---
title: "Baby Driver"
year: 2017
kind: "film"
canonical: "https://film.one/film/baby-driver"
fi1m_score: 79
critics_score: 80
critics_reviews: 26
published: "2026-09-17T08:45:07.015885+00:00"
updated: "2026-09-17T08:45:07.388918+00:00"
region: "US"
licence: "© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL."
---

# Baby Driver (2017)

Directed by Edgar Wright · 1h 53m · MPA R · Action, Crime

**Fi1m score: 79** · Critics 80 from 26 reviews

*In a sentence:* The getaway driver has better taste in music than in colleagues

> Edgar Wright’s music-timed heist film makes its car chases a particular pleasure, with Ansel Elgort an appealing driver. The romance is thin and the later stretches less nimble, but the craft earns our patience.

## Synopsis

Baby (Ansel Elgort) drives a bank-heist getaway to the beat of ‘Bellbottoms’. His criminal circle includes Doc (Kevin Spacey) and Buddy (Jon Hamm), with robberies providing the work for his skills at the wheel. Outside that company, he begins a romance with Debora (Lily James). He wants space for the relationship, but the heists keep him involved with the criminals who depend on his driving. Music accompanies the courtship as well as the chases, while Baby tries to fit time with Debora around the next job.

## Review

Edgar Wright has built *Baby Driver* around a simple pleasure: watching action land exactly where a song says it should. His heist film is funny, fast and unusually clear about how it wants to entertain us. We recommend it for the chases and the musical timing, with a warning that the romance gets far less careful attention. The familiar business of robberies and young love keeps things moving, though the director sometimes seems more interested in the next cue than the next conversation.

The opening bank getaway gives us the strongest reason to forgive him. Set to ‘Bellbottoms’, it arranges the driving around the track so precisely that the car chase has the pleasure of a dance number. We grinned through it, because each new piece of movement found its place in the music without making the danger seem less immediate. The film establishes its rules quickly, then gives us enough variation to enjoy seeing how long it can keep them going.

Bill Pope’s cinematography makes the chases easy to follow even while the music is competing for our attention. Jonathan Amos and Paul Machliss edit to the songs without losing the sense of where the cars are going. We can appreciate the driving and the timing at once, which is harder than making a succession of impacts seem exciting. The cutting deserves particular credit for keeping this much synchronised action legible; the musical precision would soon become tiresome if we were forever trying to work out what had happened.

Marcus Rowland’s production design is less memorable, though the robbery settings are quick to take in and do not clutter the action. The spaces let the movement register, and we rarely find ourselves distracted by anything around it. Steven Price’s score is similarly unobtrusive beside the songs. It leaves them to set the mood and supply most of the musical character, a sensible choice when each selected track has so much work to do.

Ansel Elgort makes Baby sweet enough to hold our interest without asking too insistently for our affection. The suggestion of mischief helps keep him from disappearing into the choreography. Lily James is engaging as Debora, but Edgar Wright’s screenplay gives the romance more certainty than detail. We understand the attraction without learning enough about the people involved to share their confidence in it. A few more ordinary exchanges might have made the courtship less dependent on the songs.

Kevin Spacey brings a useful dryness to Doc, and the wider criminal cast gives the familiar heist material enough bite to avoid seeming merely decorative. The trouble arrives when the film asks the plot to sustain the excitement for longer stretches. At 113 minutes, it begins to repeat pleasures it has already delivered more neatly, and the later scenes feel less assured than the opening. That costs it some of the easy enjoyment promised by the getaway, even when individual passages still work.

As heist films go, this does familiar things with unusual care whenever someone gets behind the wheel. The songs give the material enough bounce to make the weaker stretches tolerable, especially if car chases are already your idea of a good evening. Give it decent speakers, and save the questions about the relationship for afterwards.

*Fi1m score 79, published 17 September 2026.*

## What the critics say

Most critics greet Baby Driver warmly, with praise concentrated on Edgar Wright’s direction and the precision with which music, movement and stunt work fit together. The opening chase is a recurring highlight, establishing an approach that many reviews describe as an action musical. The soundtrack earns credit for shaping character and mood rather than merely accompanying the driving. Performances draw favourable notices too, though the choreography and sound dominate the discussion.

