Baby Driver Ultraviolet Code
Terrific action, terrific stunt driving, terrific music, terrific movie
By M. Oleson TOP 500 REVIEWER on July 1, 2017
Theater review. Possible spoilers. I will admit, I sometimes feel overwhelmed with movies cluttered with car chases or any long chase involving a motorized vehicle. But I have to say, they did this one right. Edgar Wright (“Shaun of the Dead”) specifically, who directed and wrote this movie. Also big ‘props’ to Jonathan Amos and Paul Machliss who must surely be on a short list for Oscar consideration in editing.
The opening sequence – some of which is shown in trailers – is perhaps my favorite. A quartet of bank robbers are about to hit a large bank in downtown Atlanta. Into the bank goes Griff (Jon Bernthal), Buddy (Jon Hamm) and Darling (Eiza Gonzalez). Baby (Ansel Elgort) is the getaway driver in his red Subaru WRX. Baby has a way of synchronizing his maneuvers with the pre-programmed music he listens to through earbuds coming from one of his many iPods. Not only does Baby make shift changes to the beat of the music, the audience gets to see it all happen along with listening to the music playing in his head. It is as thrilling an opening scene as you will see, including some remarkable stunt driving.
Baby is under the control of a mobster known as Doc (Kevin Spacey). He is the brains behind this operation and many before and those that come later in the film. Baby had the misfortune to try to heist Doc’s Mercedes years earlier, but got caught. So now he’s having to pay Doc back, one heist at a time as a driver. The music is an essential character in the film. Maybe even the most important character. Baby is constantly hooked up to an iPod because his hearing was damaged in a car accident when he was a kid. One that killed his bickering parents (Sky Ferreira and Lance Palmer) and left him with a scar or two and a bad case of tinnitus.