Baby Driver – The Genius of Escape – Review


Published on Sep 08, 2017


In the end, Edgar Wright has managed to make his heist movie. The English director was supposed to direct Ant-Man for Marvel Studios, which was, in the end, a heist with a superhero, but has left the project despite his creative differences (a trend quite in vogue these days in the production disneyane). Also the protagonist of the Baby Driver has a sort of superpower, at the same time a gift and a curse, following a tragic accident just like the superheroes of the House of Ideas. Baby must constantly live with the music in the ears and it is this, perhaps, to make it capable of driving in a wonderful way.

Forget about the tones zany and eccentric of the trilogy of the Cornetto or the stilizzatissimo cinecomic Scott Pilgrim vs. the World, with a touch of humor typically anglo-saxon. This time, Wright engages with an authentic neoclassical refers to the action-comedy and teen movie us the ’80s and is based on three fundamental elements.

The first is the soundtrack, full of songs and vintage soul music, which mixes the movies Guardians of the Galaxy. Wright is, in fact, remained constantly in touch with his friend and colleague James Gunn, director of the space opera Marvel, to make sure not to put the same songs in their respective films. Baby Driver is the music to dictate the timing of the direction and of the assembly starting from the fun-plan sequence during the opening credits.

The second element is the cast. In the previous films, Wright has worked with actors, disregarded or emerging stars. Here is to manage the names of the first magnitude, and it does so with good balance. The only one to not yet be an absolute star (but will soon) is the main character, Ansel Elgort, already the darling of the teen audience (The Divergent, the Fault of the stars). Some of the actors come back on land to their congenial: the mastermind Kevin Spacey (The usual suspects, Superman Returns), cinderella Lily James, the nihilist Jon Bernthal (The Punisher), who then disappears, passing the baton to Jamie Foxx (Django Unchained), and the bad girl, Eiza Gonzalez (From dusk till dawn – The series), frolicking with a vengeful Jon Hamm (Mad Men).

Even if the dialogues between the characters are hilarious, Wright tries as much as possible to leave space for pictures and music. Eye-catching, in this sense, the dichotomous relationship between the protagonist all the rhythm and the foster-father deaf dialogue entrusted to the gestures and the mimicry of the body.

The third ingredient are the chases in road, shot in the traditional way, with stunts, practical effects and very little cgi, far from the exaggerations of the Fast & Furious. It is the component action of a film with a simple and linear that rushes to a happy ending as if it were only in the movies of twenty years ago.

Wright thus conforms to the current wave of nostalgia and makes the leap to the prospective blockbuster stars and stripes, but keeps his own recognizable stylistic and delivery to the general public a high great little cult.

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