The spread runs from enthusiastic approval to mixed responses, with no outright negative verdicts. Critics differ most over how much there is to care about between the chases. The Hollywood Reporter praises the young leads’ sincere romance, while Digital Spy finds the characters underdeveloped and the emotional pull weak. Several reviews also find that the later stretches lose momentum or become conventional; even among admirers, the storytelling attracts more reservations than the craft.

### Reviews we read (26)

- **The Telegraph** (5/5): The critic calls it an infectious car-chase thriller that will make you believe in magic, with the synergy of music and movement as its big selling point. The opening bank heist synced to music is highlighted as setting out the film's clicky appeal immediately. [Read](https://www.telegraph.co.uk/films/0/baby-driver-review-edgar-wrights-infectious-car-chase-thriller/)
- **Empire**, Terri White (90/100, inferred): The review hails the film as one of the most utterly original in years, an awe-inspiring piece of filmmaking that plays out as a musical through the lens of an action thriller. The extraordinary opening car-chase sequence set to Bellbottoms and the heady, intoxicating combination of action, drama and love are singled out. [Read](https://www.empireonline.com/movies/reviews/baby-driver-review/)
- **Los Angeles Times**, Justin Chang (90/100, inferred): The critic calls the film an exuberant automotive musical and pop tribute to stylish heist pictures, praising its entertaining gimmick of music-synced car chases. He singles out the death-defying car-eography and killer tracks for making it a lavishly souped-up success. [Read](https://www.latimes.com/entertainment/movies/la-et-mn-baby-driver-review-20170627-story.html)
- **Sight and Sound**, Henry K. Miller (90/100, inferred): The critic hails the film as a joyous heist musical driven by virtuoso direction and an obsessively curated soundtrack. He singles out the seamless integration of music into every movement and set piece for particular praise. [Read](https://www.bfi.org.uk/sight-and-sound/reviews/film-week-baby-driver-edgar-wrights-mixtape-wheels)
- **The Hollywood Reporter**, John DeFore (90/100, inferred): The critic calls it a sweet and speed-crazed crime film you can dance to. It praises the music-driven heist sequences and the unironic romantic core between the young leads. [Read](https://www.hollywoodreporter.com/movies/movie-reviews/baby-driver-review-985401/)
- **The Independent**, Geoffrey Macnab (90/100, inferred): The critic praises the film as an entirely original piece of jukebox filmmaking whose characters behave in line with the songs on its eclectic soundtrack. Wright is singled out for the zest and ingenuity with which he moulds the music to the mood, along with the witty screenplay that blends gangster tropes and youthful romanticism. [Read](https://www.independent.co.uk/arts-entertainment/films/reviews/baby-driver-review-release-date-cinema-edgar-wright-ansel-elgort-music-film-a7812016.html)
- **Total Film** (90/100, inferred): The review describes it as a getaway saga perfectly in sync with its soundtrack. The critic highlights the seamless integration of music, action and character in Edgar Wright’s stylish heist film. [Read](https://www.gamesradar.com/baby-driver-review/)
- **Vulture** (90/100, inferred): The critic hails Edgar Wright as the perfect 21st-century genre director and calls the film a handmade thriller with stupendous, classical choreography in its music-synced chase sequences. It singles out the swooningly romantic optimism and the way music grounds the protagonist. [Read](https://www.vulture.com/2017/06/baby-driver-movie-review.html)
- **The Guardian**, Peter Bradshaw (85/100, inferred): The critic finds it a terrifically stylish and exciting piece of work, a summer movie cool enough to induce brain freeze. The one thing singled out for praise is the inspired use of pop music synced to the action and chases. [Read](https://www.theguardian.com/film/2017/jun/27/baby-driver-review-edgar-wright-ansel-elgort-kevin-spacey-jon-hamm-jamie-foxx)
- **Little White Lies**, Charles Bramesco (4/4/5): The critic calls it a glorious joyride that embodies Wright's exuberant vision through kinetic action and pop-culture flair. He singles out the technical firepower and immediate pleasures of the car chases and soundtrack for praise, while noting some lopsidedness in the later acts. [Read](https://lwlies.com/reviews/baby-driver)
- **The i Paper**, Matthew Turner (★★★★): The critic calls the film a high-octane heist thriller full of energy and great tunes that blends elements of True Romance and Drive while remaining its own thing. The stunning chases, strong cast performances and superb direction are singled out for praise, with the verdict that it is hugely entertaining and a worthy addition to Wright’s filmography. [Read](https://inews.co.uk/culture/film/baby-driver-review-75435)
- **Time Out**, Joshua Rothkopf (4/5): The critic finds it a hugely entertaining and supercharged action flick that weds car chases to a cracking playlist. He singles out the beautifully sustained, humorous action sequences for praise while noting the romance feels underdeveloped. [Read](https://www.timeout.com/movies/baby-driver)
