Baby Driver
2017 · Directed by Edgar Wright
Original language: English
- action
- crime
The story
After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.
What it’s like
Kinetic and sun-bleached, with neon-soaked night streets and hot Atlanta daylight cut tight to the beat of its soundtrack. Edgar Wright sets his camera to move with the music: whip pans, tracking shots that glide alongside cars, and driving sequences framed so every swerve lands on a downbeat, so the whole film feels like a mixtape you can see. Colour is saturated and punchy, with warm diner booths, chrome, and flashing sodium-orange headlights, while quieter moments slow to soft, sunlit close-ups of a young man and a waitress who share earbuds in the rain. The energy is high but the rhythm is playful, with bursts of shootout and car-chase violence that are stylised and frequent, though rarely graphic, and a sharp, profane crime-caper undercurrent. It suits a Friday night with friends, a sugar-fuelled rewatch, or a long-haul flight where a propulsive score will carry you. Intended for viewers who love music-driven filmmaking, breezy romance threaded through danger, and heist stories that prize style and momentum over grit.
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