imagine the most indulgent ideas from Guy Ritchie and Tarantino's trash bin channeled through a Justin Bieber video. Less style and even less substance.

There are no doubt people who will love it for being a showy piece of nonsense, and there is some entertaining, high impact action, but it's far from the genius some critics are praising it as. I saw it with a group of youngish people who all agreed it wasn't as good as they'd hoped and that some bits were just plain daft.

Leave your brain at home and perhaps you'll be rewarded...
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5/10
Little more than a mix tape with dull characters and clichés attached to it
I read an early tweet that described Baby Driver as 'a mix-tape with a film attached to it' and that proved to be an accurate comment. The tweeter may have thought this was a good thing, but I certainly don't.

Yes, there are some good tracks and the action sequences are elaborate and frenetic (a little too frenetic, actually), but the characters are dull, unlikeable and bear very little relation to the real world. I simply did not believe in them, especially Darling, the sassy, kick ass stock character that only a fool would consider to be a strong female character.

Then there's Baby, whose laconic, boyish demeanour makes him a rather uninspiring protagonist. His romance with Debbie, a cute little waitress, is yawn-inducingly clichéd, too.

If you want a stylish heist film that isn't so bloody try-hard, then watch Drive. It's an exercise of style over substance much like this film, but it has suspense, atmosphere and characters that could actually exist rather than blaring music, mind-numbing action and flat, hateful comic book characters.
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3/10
They Tried Too Hard
bmadccp13 July 2017
Warning: Spoilers
We get it, the kid has an eclectic taste in music. We all do. Despite a list of great actors, most of the scenes seemed far too "forced", like they were trying too hard to be edgy and hard core, in doing so many scenes came off as desperate.

The film has Wright's fingerprints all over it though...fast motion, movements synchronized with music, etc. But there was too much of it and I feel that it detracted from an already weak story.

Frankly, I'm both astounded and sadly not surprised that so many people are raving about this movie. It's an okay bit of escapism, but it's predictable and not at all compelling. Edgar Wright seemed to have tried too hard to make the point that Baby (the main character) was "different", edgy and innocent but somehow worldly - but despite what we learn about his mother, we actually know very little about WHY he may have ended up so ... special. And we may as well have discovered in the end that "Baby's" real name was Elvis instead of whatever forgettable name it was. The director really did evoke those Elvis-like qualities with the lead actor, I don't think that was an accident.

The other characters have little history or context for that matter as well. Rather than adding mystery to the film, this lack of context detracts from some otherwise well put together action scenes. Yeah, Kevin Spacey is a big-time crime guy - but we know nothing about him other than he wants to "partner" with a kid who once stole his car. That's odd to me...and disingenuous. And because I couldn't buy the forced dynamic that led Baby to be so trusted by his "boss", I had a hard time finishing this film to be honest.

The dialogue seems to have all been ripped from other movies - who talks like those people? The criminals all seem to have derived their inspiration and vocabulary from other criminal films in the past 20 years. The dynamic between Baby and his WAY too soon girlfriend (what makes this young lady so willing to run away with a kid she doesn't even know? Or is it all just that Elvis charm Baby exudes? This dynamic seems like a nod to a wannabe Bonnie and Clyde alternate reality.

Perhaps all of this nuance was what the director intended. Perhaps the genius that so many people seem to be seeing is just this "odd" feeling one gets while watching. Or maybe it's not some art-house masterpiece as Rolling Stone is touting it, Maybe it's just sort of a predictable and pedestrian delivery vehicle for an odd soundtrack.

But lots of people seem to like it, and there are some cute/funny moments. The chase scenes are good, but it feels as though Wright tried too hard with much of the dialogue and story elements.
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1/10
Vomit worthy
Ali Shali14 July 2017
Warning: Spoilers
I saw the trailer and really wanted to like this movie. Who hasn't put some cool music on, put their ear pods in, and pretended their life was a couple times cooler than it really was?

But after about 10 minutes of watching, I felt nauseous at the thought of how something with so much potential, with such good intentions, managed to screw it up so royally?

The music part was a good idea - but at times it felt like it was washing out the plot and emotional connection to the action happening on screen. Like if the music wasn't there, I would just be looking at actors blinking at each other.

Then the fact that every baddie (the character's co-workers in the movie) seems an already over-done clichéd archetype. The sleazy couple we're boring to watch, Jamie Foxx just seemed pointless and aggravating, and the others were annoying.

The main guy (Ansel Elgort's character) seemed determined to take as much acting clues from Hayden Christensen's Anakin Skywalker. He spent most of the movie pouting and smirking which didn't help or damage anything. It just seemed like he was in the wrong movie - like we were accidentally looking at someone go about their day who's just waiting for their laundry to be done or something. He seemed like a nice guy, but kind of came across as an idiot.

Then onto his relationship with the girl. The guy literally sees some chick twice, exchanges a couple of minutes of conversation. Then he's shooting people for her, they're running away together, and she apparently has no problem taking part in car chases and attempting to kill people. The girl doesn't have enough lines to show any personality whatsoever and there is no sense-able connection between the characters - none. Not to mention the fact that after this 3-or-so day romance (at the climax of which) the dumb-ass lead goes to jail for a couple of years, during these years the girl apparently has no life of her own and is sat there waiting for him with open arms like it was just yesterday. Because...love?

