Glib comparisons to 2011’s Drive with Ryan Gosling don’t hold up, mainly because that expressionist film noir is not what Wright is aiming for. The British director’s attention to detail pays off handsomely. Expanding on an idea from his own 2003 music video for Mint Royale’s “Blue Song,” Wright spent years perfecting how he wanted Baby Driver to look and sound on screen. It’s not computers that generate the fireworks – the stunts are mostly done in camera (kudos to cinematographer Bill Pope), which gives the action a you-are-there urgency that the digiverse can’t match. Best known for his Cornetto Trilogy ( Shaun of the Dead, Hot Fuzz and The World’s End), the ever-dazzling Wright tops himself with this start-to-finish sensation. It’s a challenging beast of a role and Elgort just crushes it. “Every song is about you.” James is enormously appealing as this dreamer who shares her beau’s wish “to head west on the 20, in a car we can’t afford, with a plan we don’t have.” Since Baby is a man of few words, Elgort uses his expressive eyes as a window into Baby’s heart.
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Debora, who enters the movie singing “Baby” by Carla Thomas, is miffed that so few songs give her a name check. But the sweetness of their romance makes a pleasing contrast to the violence that escalates in the film’s final third.
Baby Driver slows down a bit when our hero falls hard for a diner waitress named Debora ( Cinderella‘s Lily James).
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