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Bats is the first to question Baby's capabilities, but Baby is able to restate Doc's plan word-for-word. As Doc explains the plan, Baby listens to electric music. He introduces Baby to the new crew - Eddie Nosie (Flea), JD (Lanny Joon), and Bats (Jamie Foxx). He later finds the song and listens to it at home, leading Joseph to figure out that Baby has met a girlfriend.ĭoc brings Baby in for the next heist. The two chat, and Baby asks what song Deborah is singing. She goes over to take his order, and she notices Baby's recorder. He sees a pretty young waitress, Deborah (Lily James), singing a song. He keeps one special tape labeled "Mommy".īaby goes to Boxer's Diner. In his space time, Baby takes recordings from his meetings with Doc and remixes them into music tapes. As he and Joseph communicate in sign language, Joseph knows Baby is in some kind of shady business. He keeps his share of the stolen money hidden under a floorboard. Doc tells Baby to ignore that.īaby lives with a paraplegic deaf man named Joseph (CJ Jones). The crooks part ways, and Buddy tells Baby to not answer Doc if he calls him again. Griff messes with Baby to intimidate him, but Baby never flinches. Doc says it's from an accident he had as a kid that left him with tinnitus, so he uses the electric music to drown out the humming. Griff asks why Baby is constantly listening to electric music. They are meeting with their employer, Doc (Kevin Spacey). Later on, Baby goes to get a cup of coffee for himself and the crooks. Once they go under the bridge, Baby is able to trick the police and escape, taking the race car to a parking garage where he and the bank robbers take another race car and race away. He drives on the highway where two other red race cars are passing. The police pursue the race car throughout the city, but Baby is able to swiftly maneuver through obstacles to evade the cops. Baby drives out of there with the music blaring in his ears. Moments later, the bank robbers run back to the race car. The bank robbers enter the bank while Baby jams out to the song "Bellbottoms". Inside are three bank robbers - Buddy (Jon Hamm), Darling (Eiza Gonzalez), and Griff (Jon Bernthal) - and their getaway driver, Baby (Ansel Elgort). Spoiler warning: The following contains plot details aboutĪ red race car pulls up across the street from a bank. To survive and escape the coming maelstrom, it will take all of Baby's skill, truths and dares, but even on the best track, can he make it when life is forcing him to face the electric music? Now saddled with a crew of thugs too violently unstable to keep to Doc's plans, Baby finds himself and everything he cares for in terrible danger.
Baby driver soundtrack genre free#
However, just when Baby thinks he is finally free and clear to have his own life with his new girlfriend, Deborah, Doc coerces him back for another heist. It's a critical talent he needs to survive his indentured servitude to the crime boss, Doc, who values his role in his meticulously planned bank robberies. Rex's "Debora" next to Beck's "Debra," letting Googie Rene's dancefloor groover "Smokey Joe's La La" glide into the Beach Boys' "Let's Go Away for Awhile," and switching gears from Brenda Holloway's "Every Little Bit Hurts" into Blur's frenetic "Intermission." From its song selection to its sequencing, Baby Driver is a tour de force of record geekdom and one hell of a good time.Baby is a young and partially hearing impaired getaway driver who can make any wild move while in slow and fast motion with the right track playing. Plus, the producers have fun with juxtapositions, placing T. Sometimes its sensibility seems a bit rooted in the swinging '90s - that's the era when mixing up easy listening exotica with Northern soul and obscure rock codified as enduringly hip - but the music here is good enough to obliterate any aesthetic objections. Baby Driver is anchored by a few crowd-pleasers from several different styles and decades - the Damned's "Neat Neat Neat" bounces up against the Commodores' "Easy," Queen's "Brighton Rock" rears its head, as does the Simon & Garfunkel song that provides the film with its title - but individual songs aren't the point of Baby Driver: what matters is the journey, and this swift race through soul, jazz, rock, and pop offers an incredible ride. Such a long running time allows the curators to flash their good taste and skills in crate digging. Fittingly, the film receives an expertly curated soundtrack - one that lasts an hour and 42 minutes, which is just ten minutes shorter than the film itself.
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Music is an essential element of Edgar Wright's Baby Driver, a movie about a getaway driver who races away from crimes with his iPod pumping.