In the near future, a weary Logan cares for an ailing Professor X, somewhere on the Mexican border. However, Logan's attempts to hide from the world, and his legacy, are upended when a young mutant arrives, pursued by dark forces.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Debora, Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music?Written by
Kenneth Chisholm (firstname.lastname@example.org)
When Edgar Wright began writing the script, he only had ten songs to start with. The final film had thirty, according to the published playlist. The song Smokey Joe's La La was a very late replacement for the B. Bumble and the Stingers' Nut Rocker during post-production as after several test screenings Wright felt that "it started to get on his tits" that he re-shot part of that scene. Also, Easy by The Commodores was included after Ansel Elgort was cast as Wright found out during audition that it was one of the songs that Elgort knows very well and could sing / lip sync. That moment won him the title role. See more »
When Bats, Buddy, Darling, and Baby go to the diner and order 4 Cokes, the sound of the ice clinking is ice in a glass cup but the cups are plastic. See more »
You're a good driver. You're a bad liar, though. In this business, the moment you catch feelings... is the moment you catch a bullet.
See more »
The "ding" in the opening Sony logo turns into the sound of Baby's tinnitus. See more »
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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