Baby Driver

Critics Consensus

Stylish, exciting, and fueled by a killer soundtrack, Baby Driver hits the road and it's gone -- proving fast-paced action movies can be smartly written without sacrificing thrills.



Total Count: 363


Audience Score

User Ratings: 62,112
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Movie Info

A talented, young getaway driver (Ansel Elgort) relies on the beat of his personal soundtrack to be the best in the game. But after being coerced into working for a crime boss (Kevin Spacey), he must face the music when a doomed heist threatens his life, love and freedom.

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Lily James
as Debora
Jon Hamm
as Buddy
Sky Ferreira
as Baby's Mom
Lance Palmer
as Baby's Dad
Micah Howard
as Barista
Morgan Brown
as Street Preacher
CJ Jones
as Joseph
Hudson Meek
as Young Baby
Viviana Chavez
as Diner Waitress
as Eddie
Brigitte Kali
as Young Mother
Patrick Walker
as Frat Boy #1
Ben VanderMey
as Frat Boy #2
Antwan 'Big Boi' Patton
as Restaurant Patron #1
Killer Mike
as Restaurant Patron #2
Allison King
as Nice Lady Teller
Paul Williams
as The Butcher
Joe Loya
as Security Guard
Andy McDermott
as Freeze Cop
Andrea Frye
as Carjack Lady
Keith Hudson
as Diner Cop
Sidney Sewell
as Hellcat Thug #1
Thurman Sewell
as Hellcat Thug #2
Elijah Everett
as Parking Garage Security Guard
Jonathan Spencer
as Prison Guard
Walter Hill
as Courtroom Interpreter
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News & Interviews for Baby Driver

Critic Reviews for Baby Driver

All Critics (363) | Top Critics (48)

  • It's all bolted together like clockwork, an assemblage of elements designed to arouse and engage an audience that needs a reason to stop looking at their phones.

    Jul 19, 2017 | Rating: 3.5/5 | Full Review…
  • It's been a while since we saw a crime thriller with such a healthy chance of making viewers smile.

    Jul 11, 2017 | Rating: 4/5 | Full Review…
  • Put in your metaphorical earbuds, turn the key in the ignition, and enjoy the cinematic highlight of the summer so far.

    Jul 10, 2017 | Full Review…
  • Here's a prediction. First-year drama students will soon be Blu-Tacking the hell out of posters for Baby Driver, which will make Edgar Wright at once embarrassed and proud.

    Jul 2, 2017 | Rating: 4/5 | Full Review…
  • Oozing menace as addicted bank robbers, Jamie Foxx and Jon Hamm are all the more charismatic thanks to Bill Pope's luscious noir photography. Credit Jonathan Amos and Paul Machliss for the razor-sharp editing.

    Jun 29, 2017 | Full Review…
  • Edgar Wright's Baby Driver is one of the most entertaining thrill rides of this year, this decade.

