DVD Movie Guide @ dvdmg.com
.
Review Archive:  # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main
SONY

MOVIE INFO

Director:
Edgar Wright
Cast:
Ansel Elgort, Kevin Spacey, Jamie Foxx, Jon Hamm
Writing Credits:
Edgar Wright

Synopsis:
After being coerced into working for a crime boss, a young getaway driver finds himself taking part in a heist doomed to fail.

MPAA:
Rated R.

Box Office:
Budget
$34 million.
Opening Weekend
$20,553,320 on 3226 screens.
Domestic Gross
$107,668,101.



DISC DETAILS
Presentation:
Aspect Ratio: 2.39:1
Audio:
English DTS-HD MA 5.1
English Dolby 2.0
English Audio Descriptive Service
French DTS-HD MA 5.1
Spanish Dolby 5.1
Thai Dolby 5.1
Subtitles:
English
Cantonese
Chinese Simplified
Chinese Traditional
French
Korean
Spanish
Thai
Closed-captioned
Supplements Subtitles:
English
Chinese
Korean
Spanish
Thai

Runtime: 112 min.
Price: $34.99
Release Date: 10/10/2017

Bonus:
• Audio Commentary with Writer/Director Edgar Wright
• Audio Commentary with Writer/Director Edgar Wright and Director of Photography Bill Pope
• Extended/Deleted Scenes
• Six Behind the Scenes Featurettes
• Selected Scene Animatics
• Rehearsals & Pre-Production
• Music Video
• Complete Storyboard Gallery
• “Promos & More”
• Previews


PURCHASE @ AMAZON.COM

EQUIPMENT
-LG OLED65C6P 65-Inch 4K Ultra HD Smart OLED TV
-Marantz SR7010 9.2 Channel Full 4K Ultra HD AV Surround Receiver;
-Panasonic DMP-BD60K Blu-Ray Player
-Chane A2.4 Speakers
-SVS SB12-NSD 12" 400-watt Sealed Box Subwoofer.


RELATED REVIEWS


Baby Driver [Blu-Ray] (2017)

Reviewed by Colin Jacobson (October 8, 2017)

For the latest from director Edgar Wright, we head to 2017’s Baby Driver. A whiz behind the wheel, Baby (Ansel Elgort) finds himself stuck in a criminal life.

Baby owes a debt to crime boss Doc (Kevin Spacey), so he gets forced to act as getaway driver for a variety of heists. While he engages in these activities, Baby falls for pretty diner waitress Debora (Lily James) and tries to break free of his past, but Doc proves reluctant to let his servant go.

With films like Shaun of the Dead and Hot Fuzz, Wright established a strong cult audience, but he never broke through to mainstream US commercial success – not until Driver, that is. While not a box office smash, the film made more than $225 million worldwide, nearly three times the overall take of Fuzz, his second most-successful film.

Driver also earned strong reviews, which it deserved – sort of. Though the film manages reasonable entertainment, it doesn’t quite touch all the bases to become totally satisfying.

One large issue stems from the movie’s sluggish middle section. The film starts/ends hot, but in between it tends to drag. We spend too much time with Baby's dull romantic life and we get too much of the thugs being thuggy without much real exposition.

When it connects, though, Driver works pretty well. I admit the use of music borders on campiness but it doesn't quite get there, so those elements entertain.

To be sure, Driver leaps off the screen during its opening. In its first six minutes, we get a genuinely dynamic action scene that does the impossible: it creates something original from the done-to-death “getaway” notion.

Driver then immediately threatens to leap off the rails with a scene that nearly enters the musical genre. After the getaway, we see Baby strut the streets of Atlanta in a manner that connects his environment to the version of “Harlem Shuffle” he plays on his iPod.

All of this occurs in one long tracking shot reminiscent of Janet Jackson’s “When I Think of You” music video. It’s an audacious stylistic stab that works – it probably should seem impossibly pretentious, but it manages to add zing.

The movie simply can’t sustain this level of vivacity, though. Granted, other than the lackluster middle, it remains enjoyable, but Driver never quite recaptures the thrill of its first 15 minutes or so.