The least aggravating character in the whole movie was the old man he was looking after and even that seemed like it was somehow overdone, though I'd never seen it before.

Lastly, the guy's name is Baby. And boy, do they go on about it like they'd just discovered gravity. The young couple's longest conversation centers around the girl not being able to wrap her effing brain around the fact that the guy is called Baby - not because it's a really stupid name, no, apparently it's the best thing since tinned tuna. Because they're both music buffs and now they can ride around and listen to songs about Baby. (This was the point at which I pretty much wanted to claw my ears off.)

I really don't get it - how does this movie have a 8.3 rating? Am I in the wrong and missing something that's glaring everyone else in the face? I feel like it would not have been impossibly difficult to fix these faults and make a really good movie with this base - it feels like the final cut of Medellin in Entourage that the director refuses to change. Maybe I'm a cynic, but this movie blows.

That said - there were things that I liked. The pace was good, the modern-yet-vintage timeless feeling of the setting and generally anonymity of the setting that focused only on the story, the other characters besides the main guy (who would have done so much better with some better material), the diner motif, even the conversation wasn't completely terrible 100% of the time.
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4/10
Style over substance
Ricardo9824 November 2017
Warning: Spoilers
Spoilers: I felt like Ansel Elgort was miscast in the movie. I've seen a number of his roles and I don't think I liked any of the characters he portrayed. Whenever he's on screen, I can't help but think of Big Baby from "Toy Story 3", which ruins moments completely. I'm not sure if it's his acting or the way the role was written, but his character comes across as obnoxious, to the point where I was rooting against him.

As the movie progresses, you get more and more of an incentive to dislike him as he's continually in a position where he can build up evidence and rat out the people he's involved with, as he records snippets from every heist meeting to make mix tapes out of them later on at home. But this sadly isn't the case, as he keeps it to himself, allowing innocent people to die in the process which he could've stopped; to me that's unforgivable even if he does perform good deeds every now and again to ease his dirty conscience.

I don't think I liked or connected with any character in the whole movie, except for the lady behind the counter at the postage shop, but besides that, nobody. All the characters were flat and one-dimensional. We don't learn enough about these character's past to care for them and the direct result of this is that we don't care where the story is going which makes for a rather pointless movie.

Sure we touch on Ansel Elgort's character's past, but it it's only briefly and it's the most clichéd series of flashbacks: "Look his parents died in a car crash and now you as an audience will sympathize and connect with the character as a result". Sorry, but even though it's sad, it makes me feel indifferent based on his actions.

I thought that there were a lot of actors who were too big for the roles that they were given. Instead of being lost in their performances as I should've been, I was found saying, "There's Jon Bernthal, Jon Hamm, Jamie Foxx and Kevin Spacey!". These actors took me right out of the movie just as Matt Damon did when I watched his small cameo in the movie "Interstellar". I thought that Kevin Spacey was justified, but he phoned it in and just played Kevin Spacey, like he's been doing for years now; he didn't even have enough material to work with to begin with like everyone else in the movie.

The core of the movie is a love story, but it is so unrealistic, the two lovers only meet twice and are prepared to run away together in a heartbeat. Not only that, but they have zero chemistry and you don't buy into their romance at all, sadly. It all felt rushed and the story-line and characters were sacrificed for what the movie was born out of; music. If Edgar Wright didn't hold such an emphases on this aspect of the movie, then maybe we, as an audience, could've had something to work with.

The movie was not only a love story but a story about a getaway driver who drives to music, but the music parts didn't mix well and sometimes I felt there was too much to the point where it ruined some of the scenes. The in-sync style that Edgar was trying to do in moments wasn't well crafted, no where near as well as the iconic in-sync moment in the third act of "Shaun of the Dead" when the characters are beating zombies in rhythm to Queen's "Don't Stop Me Now", which was a highlight of the movie; there were no noteworthy moments equal to that scene in "Baby Driver" which is mind boggling. On a side and more nit-picky note; the music wasn't really my taste.

There were some scenes that just made absolutely no sense. Such as the scene when the characters have to go to a garage to pick up some untraceable arms for their next heist. These arms are being supplied by some dirty cops, but beforehand, you would've thought Kevin Spacey's character would've told them this as a man of complete detail, as shown in his intricate planning of the heists, but he doesn't bother to mention it which goes against his character; instead it's a moment used to further the plot even if it doesn't make sense logically. It's small and big things like this that took me right out of the movie and diminished all sense of authenticity.

The action sequences I thought were too choppy, especially the car chases, which lacked inspiration and creativity on Edgar's part and felt like they were out of a Bourne movie; the only well directed shots were the ones in the trailer. Going in I wanted something along the lines of "Drive", where there was intensity and high stakes while driving, but it was too light hearted and you knew they'd lose the cops, no problemo.

