Baby Driver - Alta Velocidade

Um agradável crime-pop de verão, uma versão juvenil e rebelde de Drive: Risco Duplo. Aligeiramento «musical» super fixe da ação e das cenas sérias, especialmente a perceção inicialmente sensível da violência através dos olhos de Baby, e a pureza da sua relação romântica com a rapariga. Mas o que falta para o filme tornar-se um culto são diálogos mais engenhosos e uma direção mais inventiva e polida das outras personagens. Simplesmente Tarantino. Omg, que filme! (06/07/2017)

Baby Driver - Alta Velocidade é agradavelmente maluco e divertido no estilo de verão, mas a direção e especialmente o argumento não são bem perfeitos, e em comparação com a obra britânica mais antiga de Wright, é um pouco menos atrevido e falta-lhe perspetiva. No entanto, todo o filme é baseado na intenção criativa de o editar inteiramente às canções que tocam constantemente nos auscultadores do personagem principal, e, neste ponto, não se pode não elogiar o realizador por ter conseguido editar ao ritmo da música não só as cenas de ação, tiroteios e perseguições de carro, mas até a forma como um personagem está a caminhar na rua ou a planear um assalto a um banco. Certamente nada desafiante em termos de conteúdo, mas como uma comédia de ação tola, é um pouco mais imaginativa e divertida até do que os últimos episódios de Velozes e Furiosos. (11/07/2017)

Edgar Wright is a pro. Never mind what he’s filmed before; now, with his quick-fire editing and love of music, he’s actually managed to film one of the best gangster movies in a while. When I was watching it, I truly didn’t even care how illogical it was at times. I was enjoying an action comedy so perfect that I doubt I’ll get a similar experience within the next five years until Edgar comes up with something new. And you realize that once you hear high-quality music in the background of a machine gun firing off. You also realize it as the music gets intense when Ansel Elgort’s having his life-changing moment. He might be just a twenty-three-year-old pipsqueak, but after half an hour, I finally got used to him; because beneath the rough layer of toughness and arrogance, there’s a boy who’s lived through a lot. And that’s getting me started about the story, which isn’t exactly any good, but I didn’t even expect it to be. This movie was filmed to be visually effective and to be a conscious homage to all the (not only) Guy Ritchie gangster movies. If Simon Pegg and Nick Frost were starring in this, I think it could even be another addition to the Cornetto saga. But this way, it’s “just” a simple, but highly functional movie. That’s exactly what I expected from Edgar Wright and it’s what I got in the end. Thank you for an amazing experience. At times, I was thinking that I’m not gonna get a similar experience nowadays. The editing combined with the music – absolutely awesome. (20/08/2017)

Edgar Wright is getting better with every film and this one made me incredibly happy. Baby Driver is an incredible stylistic film with cult potential and could easily become a classic in 20 years. It offered me more or less everything I expect from a movie starting with an excellent cast featuring the likeable Ansel Elgort, the tough Jamie Foxx, the pissed off Jon Hamm, the terribly sexy Eiza González, the terrifying Kevin Spacey, and the cute Lily James. The soundtrack is very catchy and adds to the great atmosphere, the visuals are flawless, the cinematography is unbelievably clear, the action is top notch (the sound design of the shootouts is among the best I've ever seen). The breakneck pace, the occasional humour, the emotional underpinnings and the unexpected reveals made the film an extraordinary experience, where especially near the end I felt like grabbing my balls and throwing them at the screen for joy at what a blast it was. Along with Hacksaw Ridge and John Wick 2, I rank Baby Driver as one of this year's best cinema experiences. This doesn't end with one screening. 95% (11/07/2017)

Despite Baby Driver’s occasional stumble and inconsistent perspective, I consider making an action film in which almost everything happens to the rhythm of the music that the protagonist is listening to or based on the current mood or occasion to be a great way to revive the musical genre (and, at the same time, to subversively foist it off on viewers who otherwise ignore musicals and for whom the year’s best film so far this year is Fast & Furious 8). We can reproach Wright for not being stylistically distinctive (he previously edited The World’s End), for not being capable of working with female characters, and, unlike his great filmmaking role-model Quentin Tarantino, for remaining, even in his forties, an immature nerd with a weakness for autotelic fetishisation of movie references (the road passing by like in Lost Highway, damaged sunglasses like those worn by Warren Beatty in Bonnie and Clyde) and repeatedly telling the same story about protagonists who have to grow up but can continue to have fun in essentially the same way, inhabiting their escapist worlds while being tremendously cool. Or we can simply enjoy an original summer blockbuster with a great soundtrack and some incredibly high-octane action scenes. Since I have no plans to grow up yet, at least in relation to pop culture, I choose the second option. 85% (13/08/2017)