    Jun 29, 2017 | Rating: 4/4 | Full Review…

Audience Reviews for Baby Driver

  • Jul 03, 2018
    AN action thriller with a soul both literally and within it's rocking soundtrack. Edgar Wright delivers an original exciting film fueled by the talented Ansel Elgort as our hero. He gets great support from James, Hamm, Foxx, Spacey and Gonzalez. It captures your attention from frame one and doesn't let up until the end credits! 07-02-2018
    Christopher O Super Reviewer
  • Apr 04, 2018
    Written and directed by Edgar Wright, Baby Driver is a formulaic heist film with a very intrusive soundtrack. The story follows a driver who's indebted to a crime boss who forces him to be the wheelman for his jobs, but eventually he gets pushed too far. Starring Ansel Elgort, Kevin Spacey, Lily James, Eiza González, Jon Hamm, and Jamie Foxx, the film has a good cast, however it all rest on the Baby character - who comes off as an annoying smartass. But even more annoying is the hipster soundtrack that's constantly drawing attention to itself. Still, the car chases are pretty good; though nothing that hasn't already been done in a dozen other car chase movies. Baby Driver is just another stereotypical crime film with some Edgar Wright humor mixed in.
    Dann M Super Reviewer
  • Mar 03, 2018
    High adrenaline heist action thriller with a very musical flow. All shoot outs are in sync with the music playing on the protagonist's ears, just like the car chases. Those scenes are exciting and fun. In the end it's the victory of style over substance, because the plot actually does not have all that much new to add to the genre. The characters, music and editing more than make up for it, though. The definition of a fun ride!
    Jens S Super Reviewer
  • Feb 15, 2018
    Edgar Wright has a pretty stellar reputation when it comes to being a successful filmmaker. Perhaps not always commercially (see Scott Pilgrim vs The World, which while I absolutely LOVED, was a major flop), but always creatively. He's got something that not many directors have and that's a keen eye for creating stylish, exciting action (if the film calls for it, at least) and creating create characters that you become totally invested in. I'm not saying he's one of the few, but there's plenty of people that have tried to do the same things he has without nearly the same level of critical success. This is going up on Letterboxd, where this is the first Wright movie I've reviewed, but over on Flixster/RottenTomatoes, not one of his movies (that I've reviewed) have received anything less than four stars. So, yea, you could say that I am quite a fan of this guy and his vision. That's why I was so disappointed to see that he had left Ant-Man prior to filming. I'm sure, even with Wright behind the wheel (pun not intended), it still would have been the same homogenized Marvel vision, but I feel that he would have been able to add his own vision to where it still felt something uniquely his. That's neither here nor there and, quite frankly, if he had stayed on, we might not have gotten this and, really, I'd rather see him explore his vision unimpeded as opposed with the specter of Marvel hanging behind him overseeing his every decision. How to describe this movie? I mean, simply put, it's a musical heist movie. Yes, really. I mean it's obviously not a musical in the sense that you're probably thinking of (Bollywood, Broadway, old Hollywood movies). This is probably one of the most unique approach to an action film in recent memory. The action sequences are choreographed around the music. It's not that music is added later to match the action sequences, the action and even the actors' movements were meant to be synchronized with it. Music, as pretentious as this sounds, really is as major a character in the film as Baby, Debora, Doc, Buddy, Bats, Darling, etc, etc. This is something that they discuss on some of the special features, but music, as a result of Baby's tinnitus which causes him to depend on music to drown it out before it becomes something that he can't live without, is how he sees the world. So, naturally, it would make sense that the things that happen to him or the members of the gang he is reluctantly a part of would be set to music. Music is also explored as Baby's security blanket and something he uses to feel connected to his mother, who died in an car accident when he was younger. So his relationship with music, even more than his budding romance with Debora, is key to moving the story forward to where they want it to go. Story is simple, Baby stole Doc's car and to pay off the debt, Baby has been his getaway driver for every subsequent heist for, seemingly, years. Baby is almost squared off with Doc at the film's beginning. He does one more job for him and, he thinks, he's finally out. Prior to this he meets a young lady at a diner that he's been infatuated with and their relationship goes from there. At a later point, naturally, Baby is forced back into this world that he thought he finally had left behind. The movie works in large part because it is so fucking well-written. This shouldn't surprise you if you've followed Wright's career. But sometimes, even knowing of someone's pedigree, you still expect certain things from movies prior to going into them. I honestly didn't expect to be as into the characters that inhabit this film's world as I was. Baby is a great character, but he's almost got this tragic aspect to him where, in spite of his outward and charming appearance, he's someone who's clearly got a lot that weighs on him in his mind. I think that makes the character someone who's easier to relate to and, naturally, you're rooting for him, and Debora, right from the start. Naturally, a heist film isn't a heist film without an ensemble cast and let me tell you that they chose a pretty damn fucking great one. Kevin Spacey, the pervert that he is, is still a supremely talented fucking actor and he's great here. His relationship with Baby is also one of the highlights in that while he's still very much a threatening presence, there's still sort of a father-son relationship between them. Doc, at the end, reveals himself to not be so bad after all in how he looks after Baby. Bats is probably my favorite character in the film, he's just a murderous maniac who tries to intimidate Baby every chance he gets. Baby, naturally, is never once in fear of Bats. I think Bats is my favorite not only because he's batshit insane, but because Jamie Foxx is actually phenomenal in the role. Seriously. Baby is the lead character and he's the driving force (get it) of the movie, but Bats is memorable in every scene he's in. He meets an unexpected end, but it works. Buddy and Darling are also very strong characters in that their relationship is based on lust as Buddy, after losing his stockbroker job, is suffering from a midlife crisis. These two, or Darling at least, are just a notch below Bats in terms of their insanity, but they're still memorable characters. Naturally, in a movie like this, there's a botched heist, which is when the movie really kicks into high gear. Everything after this point is intense, fast-paced and exciting. Let's just say that Baby makes a decision that, naturally, leads to everyone turning against him and he has to go on the run from Buddy, who, friendly at first, has now decided to murder him as a result of Baby's actions and the consequences thereof. As I mentioned, the entire third act of the film is just tremendous. Fun, exciting, tense. Just an all-around blast of a film really. At first, between the second and last heist, I felt that the movie slowed down a bit. In retrospect, I was quite wrong about that, because this is when the movie really starts to explore its characters and their motivations. If it isn't for this 'down' time between heists, the movie might not have been as great as it ended up being. You just wouldn't have been as invested in these characters if there wasn't that time between the second and last heists to let everything sink in. To explore that small glimpse of hope that Baby has that he's finally out of the life and move on with his beloved to wherever the road may take them, as much of a cliche that is. I don't think you'd want that for Baby and Debora if they didn't get a small glimpse of it before it's taken away from them. That's not possible if the film moves from heist to heist to heist with no breathing room in between. So, naturally, this is smartly put together. This just feels like the type of movie that will only keep amassing more and more of a cult following as the years pass. Oh, and of course, I don't think I've mentioned this, but the soundtrack is fantastic. It'd almost have to be given the fact that the entire movie is choreographed around the soundtrack. If it wasn't obvious, I was a big fan of this and I would gladly recommend it. Not just if you enjoy Edgar Wright flicks, just if you enjoy cinema in general. Really great stuff right here.
    Jesse O Super Reviewer

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