Utilizing the same formula for both comedy and horror gags (in terms of timing, composition, and surprise), his style leans into genre filmmaking, alternating between ironic, witty, and edge-of-your-seat effect. Wright’s films follow a simple through-line of an empathetic, though not entirely wholesome, lead facing insurmountable odds under outlandish circumstances in otherwise ordinary settings. At 21 (and as a film school reject twice over), he took a feature-length version of that last one, “A Fistful of Fingers,” to the Cannes Marché du Film ( our revisiting of that film can be found here). At 18, he made three hour-long films with his classmates-a superhero film, a cop film, and a Western spoof. At 14 years old, Wright shot amateur shorts on a Super-8 camera and charged 50p admission to screenings during school lunch breaks. Wright infuses his work with adept, basically self-taught, technique and the sort of film fluency that can only come from extensive film watching and research combined with an even more imperative passion for the medium. This latest film cements Wright as a true cinephile director, boldly and intoxicatingly sharing his near-maddeningly love with all of us.
“Baby Driver” pushes past the parody safety net of his previous work into astonishingly authentic and original filmmaking. Wright has become a champion of cinema not only through his films, but on social media and the repertory theater scene in a refreshingly endearing and resoundingly engaging way. Edgar Wright has been dubbed the “ultimate fanboy turned filmmaker,” but again, there’s so much more to his unadulterated love of movies.
We’ll have to see.Critics are calling “Baby Driver” an adrenaline-pumping thrill ride with heart, noting its technical prowess and expertly-chosen set list, but as with all great movies, there’s much more to it than that.
It may even be a genre classic, cult or otherwise. It may still be one of the better films of 2017. I’ll see where I’m at with it by the end of the year. Baby Driver has sort of sat there in Park since the viewing, not even idling, just with its engine gone cold. Some movies tend to grow as you contemplate them. That said, since watching it, the excitement and fun has diminished and further thoughts have sort of petered out on it. It’s all surface and action and some decent humor, playing out to syncopation, tuned to the music. Everyone is a nickname and a derivative caricature, and it’s almost as if Wright is daring you to think there should be more to this whole thing. He’s “Baby” as Kevin Spacey is “Doc” and Jon Hamm is “Buddy” and Jamie Foxx is “Bats”. Star Ansel Elgort is better than he looks in the trailers, the driver with an endless collection of iPods and sunglasses. It’s inventiveness does not lie within pure originality, but rather through its remixing and comic play.įor all its buzz, the trailer didn’t really “sell” me on the picture. There is verve here, quite a lot of it at times, and it’s fun. It’s a genre picture, made of genre stuff, and interpreted through an array of popular music selections. Edgar Wright’s Baby Driver is a pop confection heist car chase action flick comedy.
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