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|Index||654 reviews in total|
*** This review may contain spoilers ***
I saw the trailer and really wanted to like this movie. Who hasn't put
some cool music on, put their ear pods in, and pretended their life was
a couple times cooler than it really was?
But after about 10 minutes of watching, I felt nauseous at the thought of how something with so much potential, with such good intentions, managed to screw it up so royally?
The music part was a good idea - but at times it felt like it was washing out the plot and emotional connection to the action happening on screen. Like if the music wasn't there, I would just be looking at actors blinking at each other.
Then the fact that every baddie (the character's co-workers in the movie) seems an already over-done clichéd archetype. The sleazy couple we're boring to watch, Jamie Foxx just seemed pointless and aggravating, and the others were annoying.
The main guy (Ansel Elgort's character) seemed determined to take as much acting clues from Hayden Christensen's Anakin Skywalker. He spent most of the movie pouting and smirking which didn't help or damage anything. It just seemed like he was in the wrong movie - like we were accidentally looking at someone go about their day who's just waiting for their laundry to be done or something. He seemed like a nice guy, but kind of came across as an idiot.
Then onto his relationship with the girl. The guy literally sees some chick twice, exchanges a couple of minutes of conversation. Then he's shooting people for her, they're running away together, and she apparently has no problem taking part in car chases and attempting to kill people. The girl doesn't have enough lines to show any personality whatsoever and there is no sense-able connection between the characters - none. Not to mention the fact that after this 3-or-so day romance (at the climax of which) the dumb-ass lead goes to jail for a couple of years, during these years the girl apparently has no life of her own and is sat there waiting for him with open arms like it was just yesterday. Because...love?
The least aggravating character in the whole movie was the old man he was looking after and even that seemed like it was somehow overdone, though I'd never seen it before.
Lastly, the guy's name is Baby. And boy, do they go on about it like they'd just discovered gravity. The young couple's longest conversation centers around the girl not being able to wrap her effing brain around the fact that the guy is called Baby - not because it's a really stupid name, no, apparently it's the best thing since tinned tuna. Because they're both music buffs and now they can ride around and listen to songs about Baby. (This was the point at which I pretty much wanted to claw my ears off.)
I really don't get it - how does this movie have a 8.3 rating? Am I in the wrong and missing something that's glaring everyone else in the face? I feel like it would not have been impossibly difficult to fix these faults and make a really good movie with this base - it feels like the final cut of Medellin in Entourage that the director refuses to change. Maybe I'm a cynic, but this movie blows.
That said - there were things that I liked. The pace was good, the modern-yet-vintage timeless feeling of the setting and generally anonymity of the setting that focused only on the story, the other characters besides the main guy (who would have done so much better with some better material), the diner motif, even the conversation wasn't completely terrible 100% of the time.
*** This review may contain spoilers ***
This movie had a lot of potential. It started out great, but it began
to fall apart rapidly just after the halfway mark.
A more complicated plot could have developed, but the second half just seems rushed. The movie could have gone in several different and more fulfilling directions, but it went full cheese instead. Disappointing. It ends up being just a variation of "The Last Ride" (2004).
It's a given that being in debt to a crime boss means your debt will never really be cleared, so that's okay for a movie.
And you can suspend disbelief for driving physics and non-deploying airbags...
Doc sending the third crew to meet with arms dealers was totally unnecessary for the job they had the next day, because they already had all the equipment they needed, so that whole scene was forced just for a plot device.
Bats proved he was willing to kill for no reason, so there's really no reason he would have left Joe alive.
There is no way Buddy would have been able to escape all those cops swarming him downtown. Then Buddy shows up again later after getting shot in the chest. Superhuman villains in a non-superhero movie tend to ruin the whole thing.
Doc remaining in the place from where the heist was launched at risk of being caught for no reason (even though he knew it was botched) made no sense, just like his sudden change of heart in "helping" Baby made no sense.
