I enjoy "fine dining", presenting programs on radios 4MBS, MBS Light and 4RPH and going to drama and music at Brisbane theatres.
Published August 24th 2017
From the first moments, when Baby (Ansel Elgort), sitting in a red Subaru WRX, mimes to a soundtrack while watching a bank robbery, and then, as the getaway driver, gives us six minutes of a cliff-hanging car chase, where the WRX struts its stuff almost in time to the heavy metal soundtrack - Baby Driver's soundtrack is one of the key elements of the movie. Even if you can get it on a computer screen or TV monitor, don't deprive yourself of seeing it on the big screen, and hearing it on huge speakers.
For instance, Baby is seen dancing through the streets of Atlanta in time to the music on his iPod – all he is doing is delivering cups – but the music makes it magical – LaLa Land on wheels.
But of course there is more music, more edge of the seat suspense, more edge of the seat WRX car chases, more drama as Baby falls in love, as we learn the tragic backstory why Baby always wears those ear-buds, as he tries to escape his dangerous partners in crime, as he dreams of driving into the blue yonder with his beloved.
And, just towards the end, we hear a track from Simon and Garfunkel's "Bridge over Troubled Water".
My daddy was the family bass-man My mamma was an engineer And I was born one dark grey morn With music coming in my ears In my ears They call me Baby Driver
And once upon a pair of wheels
I hit the road and I'm gone
What's my number
I wonder how your engines feel
And we realise (if we haven't earlier) just how perfectly those lyrics fit this movie.
Is it a great movie? Probably not. But is it memorable? Almost certainly, particularly because of Ansel Elgort and that wonderful soundtrack.