Baby Driver

A very well choreographed film. Right from the driving sequences, the dance & music moves, the complete score of the film to even the sign language conversations between Baby and Joseph.

Absolutely loved the editing - sleek and clean. I can imagine the efforts needed to shoot the complete the film by calculating the amount of individual shots taken in the film.

3/4th of the film is quite interesting, felt quite a drag towards the end. The love relation between Baby & Deborah is quite interesting.

Overall a good one time watch.

Strong cast of actors.

Edgar Wright deals with the technical aspects very well, be it camera work, cinematography, editing or soundtrack. But in pursuit of the style, he forgot to write good characters. There is absolutely no conviction. You don't feel for any character. Their actions are confusing (like Kevin Spacey in the end). It tells you a lot when I say that the most interesting character was an 8-year old boy with barely 3-4 minutes of screentime. The dialogues didn't help either. No one is interested in the comparison between weapons and different body parts of a pig.

In short, the writing is abysmal and keeps you from enjoying what could have been a very fun watch. Perhaps they could have fed some more lines from Monsters Inc.

However Edgar Wright is a director that seems to get more immature as opposed to maturing with his audience as his films go on.

Baby Driver, a film idea that was, no doubt, pulled from a drawer of high concept, high-school ideas from Mr. Wright, has that sort of aged 90's Tarantino vibe, from the musical OTT dialogue, attention to soundtrack, and the Natural Born Killers style star-crossed main characters. Unfortunately that makes the idea very dated and the promise of a musical car-chase movie a bit of misdirection. It's more of a 90's gangster film with a painful hipster hand guiding it, interspersed with music videos made of car chases.

There's some humour, neat little ideas, satisfying and creative moments, but they're unpleasantly jammed in to a a few moulds that don't do some of the core concepts justice. Lily James is a delight but her character is shortchanged, the idea of replacing core characters for each job is nonsensical probably to get rid of actors to other commitments. And the less said about the two dimensional Darling and Kevin Spacey the better.

I was able to watch Baby Driver during an advanced screening last week and and yes it's as amazing as the critics say it is. The way it uses the music is just so great. It's so different from all the other movies, but it isn't artsy in a way that only the critics will like it: this is a movie for everyone. I went with a friend who is really hard to please when it comes to movies, but I just knew he would love this. And I was right, I never saw him as excited about a movie as he was about this one. It's just so much fun to watch, but it's also serious when it needs to be and it has very intriguing characters. But I'll be honest, the core of the movie is its music. I think this is the second time I say it, but the music works so well. If I wasn't in the theaters I would sing with the songs. Even though it's completely different, it reminds me a bit of Fury Road in the way that it makes you want to punch your fist and the air and cheer during the movie. In reality I think it's more a mixture of La La Land and Grand Theft Auto (it's definitely not a musical by the way). Go see this movie. I don't want to overhype anyone, but I'll make a bold statement and say this is my favorite Edgar Wright movie. I'll be shocked if this doesn't appear on many 'Best of the Year' lists in December, at least I already know it'll be on mine.

There is never a dull moment in this action crime film about a getaway driver who has his own unlimited getaway soundtrack but who also wants to break free from the crime boss who owns his life.

There is enough style and visceral strut in this film that it neutralizes the one or two credibility gaps in the plot. Ansel Elgort is great as the title character, but Jamie Foxx steals the film with a lively performance as the loose cannon in the crew. Performances all around are solid and the dialogue is so rife with dueling wits, it's like watching a recurring display of verbal fireworks. These firecracker scenes of competitive criminals showing off their bravado are just as exciting as the chase scenes through downtown Atlanta.

The film also banks heavily on a heady, omnipresent soundtrack that keeps the tempo perpetually hyperactive. A word of caution: The action can be tough going at times; the film revels in its permanent state of anarchy before ultimately developing a mean streak. But for all the blistering gunfire and screeching tires, this is not a one-note film. It has its moments of quietly boiling tension and eerie backstory flashbacks. It's a film that wears its attitude on its sleeve and doesn't shrivel into conventionality. Not an absolute bull's eye, but recommended to everyone who wants a good rush.