I acknowledge that some of you have said that this isn't a movie about serious characters, that we're supposed to connect with on a real and human level, but a fun movie to sit back, relax and enjoy with friends like any number of superhero movies nowadays. That it's not a serious movie meant to be taken seriously, I get that, but that part of the movie isn't even done well; if it had been then I would've enjoyed it a lot more.

At the end of the day, I look for movies with strong characters that I can connect with and authentic dialogue and a realistic plot, "Baby Driver" wasn't that. The characters were weak, the dialogue was weak and the plot was weak. It was a movie that relied too much on music to the point where nothing else was given a chance to breath and grow organically.
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10/10
The Best of 2017! Baby is the Typical Young Generation of Time
Ryota Nakanishi25 September 2017
I love this action movie! The story negatively expresses the goodness and genuineness of a man. Audiences are quite impressed with Baby's goodness which showed through series of mistakes during his taking driver role in bank robbery business. Crime is a form of business.

Doc is a business agent for bank robbery who hired by unknown social forces who seek illegal benefits by exploiting thugs. Kevin Spacey is my favorite actor and he also did great job for this role. His acting is sensitive for expressing humanism via dark side of human race. Doc is not a completely brutal guy for Baby even when Baby recorded every conversation among thugs and make it into musics.

Socially disabled Baby's encounter with waitress Debora is everyone's dream! Debora and bank victims who saved by Baby testify his goodness at the court in the last sequence. Then, Baby has happy ending after released from jail. Audiences accepted the happy ending!

The story is humanistic! Bank robbery driver Baby meets beautiful waitress Debora. And his illegal acts risk and threaten his beloved people gradually , and thugs turned against him. This is the true context of real social life.

It is a good film!
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The Coolest & Most Unique Film This Year
Calum Rhys29 June 2017
Edgar Wright remains one of my all-time favourite directors. Why? Because each and every film he crafts reeks of originality, he takes a few similar traits, throws them together, delves down a completely unexpected route and forms something unique, something masterful. From 'Shaun of the Dead' to 'Hot Fuzz' and so on and so forth, each film feels like something you think you've witnessed before, but on a whole new level, something fresh, something alluring, packed with adrenaline... and of course, 'Baby Driver' followed suit.

'Baby Driver' is an utterly engrossing caper-comedy that is (in my personal opinion) the finest film to face 2017 so far, I couldn't help but smile throughout, from the stunningly executed action scenes and stunts, through to the soundtrack (with an abundance of classic rock and soul tracks) and finally the heavily relatable characters. The lack of disappointment in Edgar Wright's work continues with this masterful film, which is ultimately also one of the coolest films of the past decade or so.

Many of the heist films of recent years have been rather disappointing when it comes to both story and technical achievement, however when something like 'Baby Driver' makes an appearance, it's refreshing to know that indie films are still taking this planet by storm and shunting the blockbusters out of the limelight. To know that certain production companies still trust the creativity of a director over the monetary expectations, and by doing so, unleashing a flurry of fantastic independently "driven" films.

I'm gonna finish with this (partially odd) statement / testimonial... when I went to sleep last night, I had odd dreams of car chases and stunt driving to rock classics, and that is thanks to this film, the fact that it stuck with me even when I wasn't fully conscious. That's how much of a damn cool film 'Baby Driver' is... just go watch it, just throw away your tickets to 'Transformers' and 'The Mummy' etc, and go see this instead.
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10/10
Believe the hype
somf22 June 2017
Everything about the film is pretty much pitch perfect if you ask me. Lets start with the cars. I have not been a fan of Fast and Furious films, but the chase scenes in this film run circles around that series if a certain reality of the moves matters to you. This is more in line with Bullit,French Connection, and the Italian Job films as far as great chases.

The music, fun, simply fun. Songs from every decade of my lifetime.

Action best pure adrenaline action in years. You will be truly on the edge of your seat during much of the film.

Humor, what can I say, love Edgar Wright's humor and this is his best.

And oh what a cast! Loved every one of the leads performances. I think Ansel was a standout, but come on Jamie Foxx, Spacey, Hamm and the beautiful Lily James. And the other leading lady, Eiza Gonzalez, was unknown to me, but she was great with one terrific diner speech in particular. I was lucky enough to see this at an early screening in Denver. I will be seeing this in the theaters once again when it opens, and I very rarely watch movies more than once.

Sometimes when I see a review fawning over a film like this, I think troll. Best way to check that out is see how many films the reviewer has reviewed and rated. I have over 4,000 rated films here. Not a lot of tens either.Best film so far this year.
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6/10
Well Executed but Boring
Cacho10 July 2017
The execution and quality of the film making was great, but overall I quickly got bored watching this movie as none of the character's motivations seemed realistic or made sense to me. The action sequences were great, but didn't do anything especially unique or carry any suspenseful weight with the plot that I found myself yawning during much of it. Perhaps it needed more shocking gore.

The movie seemed to be a bit confused in its tone, mixing stylized violence with comedy and serious heist elements. It was set in a realistic world, but the characters and their motivations were not. It felt like it was trying to rekindle the essence of a Tarantino cool bad guy heist film like Reservoir Dogs and Pulp Fiction, but missed the mark. I found myself not believing the heist scenarios enough or having enough of a stake in them. It needed a stronger overall macguffin.

