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BABY DRIVER: music to our weekend ears


Baby Driver is one of those action movies with a soul and a casting crew that keep your eyes on the moving images. Especially if you've got some time to spare. It's the embodiment of cheap thrills that is the blood of Hollywood, at its best. It's not something you see too often nowadays, because most of them are merely pale attempts, but Shaun of the Dead director Edgar Wright gives this us a thrilling and cinematic ride.

"It’s not just the action sequences that strike a chord. The toe-tapping opening titles find Baby doing an on-foot coffee run to the beats of Bob & Earl’s Harlem Shuffle, lyrics magically appearing on walls and signs in a scene as seamless as the opening freeway dance from La La Land. At times the songs serve as an on-the-nose Greek chorus, telling us that Baby has “nowhere to run to, nowhere to hide” as he’s trapped in an arms deal. But it’s when the horns and drums of the Button Down Brass’s Tequila become gunfire, or the madness of Hocus Pocus by Focus drives a breathless chase, that Wright really puts his foot down, with exhilarating results." (The Guardian)

"As usual, Wright’s cast is astounding. Spacey drains the color out of his performance, but only a colorful actor could play colorlessness with such deadly, David Mamet–like precision. Jamie Foxx plays a guy called Bats who has a chip on his shoulder the size of an asteroid. He psychs himself up for each job by repeating that he’s taking back something that was taken from him — a mantra that makes his killings seem not just justified but righteous. As another of Doc’s regulars, a former Wall Streeter who threw his life away for drugs, Jon Hamm seems amiable at first but you begin to sense a deeper creepiness. He’s slobby and childlike, draping himself over his girlfriend and fellow bandit, Darling (Eiza González), pushing himself to do the dirty job so he can sink into chaos and dissipation once more." (Vulture)


"“Baby Driver” isn’t avant-travestying; it’s a pop pastiche par excellence, crammed with cubistic action; glowering and golly-gee types (played by the seductive likes of Jamie Foxx, Jon Hamm, Eiza González and Lily James); and an encyclopedia of cinematic allusions, all basted in wall-to-wall tuneage. At times, the whole thing spins like a tribute album, a collection of covers of varying quality: diner yaks à la Quentin Tarantino, Godardian splashes of color. When it works, the allusions give you a contact high, like when a friend turns you on to a favorite movie. At other times, Mr. Wright’s pleasure veers into the self-satisfied, and all that love feels smothering, near-bullying, like bro-cinephilia in extremis." (New York Times)

"The mechanisms at work in Baby Driver, while calibrated with hair’s-breadth precision, are nothing new. Here’s what is: the sheer glee with which the film prods around in its own clockwork to show you what spins what. It’s like watching a magician perform the greatest card trick you’ve ever seen while simultaneously explaining how it’s done, and being stunned twice over." (Telegraph)

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"Baby Driver is in direct lineage from Walter Hill’s The Driver (Hill himself actually has a cameo) and Nicolas Winding Refn’s Drive, though in place of the existential drama and angst it instead offers substantial doses of the Commodores, Golden Earring, and Martha Reeves & the Vandellas. And while it is less idiosyncratic and English in its particularity than Wright’s “Cornetto trilogy”—Shaun of the Dead, Hot Fuzz, and The World's End —it is no less of a delight. Put in your metaphorical earbuds, turn the key in the ignition, and enjoy the cinematic highlight of the summer so far." (The Atlantic)

"The good news is that, although “Baby Driver” is not much of a movie, it is an excellent music video—a club sandwich for the senses, lavishly layered with more than thirty songs. These include the Jon Spencer Blues Explosion, T. Rex, Queen, Golden Earring, Barry White, the Damned, the Commodores, and, for funk’s sake, the Incredible Bongo Band. Sometimes, as on an album, one track simply fades out and makes way for the next, with events onscreen bustling to keep up; most telling of all is the sequence in which Baby, listening intently to a tune of his choice, advises his comrades, poised to jump out of the car and to start robbing, to wait until the beat kicks in. " (The New Yorker)

Check out the trailer below.

Tags:   news, trailer, recommendation, film news, action, Baby Driver

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