It's the details that Wright puts into this world that make it special. But Doc isn't ready to let someone as talented as Baby go that easily and brings him on for one last job with several of his other go-to criminals (played by Jon Hamm, Jamie Foxx and Elza Gonzales) that, as expected, quickly spins out of control. The talented young driver is close to paying off this debt when he meets a young waitress named Deborah (Lily James) who he begins to fall for, and who embodies the life out of crime that he wants to live. Wright's decision to have the soundtrack be so much more than just a film backdrop for the film heightens its intensity from beginning to end in all the right ways.Īnsel Elgort, Jamie Foxx, Elza Gonzalez and Jon Hamm in Baby DriverThe plot of Baby Driver is a straightforward heist tale: Baby is working for crime boss Doc (Kevin Spacey) to whom he owes a debt. Because of that, every scene is thrilling to behold, from the many car chases - Baby is an excellent driver, after all - to him getting coffee for the crew. But the focus of this film is clearly to lean into the glossiness of its stylized direction and not to be grounded in grittiness. (It's worth noting Wright first tried out this concept when he directed Mint Royale's 2003 "Blue Song" music video.) Wright makes the smart to choice to ground Baby's near-constant iPod-listening in reality: Baby listens to music because he suffers from tinnitus.
#BAB DRIVER MOVIE#
Choreographed by Ryan Heffington, who also choreographed Sia's "Chandelier" music video and Netflix's The OA, everything in the movie is set to the beat of the music playing in Baby's iPod. Edgar Wright's latest film isn't a musical per se, but what sets it apart from the '90s action films that inspired it (the "holy trinity" of Point Break, Reservoir Dogs and Heat, as Wright called them) is how its soundtrack is integral to the filmgoing experience.