Oh and Jon Bernthal is only in the movie for about 10 minutes, so not sure why he was given top billing, when he's pretty much just an extra with a couple of lines. Baby's deaf foster dad had more lines (sign language) than Bernthal, yet he's not considered a main character.
I read an early tweet that described Baby Driver as 'a mix-tape with a
film attached to it' and that proved to be an accurate comment. The
tweeter may have thought this was a good thing, but I certainly don't.
Yes, there are some good tracks and the action sequences are elaborate and frenetic (a little too frenetic, actually), but the characters are dull, unlikeable and bear very little relation to the real world. I simply did not believe in them, especially Darling, the sassy, kick ass stock character that only a fool would consider to be a strong female character.
Then there's Baby, whose laconic, boyish demeanour makes him a rather uninspiring protagonist. His romance with Debbie, a cute little waitress, is yawn-inducingly clichéd, too.
If you want a stylish heist film that isn't so bloody try-hard, then watch Drive. It's an exercise of style over substance much like this film, but it has suspense, atmosphere and characters that could actually exist rather than blaring music, mind-numbing action and flat, hateful comic book characters.
"Baby Driver" is showy, cliché-ridden and irritatingly self-aware. It's
like that yappy drama society kid at college who is so consciously
trying to act cool by breaking into song, dancing around chairs,
drumming on desks and spitting jokey one-liners with a hand pistol
flourish....the kind of person a cynical SOB like me just wants to
punch in the throat.
The central premise is about a young, good-at-heart kid forced into a life of crime in order to pay off a debt. The annoyingly slick, Abercrombie-faced "Baby" is not only the fastest getaway driver in Atlanta, we later find out he's also a self-taught music producer, dancer and talented free-runner...are you rolling your eyes yet?
The main mechanic, so lauded by critics, is that everything in the film revolves around music, from the editing to the dialogue. Since Baby is constantly plugged into his i-pod (so, we are told, to drown out tinnitus from a car accident which killed his parents), the film essentially plays like one giant music video, with nearly every gunshot, tire screech and sassy put down edited meticulously with the beats or riffs of whatever track is playing during the sequence.
Unfortunately for me, the songs didn't make what was happening on screen that much more interesting. While there are some splendid car chase sequences (too few in my book), one must endure cringey moments of Baby miming and dancing to James Brown, dull characters waxing poetic about song lyrics and saying cliché bull$hit like "Sometimes all I want to do is head west on the 20 in a car I can't afford with a plan I don't have". Everyone in the film is pretty, none of the gangsters really look like gangsters, least of all the Latina 'Darling', who can't even hold a gun convincingly and is just there to show cleavage and lick her lips at camera.
Imagine the most indulgent ideas from Guy Ritchie and Tarantino's trash bin channeled through a Justin Bieber video. Less style and even less substance.
There are no doubt people who will love it for being a showy piece of nonsense, and there is some entertaining, high impact action, but it's far from the genius some critics are praising it as. I saw it with a group of youngish people who all agreed it wasn't as good as they'd hoped and that some bits were just plain daft.
Leave your brain at home and perhaps you'll be rewarded...
*** This review may contain spoilers ***
This thing is getting similar ratings on IMDb and Rotten to HEAT for
Christ's sake. HEAT? This movie was deeply flawed. I only stayed to the
end to see how bad it could get - its MST3K riffable bad.
Its got a ton of plot holes. I almost want to pick it apart like I did Ghostbusters 2016. But I cant. Its not worth the energy. Please before going to pay for this in the theater think about if you would like a version of the already bad Furious type movies with even more plot holes, choreographing gun fights to music added in and fairly bad acting.
Music is fair. I mean, its just not that great. Foxx and Spacey don't lift and acting finger. The "villain" changes like 4 times.
And the best getaway driver is the one who never has to exceed the speed limit. This driver and his idiot crews get screwed every time into driving like maniacs from the police.
I don't want to pee on Ansel Elgort's parade. Its not his fault. But to be 95%/90% on rotten, and 8.3 here, and in the mid 80s on meta? Come ON. Movie tix are far too expensive to dupe people into seeing this. It does seem like the rating system is being rigged for this.
