Published: Wed, June 28, 2017
Sci-tech | By Carrie Guzman

Edgar Wright's Baby Driver Makes the Car Chase Soar Again

Edgar Wright's Baby Driver Makes the Car Chase Soar Again

Edgar Wright's Baby Driver is a arriving in theaters on a wave of some great anticipatory buzz and critical reviews. The director was premiering his latest film, "Baby Driver", and as the name suggests, it's a vehicle chase movie; the titular character "Baby" is Ansel Elgort, a young, fresh-faced getaway driver. Baby works for Doc (Kevin Spacey), driving different crews put together by the Atlanta crime boss for bank heists.

Baby Driver also stars Jon Bernthal, Jon Hamm, and Jamie Foxx. "I can't wait to tell you about that joint 'Baby Driver!' It's insane, it's cool, and it ain't a typical film", the 49-year-old actor said. Elgort told ABC where Baby finds the music. The film expands from 2,606 to 3,150 locations on Wednesday night.

With films like Hot Fuzz, The World's End, Scott Pilgrim to his credit, director Edgar Wright is one of the best directors of this era.

"The closest I came to it was that somebody sitting near me on a flight was watching it", Wright elaborated. Baby is looking for a way out of the life of crime and has to complete one last job to earn his freedom.

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The omnipresent music comes from Baby's habit of constantly listening to music on his collection of old-school iPods, both to drown out the ringing in his ears from a childhood vehicle accident (part of his requisite tragic backstory) and to provide a framework for his feats of automotive daring. Wright has orchestrated every swerve and near smashup-and one glorious foot chase-with precision, a rarity in action filmmaking these days. When he meets the girl of his dreams (Lily James), Baby sees a chance to ditch his criminal life and make a clean getaway.

Peter Debruge in Variety is also impressed, saying Baby Driver is "a blast" with "a surfeit of inspired ideas".

However, the "sound and music" plays a key role in the emotions of the story and the "timing and choreography to pull off this kind of filmmaking is rare". But when he gets back to the safehouse, Doc gives Baby a reality check - he will always be his wheel man. This movie moves, steeped in the traditions of the heist picture (a ruthless boss, a rotating crew of colorful characters, a reluctant protagonist, and one last big score) but sifted through its central, great idea: a musical, but with vehicle chases. But there's been a unusual trend developing in Ansel Elgort's recent press for Baby Driver - a trend that has no defining source, not one particular incident, nor any specific piece of tabloid gossip.

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