- **Evening Standard**, Charlotte O'Sullivan (70/100, inferred): The review highlights the infectious fusion of adrenaline-filled action scenes and pop music that pulls viewers into a state of bliss, especially the choreographed chases and Elgort's sweet, mischievous performance. Some plot elements and minor characters are noted as weaker, but the highs are said to outweigh the lows. [Read](https://www.standard.co.uk/culture/film/baby-driver-review-the-lows-never-overwhelm-the-highs-a3681631.html)
- **Screen Daily** (70/100, inferred): The critic describes a kinetic sugar-rush that cross-pollinates genres with razzle-dazzle set pieces and an unpredictable soundtrack. He singles out the fun but disposable quality of the film overall for note. [Read](https://www.screendaily.com/reviews/baby-driver-review/5118950.article)
- **The New York Times**, Manohla Dargis (70/100, inferred): The critic praises the film's exuberant focus on movement, syncopated action, and pop pastiche style, noting its cinematic craft in editing and color. She singles out the car chases and wall-to-wall music for making it a cool, breezy genre ride while wishing it went deeper beyond its clichés. [Read](https://www.nytimes.com/2017/06/27/movies/baby-driver-review-edgar-wright-ansel-elgort.html)
- **Film Comment**, Michael Sragow (65/100, inferred): The critic finds Wright's film an entertaining hybrid of crime thriller and pop-aesthetic energy that excels in its music-synced action sequences and exuberance but runs out of steam due to excessive length and a failure to fully deliver on its ambitions. [Read](https://www.filmcomment.com/deep-focus-baby-driver/)
- **The New Yorker**, Anthony Lane (60/100, inferred): The critic views the film as an excellent music video layered with songs that hustles action along but finds it not much of a movie overall. He singles out the knowing tone and Spacey's performance for praise while preferring Wright's earlier, funnier work set in familiar territory. [Read](https://www.newyorker.com/magazine/2017/07/03/baby-driver-and-my-journey-through-french-cinema)
- **Radio Times**, Terry Staunton (50/100, inferred): The critic sees it as a revved-up reworking of heist and chase movies with well-choreographed action and an eclectic soundtrack. He singles out the disjointed plot for complaint, finding it frustrating despite the technical strengths. [Read](https://www.radiotimes.com/movie-guide/b-h9tjy4/baby-driver/)
- **HeyUGuys**, Nathan McVay (5/5): Edgar Wright's Baby Driver brilliantly combines heist elements, propulsive car chases, and a precise soundtrack into one thrilling ride. The director takes his game to the next level with this ambitious, fun, and meticulously crafted film that stands as his best yet. [Read](https://www.heyuguys.com/baby-driver-review/)
- **Collider**, Matt Goldberg (A-): The critic praises the film's unique use of music and sound design as central to the storytelling and character, highlighting the thrilling action sequences and Wright's craftsmanship. The main complaint is that it doesn't quite reach the emotional depth of Wright's previous films. [Read](https://collider.com/baby-driver-review/)
- **/Film**, Jacob Hall (9/10): Baby Driver is a spectacular car chase musical that retains Edgar Wright's unique voice while appealing broadly, blending action with a music-driven hook. The film excels through its inventive integration of soundtrack with stunts and character moments, delivering a miracle of genre filmmaking. [Read](https://www.slashfilm.com/549747/baby-driver-review/)
- **Den of Geek**, Ryan Lambie (4/5): The critic praises the film as a lean, expertly made and full-of-fun action musical with superb direction and physical stunt work that delivers a sugar-rush cinematic experience. [Read](https://www.denofgeek.com/movies/baby-driver-review-2/)
- **The Ringer**, K. Austin Collins (80/100, inferred): The review finds the film corny and familiar but excels due to Wright's stylish direction and the cast's performances, particularly noting the inventive integration of music with the heist plot. It singles out the opening chase scene and the millennial twist on classic tropes for praise. [Read](https://www.theringer.com/2017/06/27/pop-culture/baby-driver-film-review-ansel-elgort-edgar-wright-e84592dec07f)
- **Deadline**, Pete Hammond (75/100, inferred): The critic praises the style, music, opening sequence, and performances, calling it entertaining and irresistible until the last act which goes off the rails, but overall recommends it as a “go.” [Read](https://deadline.com/2017/06/baby-driver-review-ansel-elgort-edgar-wright-1202120964/)
- **The Wrap**, Sam Fragoso (65/100, inferred): The critic praises the first hour as exhilarating and among the greatest action comedies, highlighting the synchronized action and music, but criticizes the later part for losing momentum and becoming conventional and unfocused. [Read](https://www.thewrap.com/baby-driver-review-edgar-wright-ansel-elgort/)
- **Digital Spy**, Ian Sandwell (50/100, inferred): The critic concludes that Baby Driver is an entertaining ride with assured craft and a strong soundtrack but struggles because it is difficult to care about the underdeveloped characters and lacks emotional depth beneath its stylish surface. [Read](https://www.digitalspy.com/movies/a830423/baby-driver-review-edgar-wright/)