I wish Ansel well, and hope Ed Wright and the crew can put together better stuff but man, either this is the sign of the times or there is a fault in our reality simulator.
Heat and Ronin destroy a movie like this. If you think this movie deserves even half what say a movie like Heat or Ronin get you are mentally ill.
*** This review may contain spoilers ***
Just saw this in cinema. It seems to have been written with a teenage
audience in mind that doesn't ask any questions, or has demands like
story or character development or narrative flow and just buys the
movie as is. IMDb rating of 8.6 at the time of writing this here...
My gripe with this one. The love story overall felt flat and emotionless and awkwardly cheesy with matching dialogue. The shots fired in the shooting scenes were actually synchronised with the soundtrack playing, with that giving the movie a corny / cheesy feeling. Awkward and clichéd one liners, acting from teeny main leads wasn't believable at times. Car scenes were OK, hence 2 stars, the ending was drawn out, felt rushed and discombobulated. I didn't really care for any of the characters tbh, apart from Jamie Fox.
Overall this movie felt like watching a teenagers room. Everything was there just unorganised, messy and one doesn't quite know what to make of it...
Wouldn't recommend to watch it in cinema, wait for Netflix release or DVD. One time watch and quite forgettable, sadly.
I may have been more generous with the rating I chose, however due to
the overwhelming number of highly positive reviews, I feel that some
brutal honesty is required here.
The main themes in most of the reviews I've stumbled across are that this movie has a refreshingly original story and that the car chase scenes were exceptional. Neither circumstance holds true. The story was as cut and dry as any in this genre and the car chase scenes were bland, boring, and made no sense to me. Compared to a movie like Drive, where the protagonist's backstory actually lends to his driving skills (stunt car driver, motorsports participant), in Baby Driver, we're supposed to believe that some kid somehow acquired exceptional getaway driver abilities because of...tinnitus? There is no connection here, not to me anyway. And as for the chase scenes, utterly boring and unoriginal. The cars were completely lame too. Taking Drive as a point of contention again, the cars in Drive even have some degree of backstory to make the seemingly unbelievable chase scenes more believable...upgraded chassis, suspension, and souped up engines. In Baby Driver, we're given nothing more than showroom stock grocery getters...not even the top end models of the cars were chosen to take on the challenges. It was just all around stupid to me and I was left disappointed.
OK so the soundtrack was good. But this is not Forrest Gump where a compelling, original story is amplified by a perfectly curated soundtrack. Instead, it's a collection of good music used in campy fashion. If what you're after is the soundtrack, get a Spotify account. Dollar for dollar you'll get a lot more out of it, I promise.
Edgar Wright remains one of my all-time favourite directors. Why?
Because each and every film he crafts reeks of originality, he takes a
few similar traits, throws them together, delves down a completely
unexpected route and forms something unique, something masterful. From
'Shaun of the Dead' to 'Hot Fuzz' and so on and so forth, each film
feels like something you think you've witnessed before, but on a whole
new level, something fresh, something alluring, packed with
adrenaline... and of course, 'Baby Driver' followed suit.
'Baby Driver' is an utterly engrossing caper-comedy that is (in my personal opinion) the finest film to face 2017 so far, I couldn't help but smile throughout, from the stunningly executed action scenes and stunts, through to the soundtrack (with an abundance of classic rock and soul tracks) and finally the heavily relatable characters. The lack of disappointment in Edgar Wright's work continues with this masterful film, which is ultimately also one of the coolest films of the past decade or so.
Many of the heist films of recent years have been rather disappointing when it comes to both story and technical achievement, however when something like 'Baby Driver' makes an appearance, it's refreshing to know that indie films are still taking this planet by storm and shunting the blockbusters out of the limelight. To know that certain production companies still trust the creativity of a director over the monetary expectations, and by doing so, unleashing a flurry of fantastic independently "driven" films.
