Baby Driver Roars So Hard it Flipping Soars

Published June 28th, 2017 - 03:00 GMT
The beautiful poster. (TriStar Pictures)
The beautiful poster. (TriStar Pictures)

Baby Driver is out!

Al Bawaba Entertainment’s single most anticipated movie of the year, Baby Driver is being helmed by film-making genius Edgar Wright. Wright is a bona fide director writer, making a name for himself with Shaun of the Dead (2004), Hot Fuzz (2007), Scott Pilgrim vs. the World (2010), and The World’s End (2013). He was also set to direct the Marvel Cinematic Universe film Ant-Man (2015), which he left due to creative differences just before production; the film’s screenplay is credited to him.

Now he’s back with Baby Driver, his first foray without a co-writer, and oh baby the reviews are ecstatic.

Take it away, Empire: “An awe-inspiring piece of filmmaking from Edgar Wright that plays out as a musical through the lens of an action thriller.” 

The Guardian gives it 5-stars: “It is a terrifically stylish and exciting piece of work, a summer movie cool enough to induce brain freeze, like an episode of James Corden’s carpool karaoke directed by Walter Hill.” 

The New York Times is happy, but wishes Edgar Wright went a little deeper: ““Baby Driver” is so good that you want it to be better and go deeper, for it to put down its guns (or at least hold them differently) and transcend its clichés and cine-quotes so it can rocket out of the genre safe box into the cosmic beyond where craft and technique transform into art. That’s admittedly somewhat of a greedy complaint, particularly given how much Mr. Wright does right and that he clearly wants you levitating out of your seat. It’s difficult to carp about a director who wants to please the audience this much (instead of, say, the franchise suits).” 

Variety thought the movie was pretty damn good, but thought it could also have used some restraint: “Like all Edgar Wright movies, “Baby Driver” is a blast, featuring wall-to-wall music and a surfeit of inspired ideas. But it’s also something of a mess, blaring pop tunes of every sort as it lurches between rip-roaring car chases, colorful pre-caper banter, and a twee young-love subplot — to the extent that the movie will resonate most with audiences that skew young, hip, and, like its helmer and its hero (the latter played by baby-faced “The Fault in Our Stars” star Ansel Elgort), more than a little obsessive.” 

The San Francisco Chronicle was hoping the movie was easier on cliché, but thinks it delivers on all fronts: ““Baby Driver” is a caper movie and a style piece, and it doesn’t go much deeper than that. But having hooked us with style, Wright knows he has to deliver on the story, and he does. His plotting is tight and fluid, wild and ultimately satisfying. It’s the ultimate cliche to compare a movie to a thrill ride, but sometimes the cliche applies.” 

But it’s really The Star Tribune which sums it up: “It’s an action musical. It’s a crime tragicomedy. It’s awesome.”  

Hype overload.

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