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,
a prodigiously talented young man with a quirk: he must have music—his music,
spread over multiple iPods—playing in his ears constantly,
to drown out the tinnitus that’s dogged him ever since an accident when he was little.
He’s in debt to Doc (Kevin Spacey),
a crime boss whose car he mistakenly stole and who’s extracting payment for that one heist at a time.
In 1973, George Lucas introduced the idea of a mixtape soundtrack with American Graffiti,
and Martin Scorsese timed Harvey Kietel’s head hitting
the pillow in Mean Streets to the pistol-shot opening of Be My Baby.
The backbeat of rock has been a fixture in American film-making ever since, yet,
even within this tradition, Wright does something unique,
using Baby’s tinnitus to create a wholly convincing rock musical.
Movement is inextricably linked to sound, only, instead of just having bodies in motion,
Wright makes the entire screen move to the beat.
Screeching tires blend with guitar solos, fingers drum in time to the percussion.
Elgort dances, the camera dances,
the film seems to dance too. ดูหนังออนไลน์ฟรี