Baby Driver

Thought I post this because goddamn this movie is pretty damn amazing. I mean for someone who hasn't watch any of Edgar Wright's movies (I only saw bits of Scott Pilgrim and thought it was alright), this is makes me want to watch more of them. I feels like an art project mixed with an action crime thriller. I just love how almost every scene is in tempo to some song. Probably will be in my top 10 films.

edited 28th Jun '17 10:28:07 AM by 123tbones

I'm going to see this tomorrow, and I am so excited by the rave reviews it's getting.

I looking forward to it.

Just came back from this. Probably my favorite 2017 flick so far; we'll see if it holds the title when Oscar season rolls around though. My only real criticism is that I felt like the Redemption Equals Death for the mob boss came out of nowhere, as he seemed pretty void of redeeming traits until that very scene.

Also, gotta love that double serving of Reality Ensues at the end. Even though Baby's a good guy, he's still a criminal and has to do time. But because he's a good guy, he's a model prisoner and easily makes parole.

Just watched it. Really, really liked it.

Agree with your criticism.

I always like when movies actually show some damn consequences especially action movies, but I know I would get that from Edgar Wright.

edited 29th Jun '17 8:45:01 PM by LongTallShorty64

Another minor quibble: you have a movie where music plays a huge role, you get Paul Williams, and you have him play... an arms dealer who's on screen for like thirty seconds and doesn't sing?

Just got back from seeing it and I can safely say the Baby Driver is among my favorite movies of all time.

Definitely a great film to watch, better have your eyes and ears open though or you'll miss the amazing Mickey Mousing. I agree with Hamburger Time that Doc's sacrifice came out of absolutely nowhere, suddenly he's like "I was in love once too", he'd been threatening to kill Debora at best 2 days beforehand to get Baby back on side, suddenly he's their biggest fan?

Unfortunately pretty much all the characters felt pretty flat to me apart from Baby, they had maybe 2 characteristics apiece, especially Debora who is basically a glorified plot device. The rest of the film was great though.

I just got back from this movie, and I gotta say I don't see what the hype is about. I did not think it was all that good. The ending dragged on for way too long and descendend into the bad kind of ridiculousness where I utterly stopped being concerned for the heroes' safety because of how goofy things were getting.

But more problematically, the movie's dramatic stakes hinged on a romantic plot that is utterly hollow. Seriously, the romance between Baby and Deborah is completely unbelievable. They meet once, Baby acts weird, Deborah is instantly captivated. There is no more development to it — from that point on, we're expected to buy that they are in love, enough for Deborah to be willing to blatantly endanger herself and radically alter her life to be with a guy she barely knows. And this isn't a small gripe — Deborah is one of the most blatant Satellite Love Interests I've seen in a long time, and that's a major problem when so much of the hero's chance for happiness is staked on having a future with her.

edited 3rd Jul '17 5:00:21 PM by DrDougsh

I liked it. This is without a doubt one of the best movies I've seen all year. The editing alone is a work of art.

OK,what's with the title?

Baby driver makes me think the title is about a baby learning to drive,or something,I'm one of those people who assumes a lot based off the title a film

edited 6th Jul '17 2:09:09 PM by Ultimatum

Aside from being about a man named Baby who drives, it's also named after a Simon and Garfunkle song.

I'm unfamiliar with Simon and Garfunkle,so that explains it

I actually remember hearing a story about a child who learned how to drive and drove to mcdonalds without incident.

Anyways film was awesome.

edited 6th Jul '17 6:24:49 PM by Thelastwarrior

It doesn't help that the movie came out a few months after The Boss Baby.

I am somewhat interested because of Edgar Wright's involvement, but feel it looks like a generic heist film. A friend of mine commented that Kevin Spacey as a fast talking mastermind is an odd choice, he has certainly played intelligent, talkative characters before but a Motor Mouth often implies that they are trying to stall for time and fill dead air.

Oh no, this ain't a heist film, mate. There's heisting involved but it's not a flat out heist film by any means.

For those on the edge about seeing this film, this is a music video that Edgar Wright did that is basically the first scene of the movie (only change out Noel Fielding for Ansel Elgort):

No rusty Ford Cortinas in the film, either. :)

I've seen a lot of conversation on othersites with people not liking the film due to the Romantic Plot Tumor of Baby and Debora's romance, saying it was forced and not really believably developed romance.

My initial response was that the movie isn't about their romance in the first place and the movie is 2 hours so there's not much time to devote to their connection in the first place. The romance is merely something we have to accept via the plot and the characters interacting and not actual development.

But, that got me thinking. Is it ok to just have a romance with no focus on it if the film or story isn't a romance? Or is that bad writing period? Or maybe something else?

I thought they were cute, at least.

I didn't really have a problem with it outside of the girl being really flat. It's no secret that Wright is really bad at writing female characters.

Sometimes I wish Jessica Stevenson would write all his female characters. Daisy Steiner was such a great character. (For those who have seen it, watch Spaced.)

I bought into the romance simply because, while it felt slightly cliched, it worked because all of Wright's films are like that-he takes obvious tropes and has fun with them, but still mostly plays them straight. Plus, the attraction between the two is actually kind of slow-they haven't even had sex by the time the movie is over-in a lot of R rated crime films, they'd have had sex by day 3 of knowing each other.

Like Wright's previous work, this movie doesn't really break new ground. Its stuff you've seen before (in the commentary for Hot Fuzz he points out how its basically The Greatest Hits of Thriller cliches-"the stuff you've seen before-and again!"), just with his stylized editing and other tweaks and executed very well. But for all that, it remains an excellent piece of film making in and of itself-I imagine Wright's work will be used in film studies courses not too far in the future.

The advice I gave a friend was to treat it like a two hour long music video. You watch it for the editing, the action, and of course the music; the plot and characters are more or less incidental.

I had a problem with the romance because it wasn't just something minor. Baby and Debora's romance is at the center of the movie's dramatic stakes. The prospect of Baby getting a happy ending throughout the film is synonymous with his romance with Debora, and there's just nothing to it.