REVIEW: "Baby Driver"--Talk About a Killer Soundtrack

Somebody who attended the same screening of Baby Driver as me asked what the film was about. My spoiler-free response to her was, "Let's just say it's an unconventional heist movie." Indeed, the basic premise of Edgar Wright's film is about a getaway driver who soundtracks his life (courtesy an iPod playlist of various songs) as he escorts gangs of various trigger-happy criminals.

Known for his Cornetto trilogy of comedies (2004's Shaun of the Dead, 2007's Hot Fuzz, 2013's The World's End), Wright gets his motor running based off of a music video he directed in 2003 (Mint Royale's "Blue Song"). And the British filmmaker does it with both killer style and unexpected substance.

Baby (The Fault In Our Stars' Ansel Elgort) has chronic tinnitus from an accident he had as a kid, and still hears a hum in the eardrums. This explains why he plugs his iPod earphones in to drown out the vibrations with those on par with the Beach Boys. Then he meets a pretty diner waitress named Deborah (Cinderella's Lily James). However, Baby's boss, Doc (the always-engrossing Kevin Spacey), who's been the only father-like figure to him (other than his deaf guardian Joseph), has one last job for him. But Baby wants out, for good.

Ryan Gosling's cinematic cousin?

That's the film in a nutshell. And if any of these story elements sound familiar, they do sort of make the film fall on the conventional side. What makes Wright's script and film (his first shot in the U.S.) stand out, though, is its musical and rhythmic structure. The visual idiosyncrasies from Wright's aforementioned films are still in tact here, mostly for the purpose of the soundtrack and its numerous synchronizations, ranging from artists like Simon & Garfunkel (the film's title comes from one of their songs) to Young MC to Martha Reeves and the Vandellas to Queen. Being the music geek that I am, to a degree, I found this thoroughly engaging. The car chases, for one, are first-rate--and done for real! The opening sequence, set to The Jon Spencer Blues Explosion's "Bellbottoms," sells the movie from frame one and rivals some of the best openings of any film. (Check out this insightful video for a breakdown of that scene.) This sequence, as well as the one-take shot of Baby walking downtown to Dave and Sam's "Harlem Shuffle," highlight Baby's character and his dilemma. And his conversations with Deborah, who represents the life he wants to get away to, wonderfully touch on numerous songs that are about their respective names. (The same applies to his genuine relationship with Joe.)

The film's cast is stellar, with such A-listers as Spacey, Jamie Foxx (a menacing dog of a role), Jon Hamm and Eiza Gonzalez (as a married couple, and possibly a sharp contrast to Baby and Debora, especially when they lose their cool), Jon Bernthal (a scene-stealer), James, and a breakout star in Elgort, who allows Baby to be sympathetic, unpredictable, and universal. He may even rival Ryan Gosling's unnamed "Driver" from 2011's Drive.

Ansel Elgort

As for the story, it's deeper than you may expect (a strength), and not as silly or as fun as the film's title or trailers would suggest (both a strength and a weakness, especially for discerning viewers). Baby is involved in a life of crime, after all. His tunes may be fun and cool, but some of the things he (and audiences) spectate or partake in aren't that fun at all, whether it's occasional profanity or violence that is hysterical (crazy, not comedic) and, at times, shocking. While not on par with the violence that Logan escalated in, it still doesn't make for easy viewing at times. Hence, the film's R-rating.

We can at least give Baby credit for pushing to get out of that lifestyle and toward a more meaningful one, all the while keeping iPods and mixed tapes still in fashion. How's that for unconventional?