I'm gonna finish with this (partially odd) statement / testimonial... when I went to sleep last night, I had odd dreams of car chases and stunt driving to rock classics, and that is thanks to this film, the fact that it stuck with me even when I wasn't fully conscious. That's how much of a damn cool film 'Baby Driver' is... just go watch it, just throw away your tickets to 'Transformers' and 'The Mummy' etc, and go see this instead.
The execution and quality of the film making was great, but overall I
quickly got bored watching this movie as none of the character's
motivations seemed realistic or made sense to me. The action sequences
were great, but didn't do anything especially unique or carry any
suspenseful weight with the plot that I found myself yawning during
much of it. Perhaps it needed more shocking gore.
The movie seemed to be a bit confused in its tone, mixing stylized violence with comedy and serious heist elements. It was set in a realistic world, but the characters and their motivations were not. It felt like it was trying to rekindle the essence of a Tarantino cool bad guy heist film like Reservoir Dogs and Pulp Fiction, but missed the mark. I found myself not believing the heist scenarios enough or having enough of a stake in them. It needed a stronger overall macguffin.
The use of Music was unique, but I would've have got more out of it if more obscure music was used, like what the GTA video game series does curating amazing forgotten B-side gems from famous artists.
I felt like Jamie Foxx's acting talent was a bit wasted, and the bland Atlanta backdrop seemed like a production budget restraint. I wonder what city was written in the original script? I doubt anyone writes for Atlanta. Rather than transporting us to a cool city that feels lived in and feels like a real location, this just felt like a boring block of downtown brick buildings to shoot car chases and shootouts in.
I love most of Edgar Wright's other films, so I'm not sure why this was so boring for me. It just didn't do anything new for me and will probably be forgotten from my film memory years from now.
*** This review may contain spoilers ***
We get it, the kid has an eclectic taste in music. We all do. Despite a
list of great actors, most of the scenes seemed far too "forced", like
they were trying too hard to be edgy and hard core, in doing so many
scenes came off as desperate.
The film has Wright's fingerprints all over it though...fast motion, movements synchronized with music, etc. But there was too much of it and I feel that it detracted from an already weak story.
Frankly, I'm both astounded and sadly not surprised that so many people are raving about this movie. It's an okay bit of escapism, but it's predictable and not at all compelling. Edgar Wright seemed to have tried too hard to make the point that Baby (the main character) was "different", edgy and innocent but somehow worldly - but despite what we learn about his mother, we actually know very little about WHY he may have ended up so ... special. And we may as well have discovered in the end that "Baby's" real name was Elvis instead of whatever forgettable name it was. The director really did evoke those Elvis-like qualities with the lead actor, I don't think that was an accident.
The other characters have little history or context for that matter as well. Rather than adding mystery to the film, this lack of context detracts from some otherwise well put together action scenes. Yeah, Kevin Spacey is a big-time crime guy - but we know nothing about him other than he wants to "partner" with a kid who once stole his car. That's odd to me...and disingenuous. And because I couldn't buy the forced dynamic that led Baby to be so trusted by his "boss", I had a hard time finishing this film to be honest.
The dialogue seems to have all been ripped from other movies - who talks like those people? The criminals all seem to have derived their inspiration and vocabulary from other criminal films in the past 20 years. The dynamic between Baby and his WAY too soon girlfriend (what makes this young lady so willing to run away with a kid she doesn't even know? Or is it all just that Elvis charm Baby exudes? This dynamic seems like a nod to a wannabe Bonnie and Clyde alternate reality.
Perhaps all of this nuance was what the director intended. Perhaps the genius that so many people seem to be seeing is just this "odd" feeling one gets while watching. Or maybe it's not some art-house masterpiece as Rolling Stone is touting it, Maybe it's just sort of a predictable and pedestrian delivery vehicle for an odd soundtrack.
But lots of people seem to like it, and there are some cute/funny moments. The chase scenes are good, but it feels as though Wright tried too hard with much of the dialogue and story elements.
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