Baby Driver is cruising when it comes to building box office buzz. Now, adding to the wealth of positive film reviews that the movie has already received, author Stephen King has stepped up to provide his own unique brand of praise for Baby Driver. It’s another accolade for the Edgar Wright-directed film, which the New York Times chose to review as one of its NYT Critic’s Pick.
Rated R, Baby Driver is an action thriller, with Ansel Elgort climbing into the driver’s seat as Baby. But although Elgort’s character of Baby is the focus of the film, the New York Times reviewer noted that “an encyclopedia of cinematic allusions” also drives the movie, along with “glowering and golly-gee types.” The “golly-gee” actors include Jamie Foxx, Jon Hamm, Eiza González and Lily James.
The review also praised Baby Driver for using “genuine cinematic craft and technique.” As with many action thrillers, the choice and use of music helps to drive the action, and Baby Driver is choreographed to accentuate the songs that comprise the soundtrack.
As a result, noted Entertainment Weekly, Stephen King is among the famous names adding their praise to the already glowing reviews for Baby Driver. The novelist shared that he went with friends to see the film, admitting that he couldn’t hold back when it came to loudly cheering his enthusiasm.
King turned to Twitter to provide kudos for Wright’s crime-thriller Baby Driver. The car chase film caused Stephen to let go with enthusiasm, he wrote in his tweet.
“I saw BABY DRIVER this afternoon with a bunch of my friends. We hollered and clapped. It’s that kind of movie. Ultimately cool.”
While it’s Elgort in the Baby Driver spotlight as the “titular tinnitus-stricken getaway driver,” EW also drew attention to other stand-outs in the film, including Kevin Spacey as his crime boss employer and Lily James as the love interest waitress. Jon Hamm, Jon Bernthal, Eiza González, Kenny Joon, Flea, and Jamie Foxx take on the roles of robbers who depend on Baby’s driving skills, with the car chase sequences energized with the musical choreography.
“It’s more than just editing it to music afterward,” Wright told EW. “Actors and stuntmen are choreographing the action to that. So, overall, it creates a real spell.”
In addition to getting applause from King, Baby Driver earned praise from Iron Man director Jon Favreau, who termed it “awesome.” French Connection and Exorcist filmmaker William Friedkin also turned to Twitter to share his positive impression of the film.
“[Baby Driver is] the most entertaining and original film I’ve seen in years.”
With all these positive reviews, Baby Driver is cruising when it comes to the box office. Variety noted that Wright’s most recent film also is set to become his biggest success at the box office.
From Sony’s TriStar Pictures, MRC, and Working Title, Baby Driver is zooming its way to $30 million from 3,226 locations. That figure includes the $5.7 million jump-start that the film scored by opening early in previews.
Like other reviewers, Variety noted the key role that music plays in Baby Driver. Although the plot focuses on the character of Baby (Ansel Elgort), who takes on the role of getaway driver for a boss named Doc (Kevin Spacey), it’s the music that has “an integral role in the film since Baby suffered a traumatic experience as a child that left him with tinnitus, which he blocks out with music.”
Summer is a challenging time for films at the box office. However, thus far, Baby Driver is zooming smoothly on the fast track to success.
“Edgar and our partners at MRC and Working Title have made one of the most original and entertaining films in recent memory, and we’re so thrilled to see it received as a bonafide hit in a crowded summer season,” declared Sony’s distribution chief Adrian Smith.
[Featured Image by Lars Niki/Getty Images for Sony Pictures Entertainment]