Name of film – Baby Driver (2017)
Lizard film – 015
Chosen by – Dreyer
Date – December 2017
Director – Edgar Wright
Starring – Ansel Elgort, Kevin Spacey, Lily James, Eiza Gonzalez, Jon Hamm
Duration – 113 mins
Genre – Action, Crime
Summary –
Baby (Ansel Elgort) – a talented, young getaway driver – relies on the beat of his personal soundtrack to be the best in the game. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.
JONES’ SCORE & REVIEW
ACTING – 8
DIRECTING – 7
SCORE/AUDIO – 10
CINEMATOGRAPHY – 8
ENTERTAINMENT – 7
TOTAL – 40/50 = 80% ****
I used to drop in to my local video shop and got pally with the guy who ran and owned the place. He would recommend many films to me, including action. This genre would normally be low on my list for movies to watch but after a few months, the video shop guy knew I was a little closed minded and he looked at me direct in the eyes and said, “Rob, you just need to learn to love films!” That quote has always stayed with me and from that day, thought I’d never quickly judge before watching, regardless of what type of feature it was. So I was fairly quick to notice “Baby Driver” was going to be fun but silly. I was right.
“There’s nothing wrong with a little quiet!”
I must discuss immediately the big winner of this film – the soundtrack. It was the linchpin of the whole 113 minutes. I’ve never seen a movie before where the music has dictated the direction the film is going. The fast pace of the film was being pulled by the terrific tunes belting out throughout. It was cool as fuck too. Only Tarantino has had soundtracks to match. The music was the spine of the “Baby Driver”. Only on reflection after the film ended, I realised how clever the soundtrack was. There’s a “ding” in the opening Sony logo that turns into the sound of the main character’s tinnitus. Then during the opening credits, title sequence, and song, some of the graffiti in the background of the scene perfectly matches up with the song lyrics. Most, if not all of the gun shots in the film, are in time with the beat of the music. A song is played in the background of nearly every scene in the film. Also whenever a song plays in 4/4 rhythm, a shot almost always cuts in one of the four beats. In almost every scene, where no music is playing, you can hear a slight ringing in the background (again, the sound of Baby’s tinnitus).
Then of course, Queen’s “Brighton Rock” got me excited. A track only die-hard Queen fans know and it was the key song towards the end of the flick and was always intended to be used in the final chase scenes by the director. It took me back to 1986 and “Highlander”, a personal favourite of mine, as the whole amazing soundtrack moulded the Christoper Lambert masterpiece. Happy days! According to Edgar Wright (director), each script sent to the main actors that were wanted for their respective roles, included an iPod that contained a list of songs that was to be played (arranged in specific order) while reading a particular scene for the movie in order to emphasise the tone. DJ Mashmeister surely can appreciate this dedication? Of course, music was key for Baby. Without it he simply didn’t tick. Like a Duracell rabbit without batteries – pointless. The collection of iPods he’d collected through years of stealing all came in handy depending on what mood he was in that day. It was also a focal point in conversation when chatting up his lady. Music and driving was like wanking and football to us boys, LIFE!!!
“Retarded means slow. Was he slow? No!”
For all Spacey’s faults as a person, Hollywood certainly misses his presence. He’s always solid (just like when he uninvitingly foddles with a gay barman). In fact, actors like Spacey, we took for granted for years. He only improves a movie and hardly picked a shit one to lead. Saying all that, this film wasn’t about the disgraced “due in court at any time” pervert, it was all about Baby, aka Ansel Elgort. I’d never heard of the guy before – he was impressive. He might have been stranger than Jonathan “Lizardman” Woods, but he was a mystery with a big heart. Although heavily involved in crime, he only wanted to do right by people and he had a good taste for woman too. I wouldn’t have minded having “Jonathan”, aka Debora, for breakfast bent over one of the them diner tables. She was sexy in the “girl next door” way. Although why she would fancy a hard of hearing John Stone lookalike is beyond me?
Then there was John Hamm. I’m a huge fan of Hamm (and Kevin Bacon), ok less of the pig jokes, I also like Derek Trotter!!! John Hamm is famous for his role as Don Draper in Mad Men, a series everyone needs to see. So this role was completely different to how I’d seen Hamm before. He was cool. He did a real good job as being Baby’s rival.
My issue with the acting in this film was Jamie Foxx. Even with subtitles I struggled to understand him. Open your mouth when you speak black dude. I’m sure if you spoke his lingo, you’d have loved him but he was speaking even quicker than the megafast soundtrack. Slow down Foxx. Pity they didn’t get Denzil or even Will “get jiggy wit’ it” Smith for this part. I also felt the script was so scripted it didn’t sound natural, especially the scenes between Baby and Debora.
A quick shout out to CJ Jones who played Joseph, the deaf step-father. Jones is actually deaf in real life and therefore Ansel Elgort had to learn sign language to communicate with him. As deaf as he maybe, it wasn’t Oscar winning acting, so let’s move on…
“He’s either hard as nails or scared as shit, which one is it?”
The direction of “Baby Driver” frustrated me a little. I knew of Edgar Wright’s name but had to google him to see his past projects. The English director’s “Hot Fuzz” wasn’t worthy of a watch surely so his CV didn’t inspire me much. The 44 year old did a decent job here but not world class. You could tell he’d been major inspired by other movies like The Driver (1978), Raising Arizona (1987), The Blues Brothers (1980) and Riding Bean (1989). At least he did a better job than Nicolas Winding Refn who directed “Drive”. I liked the use of flashbacks to reveal more of Baby’s puzzling past and explain why he was damaged like he was. Obviously the use of soundtrack was at the forefront of the director’s mind and there were definitely hints of Tarantino throughout. I also liked the fact Wright hardly used CGI or green screen in the car chase sequences. The driving is all practially done with Elgort and Hamm both completing a month’s driving training to prepare them for the extensive and elaborate chase scenes in the movie. However, there was something lacking for me and the director showed immaturity as towards the end, it just became daft to watch and lost it’s way. Frustrating but I’m sure the dumbfuck American audiences loved it.