The use of Music was unique, but I would've have got more out of it if more obscure music was used, like what the GTA video game series does curating amazing forgotten B-side gems from famous artists.

I felt like Jamie Foxx's acting talent was a bit wasted, and the bland Atlanta backdrop seemed like a production budget restraint. I wonder what city was written in the original script? I doubt anyone writes for Atlanta. Rather than transporting us to a cool city that feels lived in and feels like a real location, this just felt like a boring block of downtown brick buildings to shoot car chases and shootouts in.

I love most of Edgar Wright's other films, so I'm not sure why this was so boring for me. It just didn't do anything new for me and will probably be forgotten from my film memory years from now.
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2/10
Teenage boredom
andre310778-35-61416429 June 2017
Warning: Spoilers
Just saw this in cinema. It seems to have been written with a teenage audience in mind that doesn't ask any questions, or has demands like story or character development or narrative flow and just buys the movie as is. IMDb rating of 8.6 at the time of writing this here... how...?

My gripe with this one. The love story overall felt flat and emotionless and awkwardly cheesy with matching dialogue. The shots fired in the shooting scenes were actually synchronised with the soundtrack playing, with that giving the movie a corny / cheesy feeling. Awkward and clichéd one liners, acting from teeny main leads wasn't believable at times. Car scenes were OK, hence 2 stars, the ending was drawn out, felt rushed and discombobulated. I didn't really care for any of the characters tbh, apart from Jamie Fox.

Overall this movie felt like watching a teenagers room. Everything was there just unorganised, messy and one doesn't quite know what to make of it...

Wouldn't recommend to watch it in cinema, wait for Netflix release or DVD. One time watch and quite forgettable, sadly.
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10/10
This is why I love movies
kevindehulsters28 June 2017
I was able to watch Baby Driver during an advanced screening last week and and yes it's as amazing as the critics say it is. The way it uses the music is just so great. It's so different from all the other movies, but it isn't artsy in a way that only the critics will like it: this is a movie for everyone. I went with a friend who is really hard to please when it comes to movies, but I just knew he would love this. And I was right, I never saw him as excited about a movie as he was about this one. It's just so much fun to watch, but it's also serious when it needs to be and it has very intriguing characters. But I'll be honest, the core of the movie is its music. I think this is the second time I say it, but the music works so well. If I wasn't in the theaters I would sing with the songs. Even though it's completely different, it reminds me a bit of Fury Road in the way that it makes you want to punch your fist and the air and cheer during the movie. In reality I think it's more a mixture of La La Land and Grand Theft Auto (it's definitely not a musical by the way). Go see this movie. I don't want to overhype anyone, but I'll make a bold statement and say this is my favorite Edgar Wright movie. I'll be shocked if this doesn't appear on many 'Best of the Year' lists in December, at least I already know it'll be on mine.
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1/10
The world is a computer simulation and this @ 8.3 is a FAULT
zeio-416 July 2017
Warning: Spoilers
This thing is getting similar ratings on IMDb and Rotten to HEAT for Christ's sake. HEAT? This movie was deeply flawed. I only stayed to the end to see how bad it could get - its MST3K riffable bad.

Its got a ton of plot holes. I almost want to pick it apart like I did Ghostbusters 2016. But I cant. Its not worth the energy. Please before going to pay for this in the theater think about if you would like a version of the already bad Furious type movies with even more plot holes, choreographing gun fights to music added in and fairly bad acting.

Music is fair. I mean, its just not that great. Foxx and Spacey don't lift and acting finger. The "villain" changes like 4 times.

And the best getaway driver is the one who never has to exceed the speed limit. This driver and his idiot crews get screwed every time into driving like maniacs from the police.

I don't want to pee on Ansel Elgort's parade. Its not his fault. But to be 95%/90% on rotten, and 8.3 here, and in the mid 80s on meta? Come ON. Movie tix are far too expensive to dupe people into seeing this. It does seem like the rating system is being rigged for this.

I wish Ansel well, and hope Ed Wright and the crew can put together better stuff but man, either this is the sign of the times or there is a fault in our reality simulator.

Heat and Ronin destroy a movie like this. If you think this movie deserves even half what say a movie like Heat or Ronin get you are mentally ill.
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5/10
Tries Hard To Be Stylish With Its Unorganic Indulgence.
umimelectric18 October 2017
I hate to be the guy who gives 5/10 stars to everything that looks nice but lacks in substance, but it would be tough to rate it any better or any worse, so I'm truly stuck in the middle.

I can certainly see why this movie has received praise from the audience it's meant for, but as some other reviews here have remarked, it's kind of a boring affair overall.

I can't deny the soundtrack, though, which is more enjoyable to me than the way Guardians of the Galaxy pt 2 seems to force its soundtrack in our faces. The way the music is used is impressive and fits naturally with events on screen, regardless of many of those events not being engaging enough to keep me from daydreaming about my personal life while the film plays on before me. The music hitting at the right time was really the only thing ripping me out of my own thoughts and back into the narrative.