## Details

- **Director:** Edgar Wright
- **Director:** Edgar Wright
- **Writer:** Edgar Wright
- **Cinematography:** Bill Pope
- **Editor:** Paul Machliss, Jonathan Amos
- **Music:** Steven Price
- **Production design:** Marcus Rowland
- **Costume design:** Courtney Hoffman
- **Producer:** Eric Fellner, Tim Bevan, Nira Park
- **Cast:** Ansel Elgort as Baby; Kevin Spacey as Doc; Lily James as Debora; Jon Hamm as Buddy; Jamie Foxx as Bats; Jon Bernthal as Griff; Eiza Gonzalez as Darling; Flea as Eddie
- **Runtime:** 1h 53m
- **Certificate (MPA):** R
- **Release (the US):** 28 June 2017
- **Genres:** Action, Crime
- **Budget:** $34 million
- **Box office:** $227 million
- **Trailer:** https://www.youtube.com/watch?v=YR8cerFfWZo

## Where to watch in the US

- Paramount+: add-on, hd
- Hulu: add-on, hd
- Amazon Prime Video: add-on
- Apple TV: add-on, hd
- The Roku Channel: add-on, hd
- Apple TV: rent $3.99, hd
- Amazon Prime Video: rent $3.99, hd
- Amazon Prime Video: buy $7.99, hd
- Apple TV: buy $7.99, hd

*Checked 2026-09-17.*

Also available in: AE, AR, AT, AU, BE, BG, BR, CA, CH, CL, CO, CZ, DE, DK, EC, EE, ES, FI, FR, GB, GR, HK, HR, HU, ID, IE, IL, IN, IT, JP, KR, LT, MX, MY, NL, NO, NZ, PA, PE, PH, PL, PT, RO, RS, SE, SG, SI, TH, TR, UA, US, VN, ZA. Add `?region=XX` to this URL for another country.

## Awards

- Academy Awards 2018: Best Film Editing (nominated); Best Sound (nominated); Best Sound Editing (nominated)

## If you liked this

- *The Driver* (1978): For another taciturn getaway specialist, with the driving given room to impress.
- *Diva* (1981), Fi1m 80: Music and criminal danger meet again, with more time for romantic eccentricity. — [Fi1m page](https://film.one/film/diva.md)
- *The Young Girls of Rochefort* (1967): For the pleasure of movement and music, with romance allowed equal attention.
- *Victoria* (2015), Fi1m 76: A night out becomes a crime thriller, with far less room to breathe. — [Fi1m page](https://film.one/film/victoria.md)
- *The Taking of Pelham One Two Three* (1974): A sharply organised heist, dry humour and professionals whose patience is wearing thin.

---
© Fi1m Ltd. Written by AI under a human editor; checked against sources before publication. Quote with attribution and a link to the canonical URL. Canonical: https://film.one/film/baby-driver