Baby Driver: to the rhythm of Edgar Wright


Published on Sep 11, 2017


Definitely the coolest movie of the summer, Baby Driver, the very talented Edgar Wright, one that since its inception in 1995, with A Fistful of Fingers has worked a little, but he always left the sign just as a cult behind the other. For his sixth film, the british filmmaker is detached from the atmospheres comedy that characterized all his previous works, choosing to remain anchored to the action pure but declined it according to his idea of cinema.

Baby Driver is a heist movie triggered by atmosphere musical (or musicals contaminated by the heist movie, you do), and in 115 minutes flies by unbridled, flamboyant, reckless and adrenaline. From the first moment, right from the first shot, when the outstanding opening sequence (marked by Bellbottoms of the Blues Explosion) establishes the cornerstones of the work: a protagonist is the irreverent and unpredictable, high-speed chases choreographed with impressive maneuvers stunt, and an elegant taste in music.

In the film, Wright's songs go hand in hand with the assembly (a thing which the british director has done so often in the course of his career, but never in a manner so aggressive), and the film is funky, it's jazz, rap, rock ‘n’ roll. It is many things, and among these is also and above all beautiful and not to be missed.

Baby is the best driver in Atlanta, and steals a car to Doc (Spacey) ever since “was tall enough to look over the dashboard.” When he grew up Doc, who arranges robberies for the best criminals in the city, has started to use it as a driver for the joints and with the Baby to guide, every shot in the last few years has gone to a good end. He is against violence, and the great moment of cinema when you move forward with the car a few feet not to be a witness of the aggression to the security guard) but he can drive like no one else despite hearing problems (he has a whistle constant in the ears, which covers listening to music with his many Ipod without solution of continuity).

But maybe Baby that has lost her mother as a child – does not want this life, maybe never even never desired: the idea of a better future the comes to mind in the same moment in which it meets for the first time, Deborah (Lily James), a waitress in the diner, where a time was his mother.

She, who for him embodies all of the desires of this world and every dream of a happy ending, like something out of a David Lynch movies. Also for how to not have their interests nor a narrative arc staff, but serves only to highlight the ones of the Baby (“Every song is about you”, tell her to him during their first meeting, and to emphasize the fact that everything has to turn around at the name on the bill).

In addition to her, there are others: and let's face it, the supporting cast is one of the best of the year.

Spacey is menacing and elegant, Jon Hamm and Eiza González embody in a perfect way the cliché of the couple's dangerous to Bonnie and Clyde (even if, from a certain point onwards, we will move more towards the territories of Natural Born Killers: but the crescendo of violence in the films of Wright is always there), Jaime Foxx is hilarious in the role of colourful and in no way sober to Crazy, a criminal whose didactic name is already a whole program.

In the wrong hands, a film that tells of a criminal half-deaf with a mourning family that falls in love with a young and beautiful girl who tries to escape, it could be a bunch of already seen, already said. In Edgar Wright's Baby Driver becomes an orgy of shots, breathtaking chases at full throttle, jaw-dropping visual ideas, love, death and a lot of fun, so much that it was impossible to condense in less than two hours.

Then climb aboard, put the sunglasses on, turn up the volume of the music, and mashed the pedal of the accelerator: you will travel to the rhythm of Edgar Wright, and we could not be in good hands.

Baby Driver: to the rhythm of Edgar Wright is




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