Baby Driver (Theaters-2017; Streaming-2017) Rated: R Runtime: 112 minutes
Genre: Action-Crime-Music-Suspense-Thriller
els – 8.5/10
IMDb – 7.0/10
Amazon – 3.9/5 stars
Rotten Tomatoes Critics – 8.0/10
Rotten Tomatoes Audience – 4.2/5
Metacritic Metascore – 86/100
Metacritic User Score – 7.7/10
Directed by: Edgar Wright
Written by: Edgar Wright
Music by: Stephen Price
Cast: Ansel Elgort, Jamie Foxx, Kevin Spacey, Jon Hamm, Lily James
Film Locations: Atlanta, Dunwoody and Gainesville, Georgia, New Orleans, Louisiana, US
Budget: $34,000,000
Worldwide Box Office: $228,311,809
Baby (Elgort) is a getaway driver, choreographing his high RPM street racing to the music pumping through his ear buds, playing catch me if you can with a no sweat demeanor that has you cheering for him non-stop. Baby works for Doc (Spacey), a criminal mastermind that plans all his heists in chalk-board detail, never using the same group of robbers twice, except for Baby. Baby is exceptional. Spacey catches Baby, how that happens is somewhat implausible since no one every catches Baby, trying to rob him and forces him to drive his den of thieves away from their crime scenes as retribution.
I’m late to this movie so I will give my due respect to the principles and then move on to what makes this movie so special: script and score–together. Edgar Wright has put together a story that doesn’t come along too often, a story that has is all, action, comedy, crime, love, suspense–it has everything that you and I watch movies for. He brings it all together with a coherent and convincing screenplay, tight directing, precision choreographed cinematography (Bill Pope), and acting that is just perfect. Of course it doesn’t hurt to have Elgort, Foxx, Hamm, and Spacey providing believable and real characters along with the very pretty James. Throw in some subtle paeans to the past, such as Back to the Future, and you have a simply stunning movie, a true masterpiece; the bits and pieces adding up to a fulfillment of a lost cinematic ideal: pure, unadulterated entertainment.
Then Wright brings forth the melody. A melody that matches and honors the lyrics: the screenplay. Lyrical poetry, accordant with the harmonic notes performing a dance of rockin’, rollin’, tango action. Not since the 1983 Big Chill has Hollywood scored music so perfectly with the movie.
The Big Chill brought together children of the 1960s, audience and actors alike, in a comedic drama about trying to find meaning in a modern world after their fling with anarchy and drugs. They found no meaning. The point of the 60s was that there was no point. But the 60’s music was sublime and transcendent. The music in The Big Chill, complimented the story as if they were fraternal twins, different veins but the same beat. Bringing together the rockin’ soul of the era with the burn-it-down pathos of its youth. Marvin Gaye, Aretha Franklin, Smokey Robinson, black soul groovin’ the white bourgeoisie who thought they were the proletariat. A movie, and an era, of no meaning, expressing itself with music that meant everything, and the two together brought soothing cover and entertainment.
Baby Driver just brings entertainment, no-guilt-pleasure, meshing the visual with the phonic. It brings in The Big Chill‘s soul sound with the likes of Carla Thomas, Sam and Dave, and Barry White; and then branches out to include the old-time rockers of Queen, T. Rex (Marc Bolan’s son sued the movie for using Debora without permission), and Golden Earring; progressing up the time scale with blues-rocker Jon Spencer Blues Explosion, and alternate-stuff Beck; capping it off with the synth-pop of Sky Ferreira. A great collection of musicians that compliments the movies action, creating a greater artistic experience than the two alone could achieve. Jon Spencer’s Bellbottoms in the opening car chase scene sets the throbbing standard for the movie that doesn’t abate until the ending credits roll, accompanied by the Simon and Garfunkel song: Baby Driver.
Sony and Edgar Wright have agreed to a sequel, hopefully in 2019. May the magic strike twice.
A hobby of mine for the last 10 years or so has been collecting Top 100 lists of albums. Every once in a while I concatenate them to see how the world’s musical taste is changing; what’s new, what’s rising, what’s fading. The world does change, but slowly. Pre-2000 albums still dominate the lists, even today, but acts from the 2000s are starting to break through such as Adele, Coldplay, Muse and Pixies. Adele’s 
then summed with the other lists and sorted. The greatest sum was ranked as the number 1 album. The smallest sum was ranked as the number 100 album. The number 1 album is The Beatles’ 
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