Movie Review: Baby Driver (2017)
I heard nothing but compliments from critics and friends before I went to see “Baby Driver” and I heard nothing but complaints from my wife on the way out. She hated the movie. Hated hated. She likes a good, stupid time at the theater as much as anyone but couldn’t get past the lead, Ansel Elgort, whom she found insipid, annoying, and with zero sex appeal. “Why would any woman over 12 even like him?” she said. “He’s a 12-year-old’s idea of sexy.”
Me, I’ve got mixed feelings. I found the character of Baby, particularly in the beginning, too insular and impressed with himself. He thought he was cooler than he was and the movie let him get away with it. He couldn’t just make a sandwich, he had to make a production out of making a sandwich. To me he was just another white kid lip-syncing to black artists, which, c’mon, what year is this? 1985?
Then shit went south for him and the movie improved a bit. But enough to justify a 97 percent rating on Rotten Tomatoes? Critics? Vinny? Sure, there’s tons of adrenaline, but is anyone smart driving this thing?
I hit the road and I’m gone
Written and directed by Edgar Wright, the man behind the Cornetto trilogy, “Baby Driver” is about an expert getaway driver named Baby (Elgort), who works exclusively for Doc (Kevin Spacey), an Atlanta gangster. Well, “works.” When he was young he stole one of Doc’s cars and he’s been paying off the debt ever since. After the cold open, he’s the proverbial one job away from getting out.
Baby got backstory: He was orphaned at six when his mom crashed their car into a truck. Baby was in the backseat listening to his new iPod, and he’s had tinnitus ever since. He relieves it by ... listening to an iPod while driving really fast. I think Wright posits a connection between his listening and his driving. The music gets him into a zone. He pumps himself up with his own soundtrack.
The heists, for all their planning, seem ill-planned. Basically three gunmen run into a bank wearing masks and carrying high-powered weaponry, then leave with money and the cops right on their tail. It’s up to Baby to shake them. He does. (Can I just applaud the Atlanta police in this movie? Baby performs sick, only-in-a-movie maneuvers, and a second later they’re on him again. Kudos.) Afterwards, money is divvied, Baby loses most of his share to Doc, but puts the remainder under the floorboards in a three-story walkup he shares with his deaf foster father, Joseph (CJ Jones, who is deaf), for whom he makes the aforementioned sandwiches.
The movie improved greatly for me when Baby begins to romance Debora, since she’s played by Lily James, who is both adorable and can act. They’re good together: flirty and sweet. The give good dialogue. I was surprised during their “Debora song” conversation that she wasn’t aware of T-Rex’s “Debora,” since, if you’re interested in songs with your name, well, there’s a little thing called Google. I did it on iTunes 10 years ago for my wife and found “Darling Patricia” by Owen Gray. And I’m old.
Debora, of course, is young, and her dream is the dream of the young: to get out. Specifically, to get on interstate 20 with a friend and some tunes, and head west and never stop. Her wish soon becomes their goal because that “last job” isn’t the last. It only meant the debt was paid, it didn’t mean Baby doesn’t work for Doc anymore. In this next job, a Post Office of all places, everyone makes stupid decisions that lead to third-act disaster:
- Doc has Baby case the Post Office. Seems an unnecessary risk to take with your reluctant getaway driver.
- Doc has the heist team, including the well-named “Bats” (Jamie Foxx), pick up the fenced weapons without telling them they’re dealing with corrupt cops. So when Bats sees APD (Atlanta Police Dept.), bullets start flying.
- Baby tries to get away from the others at 2 a.m., but is caught by Buddy (Jon Hamm) in the parking garage. Except ... Baby’s in a car at this point, and all he has on his side is a lame excuse. (“Going to get coffee.”) Why doesn’t he just spin out and away? Like every other time in the movie?
- Instead, Bats reveals Baby’s predilection for taping conversations, including myriad ones with Doc, to sample later for his own sad amusement. And Doc doesn’t kill him right there? And he lets him drive the next day? Simply because Baby says he will?
- When everything goes wrong, and Bats and Darling (Eiza Gonzalez, hot) are killed, and Baby is pursued by both a crazed Buddy and half the APD, he grabs Debora and goes for help to ... Doc? And gets it? And Doc gives his life helping him?
Throughout, the movie makes it seem like Baby has a plan, but he has no plan. He’s a stupid kid that has a lot of luck. That scene in the diner? Where Buddy, who lost his love because of Baby, asks Baby if he loves Debora, and Baby says yes? And Debora is only saved because a cop suddenly shows up looking for a restroom? How much serendipity does Baby (and Wright) get away with here?
What’s my number
But I wasn’t bored. I’ll give it that. I thought Jon Hamm was miscast and Kevin Spacey typecast, although I liked his “Monsters Inc.” line, as did everyone. I really liked Foxx, who was note perfect. I liked that there was comeuppance—that Baby and Debora seem to be getting away, heading west like in the dream, but then the blockade, the arrest, the trial, the prison term. I loved Lily James. Can’t say this enough. My new movie crush. Slightly awkward since I’m twice her age.
But 97 percent? I liked Edgar Wright better when he was satirizing movie genres rather than making them go vroom.