Those who are excited by car chases, sunglasses, trendy styles & simple dialogue need apply. If you aren't into that stuff, then maybe the music will save you too.

5/10; will expect multiple sequels.
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2/10
Don't believe the Hype
amacaluso-865325 July 2017
I may have been more generous with the rating I chose, however due to the overwhelming number of highly positive reviews, I feel that some brutal honesty is required here.

The main themes in most of the reviews I've stumbled across are that this movie has a refreshingly original story and that the car chase scenes were exceptional. Neither circumstance holds true. The story was as cut and dry as any in this genre and the car chase scenes were bland, boring, and made no sense to me. Compared to a movie like Drive, where the protagonist's backstory actually lends to his driving skills (stunt car driver, motorsports participant), in Baby Driver, we're supposed to believe that some kid somehow acquired exceptional getaway driver abilities because of...tinnitus? There is no connection here, not to me anyway. And as for the chase scenes, utterly boring and unoriginal. The cars were completely lame too. Taking Drive as a point of contention again, the cars in Drive even have some degree of backstory to make the seemingly unbelievable chase scenes more believable...upgraded chassis, suspension, and souped up engines. In Baby Driver, we're given nothing more than showroom stock grocery getters...not even the top end models of the cars were chosen to take on the challenges. It was just all around stupid to me and I was left disappointed.

OK so the soundtrack was good. But this is not Forrest Gump where a compelling, original story is amplified by a perfectly curated soundtrack. Instead, it's a collection of good music used in campy fashion. If what you're after is the soundtrack, get a Spotify account. Dollar for dollar you'll get a lot more out of it, I promise.
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10/10
Perfect blend of action, comedy, and a great soundtrack!
Andrew Marks24 May 2017
The film stars Ansel Elgort as the titular character in deep with some undesirables from the criminal underworld. To pay them back, he must use his driving skills to help with a number of heists. During all this, he becomes smitten with a waitress (Lily James) who makes him feel like he's more than just a criminal. He then decides to try and escape his life of crime, but he soon realizes that it's much easier said than done.

I must say, Edgar Wright did a fantastic job with this film. All the music fit so well in their respective scenes, combined with the great acting all around to make one of the most entertaining films I've seen in a long time.

Jon Hamm, Jamie Foxx, Kevin Spacey, and Eiza González did their parts well and portrayed convincing mentally unstable killers. This is the first time Wright has worked with this much star power, specifically American star power. The actors played well off of each other, especially in scenes involving comedy where they nailed the punchlines.

The music was good, not all of it recognizable by the average viewer, but effective nonetheless. Supposedly Edgar Wright based the whole movie idea around the Baby Driver song by Simon & Garfunkel, which is an accomplishment all on it's own.

Baby Driver was paced well, was never boring, and made me want sit back down in my seat and watch it over again.

I wanted to keep this review kind of short, but I did want to give you enough information to hopefully convince you to go out and see this film if you get the chance.

My suggestion: Do yourself a favor, go enjoy a night out at the movies and go see Baby Driver!

Seen at a advance screening in Roseville, Minnesota.
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7/10
All those lines of dialog ending in "baby" ...
paradux14 July 2017
... give me flashbacks to DIRTY DANCING.

1. You can't force "clever." Something is either clever or it is not. This film is ambitious but not clever. If you want clever, done right, watch Lucky Number Sleven.

2. The romantic arc is weird, too convenient, not well developed and there is no chemistry.

3. To borrow a line from Kevin Spacey's dialog, you want the good news? The good news is that the romantic arc is not an issue because this film a much bigger issue. No audience connection. By the 60 minute minute I did not care about Baby, or his instant girlfriend, or Spacey, of anyone. OK, I actually did care about the little kid who played the nephew. He should have starred.

4. For those who care about dramatic structure, Fox's character is so top-heavy that he should be counter-point. But to who? Baby is so lightweight for most the movie that he cannot be counterpoint to Fox and Spacey at the same time.

Over-rated to a scary degree. No wonder no two people can agree on anything anymore.
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6/10
Am I missing something?
anabubric3 September 2017
I don't consider myself a movie expert or anything but I'd like to think I know a good movie when I see one, even if it's not exactly my cup of tea. Baby Driver was actually supposed to be. It had the potential to be a decent action movie but I was suspicious from the moment I saw it had 8.3 on here. I mean, what could have they done with this movie to deserve such a high rating? So, just in case, I lowered my expectations and, somehow, I still managed to be disappointed. Is it possible I am not seeing the originality and perfection of this movie that everyone keeps talking about?

Let's go over the good parts first. The soundtrack, of course. I was very pleased with the song choices and that alone has salvaged this movie from a tempting lower rating than 6/10. Then, the action. One could argue that is seemed forced in some cases, which is true, but overall, I can appreciate the bad-ass driving scenes and the well executed violent confrontations.

