Film Review Baby Driver : Baby Driver is a concerto
Poetry before prose. Baby Driver is a concerto in sixth gear and an adrenaline shot to the heart.
Better films may release this year,
but it’s difficult to imagine any supplying cinematic joy in such generous doses.
If Fury Road was Wagner on wheels, this chrome wheeled,
fuel injected musical is Beethoven’s Ninth.
That Edgar Wright is responsible for it is hardly surprising. Few directors since Steven
Spielberg have been able to marshal this convincingly
the various tricks of cinema for the purposes of pure entertainment.
Each whip pan, every tracking shot is deployed for maximum impact.
In an age of bewilderingly quick editing,
Wright seems to cut at exactly the right moment—and to elicit a reaction.
A breathless one-take might be followed by a chopped-up chase:
whatever makes the scene work, the material sing.
All this trickery is grounded in the familiarity of genre.
Baby Driver is, essentially, a “one last job and I’m out” movie,
a scenario that’s as central to the heist narrative as
the exercise montage is to the sports film. Baby (Ansel Elgort) is a getaway driver, อ่านต่อ