This is Baby (Ansel Elgort), an innocent figure driver who drives the car with which the criminals have to escape after committing the robbery. He has a terrible flair and helps straighten his headphones in his ears to better listen to his favorite music. And that’s because he gave his escape routes to the rhythm and length of the music tracks on the iPod, which is ringing in his headphones by guiding him by second how to take the curves, when to change the speeds and when to execute the avoidance maneuvers, which They’re scaring his passengers.
These features make the Baby Driver both a killer speed and music combination and the most modern source of adrenaline that director and screenwriter Edgar Wright transforms into a thriller action like no other.
Baby is working for Doc (Kevin Spacey), the head of a gang that blows a lot of day-to-day banking, relying on Baby’s driving skills. Doc’s trustworthy people are Buddy, a former Wall Street dealer, becoming the offender (Jon Hamm), Buddy’s younger partner for evil, Darling (Eiza Gonzalez), and Bats, an impulsive gunman (Jamie Foxx) Who is suspicious of Baby – doubting both fidelity and driver skills. All of this has begun to create a dangerous crack in the good course of the operation.
Baby Sunglasses, the sunglasses, the detachment, and the eternal helmets in his ears – suggest that he is a pretty little sneaky but has some unbeatable qualities at the wheel. And yet when he is asked again for a shot, he begins to wonder if he does well to accept this new race, especially because he has a nice-looking waiter named Deborah (Lily James), and this operation would Could give him the chance to be happy after leaving the dangerous life of the burglar.
Rich in stunning, fast-paced adrenaline sequences, inspired by thrilling movies and thrilling stories in which Steve McQueen plays, in a modified Mustang for such crazy races, Baby Driver is an explosive film, just as Wright could dream .