The new musically explosive Baby Driver
Edgar Wright has always had a sense of rhythm calculated to the quarter-turn playing a fast and controlled editing. He also a unique taste to stylize his films in ways not always expected, but constantly nice for the eyes, ears and the spirit. In fuel with a singular energy, his films also swarm with details that are worth the multiplication of the intercepts.
By detecting all the visual and sound subtleties, amateurs know that they will not be bored before his creations and also that their intelligence will definitely not be left in the locker room. For his first American feature film, he decided to take his appreciation of speed in the proper sense by offering himself a film of cars proposing lawsuits that even Fast and the Furious would not deny.
In terms of premise, it's simple. Baby is a young driver with unique abilities who has to repay a debt by teaming up with a scammer. The catch is that his foray into the world of crime will become more and more problematic in the face of his desire to live at full speed and his growing love for a bubbly waitress, who is propelled by the same dreamy spirit.
This is where the mixture of genres will become inevitable. With hot pursuits, bank robberies and romance, in addition to an omnipresent humor with several replicas that melt in the mouth, they will intertwine in a film that will become, for want of a more appropriate qualifier, another Edgar Wright film.
Since, beyond the care given to the imagery and the details, the filmmaker will push his work considerably on the sound, using at full speed his excellent soundtrack as he is accustomed to it in fact. Also, his way of remixing the pieces he uses to rhythm his sequences in the film gives rise to moments of great genius.
To this, it will be necessary to confess without difficulty that his first half-hour will grace perfectly to perfection. Besides we have Jamie Foxx, who is deliberately unpleasant. We savor Jon Hamm, who is as always flawless. Then there is Ansel Elgort, who is stunning in the title role and is lined with a magnetic chemistry with the delicate Lily James.
We must also mention CJ Jones, a truly deaf and dumb, who is one of the most endearing in the role, as it were, of the mentor of the protagonist. However, it is the ingenious Kevin Spacey who steals the show with a role that never ceases to metamorphose. Even after all these years and the two Oscars, the actor continues to surprise us with his talent.
Where the rubbish hurts a little, it's in the center of the work. While some intrigues take a little time to locate and/or relocate, Wright will somewhat abandon the staggering with the eye to deepen its history, which will somewhat heighten the rhythm. All the more so because it is more of the form beyond the background that will interest us. The talents of Wright is too fabulous to be left in the background.
Thank God, the false steps will be rare, and it is in an explosive reversal that will enshrine the third act as demented as disjointed, leaving us at the end of our seat, with mouth wide open of exaltation and excitement.
The filmmaker will also fully assume his romantic side, giving it more weight than usual. While it was rather the excesses of styles that prevailed in Scott Pilgrim vs. The World, or the friendship that always came back strong in Shaun of the Dead or The World's End.
Although it is not difficult to melt for this beautiful and naive young couple, it will still be strange to find ourselves with moments as syrupy in front of a film that mastered well its scenes of action. Baby Driver will undoubtedly be one of the surprises of the summer. A demented and neat proposal, the film is perfect to delight the fans in the first hour, but also just enough explosive to probably win new admirers in search of a bit of madness that satisfies with its freshness and ease.