Sometimes the world seems to respond to his choice, sometimes his choice seems to influence the world around him-either way, music is as essential to the success of “Baby Driver” as it was to “ La La Land,” maybe more.
And the world around him moves to the music on one of his many iPods-he has various ones for different moods. After a car accident as a kid left him with tinnitus, he spends the vast majority of his waking hours with ear buds in his ears to drown out the ringing. He’s the nearly silent getaway driver for a robbery syndicate managed by Doc ( Kevin Spacey), who organizes the crime, hires three criminals, and then puts them in Baby’s car. At least, that’s the name he gives people when asked, although he’s more often ignored. Yes, his name is “B-A-B-Y, Baby” ( Ansel Elgort).
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It’s as much fun as you’re going to have in a movie theater this year. “Baby Driver” feels both influenced by the modern era of self-aware, pop-culture filmmaking and charmingly old-fashioned at the same time, which is only one of its minor miracles. Much like Baby turns the world around him into music, writer/director Edgar Wright remixes the movies and tunes that have influenced him into the wildly joyous and fantastically entertaining “Baby Driver.” As CGI robots clang into each other and superheroes take to the sky, here’s Wright to ask if you remember how movies used to thrill us with a turn of phrase, a squeal of a wheel, a diving plot twist, or a romantic kiss. The first one we see him create is called “Was He Slow,” using a question asked by an accomplice about Baby’s mental capacity as a hook. He records conversations had around him (almost always around and not with him) on an old-fashioned mini-cassette recorder, and then mixes them into songs with some wonderfully antiquated keyboard and rhythm equipment.
Baby is a young man who creates remixes of his life.
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