Baby Driver

Have you ever listened to a song and imagined a scene that plays out in time with music? I know I have, and director Edgar Wright obviously has. Luckily there are people in the world that give Edgar Wright money to make what is in his head. 

Baby Driver tells the tale of Baby (Ansel Elgort), a talented getaway driver that has been coerced into working for crime boss Doc (Kevin Spacey) in a series of daring heists. Nearing the end of his debt to Doc, with tensions running high within the crew and a new romance forming with waitress Debora (Lily James), can Baby pull off one final heist with his hands and conscience clean as just the driver?

To drown out the tinnitus that he's had since a childhood accident, Baby listens to a variety of songs on a selection of iPods bringing the soundtrack into the film in a similar way to Guardians of the Galaxy. But what Baby Driver does differently is that the scenes play with the same beats and rhythms as the music. Everything from the actor's choreography to the story beats to the editing, is all in time with the melodies and rhythms of the songs. 

Without the musical gimmick, Baby Driver would still stand up as a fun and functional action comedy, but the way that it all works together with story, soundtrack and editing all blurring at the edges and fusing into one cohesive whole elevates it to another level.