Review: 'Baby Driver' is an exhibition of uncontrolled style over substance

It's hard not to be impressed by 'Baby Driver', or better yet the filmography of Edgar Wright. The filmmaker's knack for creative visual styles and quick editing whips have proven to be effective tools for better storytelling, as seen with his Cornetto Trilogy (a trio of films starring Simon Pegg and Nick Frost as leads) and the live-action adaptation of the manga serial 'Scott Pilgrim Vs the World.' Wright's signature style live and breathe in his works, and validates the idea that style over substance can sometimes be a good thing. 'Baby Driver' follows the same route, but it felt it was gearing towards a place that leaves no direction to its humane elements.

Ansel Elgort plays Baby, a get-away driver who decides to go out of the crime business for one last job. It's a role that demands charisma for its actor. Luckily, young Elgort has it. The guy, who dances and lip-syncs through the beat of every song featured in the film in perfect synchronization, has the presence of a real movie star. But unfortunately there wasn't enough material to earn his energy as the film's absence of actual emotional development for its characters really hurt the promise of what it might become.

Don't get me wrong, this movie is a lot of fun. The music selection that varies from tracks of Simon & Garfunkel to Beck serves as great companion to the film's set pieces, resulting to an immensely exciting time. In some cases, it actually felt it was a musical, minus the characters singing.

'Baby Driver' seems to be more concern having fun through its fun visual and audio inserts that it disregards emotional engagement for the viewers. Action scenes were served as glorious dishes to enjoy, and not to actually care with. It is Edgar Wright's weakest film to date, but that doesn't mean it is all terrible. I just wish there's more room for connection.

The geek rates it 7/10!

'Baby Driver' is now showing in cinemas nationwide from Columbia Pictures Philippines!