Elgort plays "baby", a talented getaway driver who's trying to break ties with a crime boss, played by Kevin Spacey.
The wrench in Baby's perfectly soundtracked and choreographed flow is Bats (Jamie Foxx), a psychopathic bank robber who is highly suspicious of Baby's unique style. After a traumatic car-collision leaves a childhood Baby parent-less and with an always-present ringing in his in ears, he drowns out his Tinnitus by listening to music, and at all hours of the day. Once he falls in love, his ride to freedom from his criminal mastermind boss he's indebted to gets pretty bumpy, leaning heavily into a 1980s John Hughes movie vibe, which is a flawless match for the material.
Given that the film's soundtrack is an integral part of the story, Baby Driver's playlist had a big impact on Wright's location choices, with the director having to work out how selected tracks would function in each space.
Although it doesn't sustain that initial promise, for the first hour Baby Driver is so full of snap, crackle and pop it feels like an irresistible blast of cool, fresh air. Whether compulsively cranking classic rock cuts during his high-speed sprints or just serving up some old Soul tunes getting coffee for his criminal cohorts, music is as much Baby's secret weapon as it is his distraction.
This film is really intense from start to finish, and introduces the audience to all genres of music that set the tone in each scene. One of the most noticeable ways is his expert use of music in the film. The soundtrack was infused in the DNA of this film, and at times, it even becomes central to the plot. The film has been met with nearly unanimous positive feedback since it was screened at South by Southwest, leading to the movie's release date being moved from August to June, and it was only bolstered by the wave of positive reviews that showered the film with praise. It's nothing insane new. You've seen that before, but never like this. Like Mad Max: Fury Road, a film Baby Driver is already getting comparisons to and is destined to sit next to on "Best of the Decade" lists, Wright's opus wasn't the product of the usual two-year Hollywood cycle but a project twenty years in the making. It's so nuanced, and it brings a sense of subtle intensity to "Baby Driver", and that's what makes it so great. Even though the film has an all-star cast that gives great performances, the real star is director Edgar Wright. Baby Driver uproariously upends expectations while delivering a tightly-constructed moviegoing experience that immediately begs to seen again and again.
Along those same lines, in a movie about a getaway driver, one would hope to see some fantastic getaways. It's original films like this that keep the heart of filmmaking alive.