Rogers, thus exposing their limi-
tations, Wright is aware that his
leading man isn’t a dancer, so he
lets his camera do the dancing,
creating a sequence as thrilling
in its simplicity as the opening of
John Badham’s Saturday Night
Fever.
Clive James also said that Steve
McQueen’s worst movie was
Le Mans, because the star was
stuck behind the wheel of a car,
his face obscured by a helmet,
for its duration. Wright puts his
leading man in a similar situa-
NJ STAGE 2017 - Vol. 4 No. 6
tion several times here, but it’s
not a problem, because as soon
as Elgort buckles himself in, his
car becomes the dancer, the
streets of Atlanta its dancefloor.
Cut to the rhythm of whatever
tune Baby happens to be listen-
ing to at the time, Baby Driver’s
car chase sequences are a re-
minder of the thrills Hollywood
action cinema once delivered.
Unlike the tired and tedious Fast
& Furious movies, Baby Driver of-
fers practical effects in a variety
of set-pieces designed to thrill
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