When their headquarters are destroyed and the world is held hostage, the Kingsman's journey leads them to the discovery of an allied spy organization in the United States. These two elite secret organizations must band together to defeat a common enemy.
Foul-mouthed mutant mercenary Wade Wilson (AKA. Deadpool), brings together a team of fellow mutant rogues to protect a young boy with supernatural abilities from the brutal, time-traveling cyborg, Cable.
Thor (Chris Hemsworth) is imprisoned on the planet Sakaar, and must race against time to return to Asgard and stop Ragnarök, the destruction of his world, at the hands of the powerful and ruthless villain Hela (Cate Blanchett).
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned robberies. However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Debora, Doc coerces him back for another job. Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music?Written by
Kenneth Chisholm (email@example.com)
Jamie Foxx's line "That's some Oscar shit right there." was improvised. See more »
When the silver Ford Taurus is going into the crusher (after Baby is told to "sunset that ride"), just after the car is dropped into the crusher, the Taurus suddenly becomes a different car (the change is easily noticed by the different door handles), and in one shot, the engine appears to have been removed. See more »
If you don't see me again, it's because I'm dead.
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At the end of the credits is the sound of a tape rewinding. See more »
"Baby Driver" delivers, even if it doesn't quite make a clean getaway.
I am someone who has enjoyed Edgar Wright's work immensely. In fact, Hot Fuzz is one of my all-time favorite comedies. So obviously, I went to this movie with high expectations, knowing how much he can deliver a good time at the movies. After seeing it, I can say he most certainly did, although some things did drag it down from it standing toe-to-toe with his best.
First, the positives: the music direction is phenomenal. Nearly all the soundtrack utilizes a vast selection of music from the past 50 years, and it's clever in how it doesn't use super-overplayed songs (with a few intentional exceptions) and instead uses music most people have never heard before. This does a wonderful job of emphasizing Baby's encyclopedic love for music. How the film cuts with the music is truly a work of art. Each chase scene felt like a exciting, but focused rush I usually don't see in summer blockbusters.
The main character, Baby, has a backstory and arc that feels completely natural. His decisions throughout the film make sense relative to his situation, and Ansel Elgort does a great job portraying both social awkwardness and focused training. Most of the other characters are funny as well. Although I do feel like they could have fleshed out some of them more, most of them do get the job done. It is a bit disappointing, however, considering that even some superhero films this year did a better job with building their characters. Jamie Foxx does a stand-out performance which bought out most of the laughs for me.
Now for some drawbacks: the love interest fell completely flat for me. While Lily James' performance is solid, the material feels, well, a bit lacking. I felt they needed to better justify her and Baby's strong emotional bond. Since that spark isn't quite there, I ended up questioning why she played along with the events of the movie. That reason isn't quite given and it is distracting. Also, while the music is great, there are brief moments where they use a more traditional film score. If they wanted to show this bond Baby had with music, they should have completely immersed us in his ears, which they do, but in a couple scenes I felt as though they forgot or phoned it in. Silence can sometimes be as powerful as score, especially when it contrasts.
Despite some gripes, I do think Wright has made another solid addition to his short, but impressive, library of work. I do recommend you see this one in the theater if you get the chance, because we all know the last thing we need is another Edgar Wright film to bomb at the box office.
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