“We met before right?
I dunno, you’re still alive right?
Right!
Then I guess we’ve never met”
Just like “Drive”, the credit must go to the cinematography too. With great camera skills for the car chases (even though unrealistic and more like a computer game with the fastest army of cops chasing them), it was shot in Atlanta. Over 40 streets were closed over the course of the production to film the car chases. Over 150 cars were used and Ansel Elgort (Baby) was presented with the 2006 Subaru as a birthday gift after the film wrap party. Although not an air bag exploded in to life regardless of the dozens of head on crashes, the viewer could only help but smile. Although Marlena sat with me watching it and hated the car chases. Clearly a blokes film!
“By the time you’re finished, you’ll be buying Maseratis and buyin your girl catfish dipped in gold!”
The story itself was entertaining but as mentioned from the off, utterly daft, but as I’m still learning to love film, I went with the ride and have to say, thoroughly enjoyed it. Yes, towards the end the usage of guns were as stupid as the closing scene in “State of Grace” or comic strip voilence Quentin loves, but even this didn’t put me off the flick, and I was sober. I can imagine after a belly full of beer, “Baby Driver” would be a great end to the night with the boys, on the big screen, surround sound and kebab by your side. In that sense, it can join “Machete” for tongue in cheek action. I particular enjoyed the Mike Myers masks used for disguise in one of their heists. I never thought Point Break’s US President masks would be beaten, but the Mike Myers look went straight to the top of the comedy league for me. The Mike Myers masks actually were supposed to be the masks for Michael Myers from the “Halloween” series but the producers were unable to obtain legal permission. Edgar Wright then reached out to comedian Mike Myers (Austin Powers) about using masks of his likeness instead, who thought the scene was funny, and gave his blessing.
Being a “Back To The Future” film buff, I noticed multiple references to the trilogy. Kevin Spacey was called Doc and there’s another character named Griff. Flea, the bass player from the Red Hot Chilli Peppers had a small role in both BTTF and Baby Driver (playing Needles and Eddie). The character Doc also refers to the “Spirit of 85” (referencing to the Atlanta freeway) which of course was the year BTTF was released. Did anyone else watch right to the end of the credits? You can hear the sound of a tape rewinding. These little gems make me want to watch “Baby Driver” again soon. For all the daftness, there’s a layer of genius scratching the surface.
A solid score from Lizardman Jones for a film I wouldn’t expect to excite me. Saying that, Hutchinson hated it, so I’m not surprised I thoroughly enjoyed it. Well done Lizardman Dreyer, you’ve made up for a few of your patchy selections. Keep up the good work!!!
MASHITER’S SCORE & REVIEW
ACTING – 4
DIRECTING – 5
SCORE/AUDIO – 7
CINEMATOGRAPHY – 6
ENTERTAINMENT – 2
TOTAL – 24/50 = 48% *
God I didn’t like this film at all. I’ve never been thrilled by car chases in films (with the exception of Duel) but love a good heist film. This wasn’t one though. Do you know my main problem with it? It thought it was so effortlessly cool that I found it insulting to watch. Kevin Spacey has just become a parody of himself unfortunately. Has he played a different role in the last 10 years than a narky boss? I enjoyed him in ‘Horrible Bosses’ but this was basically the same character. A shame as I loved him in the 90’s in films such as L.A. Confidential and Usual Suspects.
The soundtrack drove me mad and again I found it hugely insulting. Every single edit of the film was perfectly in-sync with the film and I can just imagine the self-congratulating back slapping that went on in the editing room as each beat was meticulously matched to footsteps, gunshots and tire screech. Aren’t we so cool? Cringe-worthy. Did the music bring anything to the scenes. No is my answer. Some decent tunes too though. I love The Damned’s ‘Neat Neat Neat’ but you feel this was a favourite of the director he just wanted to pop on a film he happened to be making. Look how cool I am-a punk song! Made no sense whatsoever.
Then we’ve got the actors. Obviously NOT picked for acting ability but because they were aesthetically pleasing on the eye. Again insulting. These were meant to be gangsters! The girl (I’ve forgotten her name such was the impression she made on me) couldn’t even hold a bloody gun convincingly. I’ve been more intimidated by Chris Smith when he once woke me up for snoring too loud.
Some of the scenes shot were pretty amazing and the Atlanta background and city backdrop stunning but as I said earlier, car chases don’t float my boat. Might wow some audiences but just induced me to start flicking through my phone until the brakes were applied and the handbrake was firmly on.
I might have it all wrong but to me, if this film wanted to eat itself it would do, thinking it was the coolest thing this side of a Samuel L.Jackson scene in a Tarantino film or the underwear section in Steve Chambers chest-of-drawers. It’s a very easy watch – no brain required. The characters are picked for beauty above talent and I can safely say I’ll never want to watch another film starring that annoying ‘baby’ who reminded me of the college kid who not only tried to act cool at University but thought they were too (Jeremy Zoe German anyone?) he was constantly plugged into his i-pod and I had a burning desire to break his fingers every time he annoyingly drummed them in the desk. Ignorant git!
Sorry boys…sadly not for me.
ACTING 60%
DIRECTING 60%
SCORE/AUDIO 85%
CINEMATOGRAPHY 70%
ENTERTAINMENT 45%
TOTAL SCORE 64%
(RJ – 80% MM – 48%)
** LIZARDMAN RATING OF 2 STARS **
Lizardman Film Club 