Autobots and Decepticons are at war, with humans on the sidelines. Optimus Prime is gone. The key to saving our future lies buried in the secrets of the past, in the hidden history of Transformers on Earth.
Pakistan-born comedian Kumail Nanjiani and grad student Emily Gardner fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family's expectations, and his true feelings.
Baby is a young and partially hearing impaired getaway driver who can make any wild move while in motion with the right track playing. 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 robberies. 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 job. 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. To survive and escape the coming maelstrom, it will take all of Baby's skill, wits and daring, but even on the best track, can he make it when life is forcing him to face the music? Written by
Kenneth Chisholm (firstname.lastname@example.org)
Most (if not all) of the gun reports in the film are in perfect time signature with the music. See more »
In the opening heist, the getaway involves dumping the original car and switching to another. However, while Buddy, Darling and Griff all wear gloves, Baby does not. During his "dance" scene he touches, and leaves fingerprints on, the steering wheel, wiper control, the outside of the door, and a water bottle (which he leaves in the car). During the getaway he also would have left prints on the gearshift and the interior door handle. See more »
[Last Lines, narrating]
Hey Baby, you know it's funny even though I heard it so many times in the court case I still can't get used to the fact that your real name is Miles. It's a cool name though. I can think of a lot of great Miles songs, but we still have to get through all those baby songs first. I can't wait till the day it's just us, music, and the road. See you later baby, all my love. Deborah.
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At the end of the credits the sound of an engine revving is heard. See more »
Little more than a mix tape with dull characters and clichés attached to it
I read an early tweet that described Baby Driver as 'a mix-tape with a film attached to it' and that proved to be an accurate comment. The tweeter may have thought this was a good thing, but I certainly don't.
Yes, there are some good tracks and the action sequences are elaborate and frenetic (a little too frenetic, actually), but the characters are dull, unlikeable and bear very little relation to the real world. I simply did not believe in them, especially Darling, the sassy, kick ass stock character that only a fool would consider to be a strong female character.
Then there's Baby, whose laconic, boyish demeanour makes him a rather uninspiring protagonist. His romance with Debbie, a cute little waitress, is yawn-inducingly clichéd, too.
If you want a stylish heist film that isn't so bloody try-hard, then watch Drive. It's an exercise of style over substance much like this film, but it has suspense, atmosphere and characters that could actually exist rather than blaring music, mind-numbing action and flat, hateful comic book characters.
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