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 (email@example.com)
The opening credits use a one take shot of Baby walking to buy coffee and then walking back, reminiscent of the famous opening of Shaun of the Dead (2004), where Shaun walks to the shop and then back home in one shot (which is later repeated once the zombie outbreak has begun). See more »
In the opening car chase sequence, several of the second unit stunt car shots show the driver as the only person in the car where there should be four occupants. See more »
Sometimes all I want is to head West on 20 in a car I can't afford, with a plan I don't have, just me, my music, and the road.
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The "ding" in the opening Sony logo turns into the sound of Baby's tinnitus. See more »
There is never a dull moment in this action crime film about a getaway driver who has his own unlimited getaway soundtrack but who also wants to break free from the crime boss who owns his life.
There is enough style and visceral strut in this film that it neutralizes the one or two credibility gaps in the plot. Ansel Elgort is great as the title character, but Jamie Foxx steals the film with a lively performance as the loose cannon in the crew. Performances all around are solid and the dialogue is so rife with dueling wits, it's like watching a recurring display of verbal fireworks. These firecracker scenes of competitive criminals showing off their bravado are just as exciting as the chase scenes through downtown Atlanta.
The film also banks heavily on a heady, omnipresent soundtrack that keeps the tempo perpetually hyperactive. A word of caution: The action can be tough going at times; the film revels in its permanent state of anarchy before ultimately developing a mean streak. But for all the blistering gunfire and screeching tires, this is not a one-note film. It has its moments of quietly boiling tension and eerie backstory flashbacks. It's a film that wears its attitude on its sleeve and doesn't shrivel into conventionality. Not an absolute bull's eye, but recommended to everyone who wants a good rush.
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