Now it's time for the cons. To begin with, I feel like this had the potential to be a great story and somehow it got boring before it even began. The relationship between Elgort's (Baby) and Spacey's (Doc) characters could have given some wind to the wings of this movie. Baby's past could have done the same. I swear, there are so many things which could have been used to make some sense out of the story and out of the characters, but they just didn't elaborate on anything well enough to interest the viewers. It's like they wanted this movie to be so many different things that they ended up with a little bit of everything which amounted to nothing much when put together. Onto the girl. I just don't find her character believable nor do I see any relevance of having her in the movie other that to slow down the pace of it. I could go on about all the things which were ridiculous about this love story, but then again, maybe I'm just too cynical to understand it. Next stop, Spacey and Foxx. Come. On. Guys. I adore both of them and I was hoping for either of them to be the highlight of this movie. They were not. It felt like Specey couldn't be bothered to deliver a good performance. I was half expecting him to keyser soze his way out of it and turn the whole thing around and there was even a perfect moment to do so. And then nothing. Foxx didn't do a bad job but this character of his was already used in Horrible bosses so I can't give him much credit for it.

The list really could go on for much longer. I don't expect movies like this to have relatable characters nor a reality based storyline, but I do expect a level of consistency, which is something this movie is lacking big time. I enjoy when a movie has more than one thing to offer but this whole "love story from a musical on one side and a serious, violent heist on the other", is just not working in a way I find interesting.
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10/10
Wow Wow...wow
Gregory Rothgeb28 June 2017
(Originally posted from confessionsofasavagemind.blogspot.com)

The summer blockbuster season has become somewhat of a bore for me. The major films released this summer have been generic, bland, and unexciting as they can be. To prove my point, the fifth Transformers film was just released to audiences' and critics' dismay everywhere. During the summer, I rarely even find myself at the theater due to the little variety of choice and depth of whatever hundred million dollar tentpole film is currently plaguing every theater around me. I had even stopped watching movies almost entirely due to this fatigue. I am happy to say that Baby Driver is the film that rejuvenated my love for movies.

Preemptively, I will tell you that I will give you no plot description of the film. I knew next to nothing about the film besides the fact it was a heist film. I highly recommend going into the theater with a blind eye to reading or looking up anything about the film besides the showtimes. (Yes, that means no trailers too!) I cannot possibly describe this film. Yes, it is a basic crime and heist film. However, it breaks so many genre conventions that it is unacceptable to disrespectful tot he film to refine it to one genre. The best comparison I could give is if Heat, Bonnie and Clyde, An American in Paris, Reservoir Dogs, and Drive had a cinematic orgy and produced this child. The film is so fast-paced that you can hardly breathe. The suspension of disbelief, or how much you actually believe the story that is taking place on the screen, is flawless within the film. I came into the theater with about a million and a half different thoughts running through my head, and every one of them was silenced when the lights were dimmed. In all of the quick action on the screen, the film makes time for a real heart and story in its pseudo-musical style. This is executed by some of the sharpest and effortless editing and cinematography that this film critic has ever seen.

The casting in Baby Driver was absolutely divine. I cannot think of one character or actor who was misplaced or a weak link within the film. Writer-Director Edgar Wright delivers the sharpest dialogue and story of his illustrious career. That is saying something incredibly large coming from the director of Shaun of the Dead, Hot Fuzz, Scott Pilgrim vs. the World, and The World's End. Wright cements himself as one of the best minds in cinema. I mourn for his version of Ant-Man that Marvel canned after the studio would not allow him the creative control he was used to. Wright has been working on Baby Driver as an entire project since 1995, aka the entirety of my life. To see his uncompromised vision come to the screen as a real joy. It is also a real message to producers to stay the hell out of visionary directors' way (I'm looking at you, Disney) Edgar Wright can not only direct any genre but spawn entirely new ones as he does with this movie.

There are very rare occasions where a film can take me from cinematic nihilism to enjoying the true art that goes into these incredible pictures. I haven't felt a true joy from a film till the two or three times I saw La La Land. There are absolutely no faults with this film. It wins not only a perfect score from me but the (tenative) rank of the best film of the year.

Score: (10/10)
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8/10
The Most Surprising Film of SXSW 2017.
trublu21519 March 2017
Edgar Wright is known to deliver, if nothing at all, very entertaining films. Baby Driver is no exception. With an all star cast including Ansol Elgort, Jamie Foxx, Lilly James, Jon Hamm and Kevin Spacey, Baby Driver not only is an extremely well cast and choreographed film, it just might be the best film of Edgar Wright's career. Telling the story of a young man named Baby, who is a professional getaway driver who needs music in order to complete his jobs, as he navigates through the criminal underworld. When he takes a risky job for a mysterious gangster (played by Kevin Spacey), he finds himself on the run after things go horribly wrong. With his girl by his side and his music in his hands, Baby must use his specific skillset to get out of the underworld.

Before anyone says it, yes, this film plays like a less serious Drive. The storyline is not what is supposed to stand out here, the incredible direction under Edgar Wright and the great central performance from Ansol Elgort are definitely the stand outs here. Granted, I doubt that Elgort would have been able to deliver such a great performance without the amazing supporting cast that Wright wrangles up, but he ends up giving a great performance here as Baby. The rest of the cast is more or less there for name recognition only as none of them go above and beyond in their performance.

