Watching: ‘Baby Driver’.
Last Tuesday, I went straight from work to the Drafthouse to see “Baby Driver”. I had a free ticket to use, along with a free popcorn, and everyone I knew said this movie was SO good. Honestly, I wasn’t sure it was my style, but I figured I couldn’t really lose with Ansel Elgort as the lead. Amiright?
I got a rootbeer float, my popcorn, and was ready to roll. Being a Tuesday at 5, there weren’t too many people in the theatre. Here’s how IMDb describes “Baby Driver”: After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.
Here’s a little more in-depth description from Google: Talented getaway driver Baby (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. After meeting the woman (Lily James) of his dreams, he sees a chance to ditch his shady lifestyle and make a clean break. Coerced into working for a crime boss (Kevin Spacey), Baby must face the music as a doomed heist threatens his life, love and freedom.
The young getaway driver is known as “Baby” (Elgort), and he’s ready to get out of the business even though he’s pretty damn good at it (the opening scene will make you want to drive out of the theatre and over curbs and yell “Fuck the po-lice!”… or was that just me?).
But as things go with organized crime, you can’t necessarily put in your two weeks’ notice and be done with it. And thus we have a plot, along with a B plot of Baby falling for a waitress at the local diner – they connect over a love for music and a dream of escapism. I know the feeling.
While the events of the movie are seriously, deadly at times, the tone is smart, and pretty funny – I laughed a lot, and then felt like a psycho when I was the only one laughing. Kevin Spacey – who plays the organizer of the heists – is just the best.
In general, “Baby Driver” is getting rave reviews – despite recently being sued over one of the songs used in the film. Here’s a snippet from the New York Times’ review:
“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.
…Sooo, should you go see it? Yes! Yes all around – I loved this movie. The next flick on my radar? “Ingrid Goes West”. Looking forward to it!
Posted on August 7, 2017, in Light Pulp and tagged alamo drafthouse, Austin, baby driver, blog, blogger, entertainment, Holly A. Phillips, ipod, movie, movie recommendation, movie review, movies, music, review, summer movie, texas, The Bitter Lemon. Bookmark the permalink. Leave a comment.