Baby Driver

Baby Driver is a milder version of the phenomenal Drive with Ryan Gosling, but it still manages to engage the viewer and make the second half of the film tense thanks to a good dose of action. Baby is a really bizarrely written character and you can see that Ansel Elgort enjoyed it very much. Overall, as far as the cast is concerned, I was extremely happy with the ambiguous Kevin Spacey, the deranged Jon Hamm and Jamie Foxx, and the endearing Lily James. The first half was weaker, but then it all picked up and didn’t stop until the end credits. A weak four stars! (18/03/2020)

A scented pop escapade with quite an effective rhythm that alternates dynamic and conversational scenes, whose greatest asset is the thoughtful editing and the movement of the camera and the characters around the mise-en-scène, thanks to which even the seemingly slower scenes don't hinder the pace. But finding a single passage that I would want to rewatch in the future, or a single twist that I would find more interesting than driving a car on our highways, no way. The best character is hands down the wisecracking Spacey (the forcibly cool Fox didn't catch on), the funniest scene probably the most static – a crime scene inspection with an eight-year-old. Wright may have the craft down and the individual details figured out, but this time he just doesn't entertain with story or characters. 65% (05/01/2018)

Drive but for kids and teens who can't yet read between the lines of a movie and prefer, ideally, plenty of pop and an attempt at cool action scenes with characters you remember by their hairstyles and clothes, not by what they do or the attitude they represent. The cast is stellar, too bad about the untapped potential, though. Sloppy in every way. (30/09/2017)

The original playful to musical mood that Baby Driver initially enticed me with, unfortunately, either got old or lost completely during the film. It's certainly not a bad film, the action scenes have swing and the music is fine, but the villains are almost more interesting than the main protagonist and the story is... Ummm... It didn’t do much for me. Three and a half stars. (28/07/2017)

Edgar Wright is a pro. Never mind what he’s filmed before; now, with his quick-fire editing and love of music, he’s actually managed to film one of the best gangster movies in a while. When I was watching it, I truly didn’t even care how illogical it was at times. I was enjoying an action comedy so perfect that I doubt I’ll get a similar experience within the next five years until Edgar comes up with something new. And you realize that once you hear high-quality music in the background of a machine gun firing off. You also realize it as the music gets intense when Ansel Elgort’s having his life-changing moment. He might be just a twenty-three-year-old pipsqueak, but after half an hour, I finally got used to him; because beneath the rough layer of toughness and arrogance, there’s a boy who’s lived through a lot. And that’s getting me started about the story, which isn’t exactly any good, but I didn’t even expect it to be. This movie was filmed to be visually effective and to be a conscious homage to all the (not only) Guy Ritchie gangster movies. If Simon Pegg and Nick Frost were starring in this, I think it could even be another addition to the Cornetto saga. But this way, it’s “just” a simple, but highly functional movie. That’s exactly what I expected from Edgar Wright and it’s what I got in the end. Thank you for an amazing experience. At times, I was thinking that I’m not gonna get a similar experience nowadays. The editing combined with the music – absolutely awesome. (20/08/2017)