Despite this, the cast are mere pawns in Edgar Wright's brilliant film. The real stars of Baby Driver are the stunt teams. These car chases are finally something new. With the incredible automobile warfare that the Fast and Furious franchise has given us for decades, it was nice to see a film embrace a smaller scale of car chase. It is real, exhilarating and downright perfect for this film. Truthfully, the car chase sequences here are some of the best that I've seen since Refn's Drive but that's just me. Speaking of Drive, how could I forget Wright's amazing choice of soundtrack. The soundtrack is about just as great as the stunt team's work on this film. This is very much in the vein of Scott Pilgrim as far as soundtrack is concerned and is bound to be a hit come time for the film to premiere in its wide release.

Overall, Edgar Wright delivers an action movie with a flawed perfection to it. The story is paper thin, the acting is passable (except for Ansol Elgort, who is terrific), but the action sequences and soundtrack are amazing. These two components are more than enough reasons to go see this film.
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1/10
Completely silly waste of time -- for teens and under ONLY, if that
Capybara293 July 2017
With all the hype over this movie, I had to come in here and try and be one little island of reason amidst the ocean of insanity. For the life of me, I cannot understand how it's getting any praise at all, let alone heaps of it. The premise/plot is colossally stupid, so it's check-your-brain-at-the-door stuff from the get-go. But even within those cartoonish parameters, there is not one interesting story element nor compelling character to be found. The movie is cliché after cliché. It has this one parlor trick, which surely you've heard about, where it often syncopates the (ridiculous) action with the music track. To which I reply, okay, fine. In no way do I see how this somehow elevates the terrible script and two-dimensional characters. At no point did I care about what happened to anyone. I hate to overuse simple descriptors like "dumb" or "pointless," but honestly, I can't use them enough about this movie. If I can save one over-13 person the waste of time, I will feel like a hero. Please save your money!
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10/10
freaking brilliant, doesn't slow down or miss a beat
Michael Kong29 June 2017
Thanks to student edge i was given the chance to see the film early, having seen amazing reviews from its screening at SXSW, i went in with incredibly high expectations. Coming out, those expectations still managed to be exceeded.

Edgar Wright directed the sh1t out of this movie. Everything is filmed beautifully, especially the incredible action scenes and one- takes. The acting is superb, the film balanced out the drama and comedic elements extremely well, and the plot was immensely well developed and entertaining, the characters are rich and engrossing, with the chemistry between Ansel Elgort and Lily James being the stand out part of this film for me, lastly i was very skeptical at the beginning of the film regarding the dominating presence of the soundtrack throughout the movie, but the killer soundtrack was fun, lively and bloody joyful, and blended into the plot seamlessly , it became its own character in the film and definitely brought a smile to my face.

Go into this movie knowing as little as you can, this is an experience like no other.
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10/10
Exhilarating! Wildly entertaining!
RLTerry129 June 2017
Exhilarating! Edgar Wright's Baby Driver is an accelerated non-stop action-thriller that will have you in high-gear the entire drive time. Wildly entertaining! It offers up the best car chases, excellent characters, and displays solid writing in this subgenre of action films. During the golden age of Hollywood cinema, grand getaways, robberies, and car chase movies were a staple. Sony/Tristar, et al, demonstrate that one of the foundational plot types that provided audiences with thrills back then can be effectively resurrected today to embody the engine that drove those motion pictures and install it into a new, sleek body design to mesmerize and impress audiences of today. Certainly, Baby drives to the beat of his own mixtape in this movie, but the film itself goes further and integrates the rhythm of action into the sound design of the motion picture. Not to be left behind on the 80s throwback movies and TV shows bandwagon featuring hipsters and mixtapes, Wright crafts a summer film that rises above the all too cliché CGI robots taking to the sky and pirates swashbuckling across the seas to remind us that little can compare to the squeal of the wheel, love, and the witty turning of phrase. In short, Baby Driver is a self-aware pop-culture film but has the soul of a James Dean motion picture.

Meet Baby (Elgort). Yes, that's B-A-B-Y Baby. He's the unparalleled talented getaway driver for Doc's (Spacey) Atlanta crime ring. With earbuds in place, playing classic rock or his own mixtapes, Baby drives, speeds, and maneuvers to the beat of his tunes. No police force is a match for his ability to evade his would-be captors in order to return Doc's henchman (and woman) to the secret lair. As chance would have it, Baby meets Debora (James), the girl of his dreams, at his usual diner. All that stands in his way is one more job for Doc, or so he thinks. With payment in full of his debt to Doc on the horizon, Baby seen this as his opportunity to make a clean break and to ditch his shady lifestyle of crime. But when Doc approaches Baby with yet another job, Baby must decide to whom his allegiances lie and protect those he loves.

