Five years after The World’s End, Edgar Wright returns to the screens with his first 100% American film. With Baby Driver, the British director proves that he still has some under the hood and offers us one of the best films of the year.

Foot to the floor
Edgar Wright, to whom we owe the Cornetto trilogy as well as Scott Pilgrim , this time tackles an unprecedented genre in his beautiful filmography. Baby Driver is a gangster movie, but one that departs from the genre by taking pleasure in twisting the neck of all its clichés over the course of its plot. But not only. It is above all a work that combines image and music as rarely has been done in the cinema.

Our hero, Baby, a driver with dark glasses and headphones screwed into his ears, spends most of his time listening to music. Music that is part of the diegesis of the film, the character punctuating his chases over his favorite songs.

Chases, precisely, which represent the high points of the film, its raison d’être. Each heist sequence is a small film in itself, as they are worked down to the millisecond and have a real progression in the action. Every note, every guitar solo, every instrument has its repercussion on the screen. Wright had an obsessive eye for detail in these action scenes. In addition, the music is not used here to simply give rhythm to the image, since it has a primordial role in the story. Add to that a studied and eclectic tracklist , offering us grandiose scenes to the sounds of Queen, Beck or even Barry White.

250 km / h on the talent highway
The whole thing is included in a brilliant film from A to Z. Baby Driver does not seek to impose itself by its scenario, in the end quite classic, but of course on all that comes to dress it, like the dialogues, the setting. always inventive scene and especially the characters. On this point, Wright chose a dream cast to bring her baby to life: Jamie Foxx, Kevin Spacey, John Hamm, John Berntal, Eiza Gonzalez… not to mention our heroes Ansel Elgort and Lily James.

Characters who, even with little dialogue, become instantly endearing, the director knowing how to do in this area, which further reinforces the tension that emerges from the chase scenes. Characters who do not follow a clear guideline, who break free from their stereotypical shackles the better to surprise. The scenario is built in spurts, chaining the choices of the characters like speeds, making them make decisions at first absurd, but terribly human, reasonable.

Baby Driver is a great achievement. Intelligent, ingenious, entertaining and rhythmic, it is impossible to leave the room without having a hell of a potato. Do you like Edgar Wright? Go see Baby Driver . Do you love gangster movies? Go see Baby Driver . Do you want to see a film that intelligently plays with its codes? Go see Baby Driver . In short, if you like the cinema, go see Baby Driver.

By D14N