Any veteran filmmaker will tell you that it's vitally important to hook the audience within the first three to five minutes of a film. Fail to hook producers at the beginning of the screenplay, and it's file-thirteen for those 120 pages. As a director, it's encumbered upon him or her to grab hold of the audience's attention, creating the urge to want more, to know more. The first scene of Baby Driver is an incredible display of excellence in writing, directing, and the technical elements of motion picture creation. The magic of this scene lies in the ability for Wright to wow the audience without leaving anyone "out there in the dark" (Sunset Blvd) overly stimulated or left with the feeling of utter exhaustion. The scene is perfectly stimulating. It sets the bar high for the film, and continues to keep it up there for the entire runtime. Just like the pace of Baby's driving, the pacing of the film is exquisitely handled and couldn't be better! The biggest difference between this robbery/getaway film and similar films such as The Fast and the Furious is substance. In addition to the incredible cinematography and sound design paired with out of the world car chases, the film provides heart, soul, and qualitative substance that forms the foundation upon which the more superficial elements are laid.

The cast couldn't have been more brilliantly selected. One of the hallmarks of an Edgar Wright film is the charismatic leads that display solid chemistry on screen. Just who are our heroes in this film? You'll just have to watch it and decide for yourself. I love it when films take the more conventional concept of heroes and villains and turns it on its head. For whomever you decide are the heroes, you'll certainly find yourself actively rooting for their survival and rooting for the villains to meet their demise in shockingly creative ways. When Kevin Spacey isn't busy being the President of the United States, or more recently, an ex-President, he is the king pin of an Atlanta- based crime syndicate that stages fantastically wild robberies. And Baby is indebted to him and must reluctantly aid and abet as the best getaway driver ever to hit the screens in recent years-- think a modern-day James Dean. Jaime Foxx plays the veteran head henchman extremely well and adds his own repulsive, yet comedic charm to his role. It would have been far too easy to play off Spacey and Foxx's conventional talents to steel focus away from the central plot, but Wright strikes a perfect balance between his leads and the story. Elgort and Spacey's on-screen chemistry was crafted with strategic precision in order to quickly solidify the frien-emy relationship between the two characters. With Elgot increasing in popularity, Wright could have deflated to playing up the attractive bad boy tropes but instead allows Elgot's Baby to develop organically throughout the film.

If you are seeking a summer film that clearly demonstrates a movie in which all the creative elements work seamlessly together in the manner in which they were respectively intended, then don't miss Baby Driver while it's in theatres. The energy you will feel in this film is nearly unparalleled by any in recent times, and that's because both the major and minor components work together like a well-oiled machine. You will be at full throttle as you are instantly transported from your auditorium seat to the passenger seat in Baby's car.
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10/10
The coolest movie in cool movies history.
Adrian Muresan2 May 2017
This is actually my first review on here. I had the chance to see this movie as an advanced screening at my university. I now feel obligated to let fellow movie afficionados know that this movie is simply freaking awesome. I love good music and cars (especially Subarus like the one from the trailer) and that alone was a good enough reason for me to go watch this movie. I was not disappointed.

I find Edgar Wright's movies entertaining. However, this movie was a step above that. Take La La Land, combine it with heist & Fast & Furious elements to it and you have Baby Driver. The casting was great. Jamie Foxx and Kevin Spacey have similar roles to the ones in Horrible Bosses, but that does not make it any less fun. The cinematography is exceptional and the plot is intriguing and unpredictable. The camera work in one of the opening scenes reminded me of Birdman, which is a Best Picture Academy Award winner, so this movie is definitely executed in a stylish manner, and has a great attention to detail. The soundtrack is picked to perfection and the dialogue is the wittiest, funniest one I have seen in a movie in a long time.

I only see two cons for the movie. One: some of the action sequences did seem a little unbelievable, so if you want a completely realistic movie, you might want to trade some of that for the entertaining factor. Two: it was an advanced screening and the movie only comes out in 2 months... and I already want to watch it again. I rarely rate movies 10/10 but it was the most fun I've had in a theater and that certainly deserves my rating.
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10/10
One Killer Track
speakingthequeens17 May 2017
Edgar Wright's newest film captures everything you can possibly love about going to the movies. It's filled with wonderful characters, great car chases, enough style for a dozen cool flicks, and yes, a soundtrack that is better than sex. While using a familiar story template (the Driver & Drive), Wright completely makes it his own, infusing it with his love for music and his film geekiness. Wright has a perfect filmography at this point and definitely deserves to be ranked as one of the finest directors of the past 20 years. This may be his best movie yet.

The cast is note perfect, the only downside is that Jon Bernthal's role is almost more of a cameo (considering the top billing). Ansel Elgort is wonderful as Baby, bringing an instant likability and purity to the character. The supporting cast is equally great with Jon Hamm, Jamie Foxx, and Eiza Gonzalez as the standouts. The scenes between all three of them contain the most electricity and tension.

The car chases are brilliantly shot, eschewing the dull over-the-top silliness of the Fast & Furious franchise for something much more grounded and much more exciting. The lack of special effects keeps up the tension with actual stunt driving, continuing the good trend of recent actions films going back to doing things for real, showing an understanding of the genre.

Usually, I try to not let myself get too hyped about a new film coming out, but this is the exception. I can't remember the last time I had this much pure fun at the movies and all of you need to see it. I was lucky enough to get into an advanced screening and I almost regret it: waiting two months before I can see it again is unbearable torture.
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