The actors do pretty well for themselves. Elgort proves likeable as the lead, and even though the film doesn't let Debora turn into much more than a pretty bauble, James seems so adorable and bubbly that I don't really mind. Jamie Foxx and Jon Hamm also make their roles sufficiently scummy.

All of this leads to a fairly enjoyable movie, if not one that really stands out as anything truly great. It gives us an above average diversion but fails to do more than that – this makes it worth a look, but don’t expect it to match up with all the hype.


The Blu-ray Grades: Picture B+/ Audio B+/ Bonus A-

Baby Driver appears in an aspect ratio of approximately 2.39:1 on this Blu-ray Disc. This wasn’t a flawless presentation but it looked good.

For the most part, sharpness satisfied. A couple of interiors suffered from a minor decline in delineation, but the majority of the film seemed accurate and concise. No issues with jagged edges or shimmering occurred, and I saw no edge haloes or source flaws.

Colors went down the stylized path, with a trend toward teal and amber. These seemed perfectly satisfactory given the visual choices.

Blacks appeared rich and taut, while low-light shots displayed nice clarity and smoothness. Overall, I remained pleased with the image.

Similar thoughts greeted the involving DTS-HD MA 5.1. As expected, action scenes fared best, as those used driving and gunfire to create a vivid sense of the material.

Music also created a more active than usual presence, as the nearly constant array of songs and score filled the speakers to the film’s advantage. All of these factors formed a lively soundscape.

Audio quality worked well, too. Music was dynamic and full, while effects appeared accurate and dynamic. Speech seemed distinctive and concise, without edginess or other issues. The soundtrack added to the movie’s effectiveness.

We find a bunch of extras here, and we open with two separate audio commentaries. For the first one, we hear from writer/director Edgar Wright. He presents a running, screen-specific look at the movie’s origins and development, story/characters, sets and locations, visual design, cast and performances, influences, stunts/action, and related areas.

A veteran of the format, Wright knows his way around a commentary, and that experience shows during this excellent chat. Wright digs into a wide variety of topics and does so with verve and charm. He makes this a thoroughly enjoyable and informative track.

By the way, Wright mentions that the film’s ending can be viewed as either fantasy or reality and states that he knows how he feels as the person who wrote it. However, Wright decides not to tell us which way he leans, as he prefers to let the viewer decide.

Which would be fine – except he immediately makes a remark that strongly implies his position. Whoops!

For the second commentary, we find Wright and director of photography Bill Pope. Both sit together for their running, screen-specific discussion of cinematography as well as sets/locations, music, editing, stunts/action and other areas.

While more technical than Wright’s solo track, this one remains lively and enjoyable. We get a nice array of topics and the energy stays high. This commentary isn’t as good as the prior one, but it’s still solid and very informative.

11 Extended/Deleted Scenes occupy a total of 20 minutes, 28 seconds. In these, we tend to get elongated versions of existing sequences, and the footage usually focuses on additional musical material.

To my surprise, little of it seems meaningful, so these cut segments lack much impact. I like the extension to one of the film’s climactic moments, but otherwise, the footage feels superfluous most of the time.

Under Behind the Scenes, we find six featurettes. With a total running time of 45 minutes, 15 seconds, these offer notes from Wright, Pope, production designer Marcus Rowland, supervising location manager Douglas Dresser, choreographer Ryan Heffington, costume designer Courtney Hoffman, 2nd unit director Darrin Prescott, 1st unit stunt coordinator Robert Nagle, stunt driver Jeremy Fry, picture car coordinator Sean Ryan, special effects coordinator Mark Byers and actors Jon Hamm, Kevin Spacey, Lily James, Ansel Elgort, Michael “Flea” Balzary, Jamie Foxx, Jon Bernthal, Eiza Gonzalez and Lanny Joon.

“Scenes” covers the project’s origins and development, storyboards and pre-planning, audio design and the use of music, sets and locations, production and costume design, stunts and car sequences, and cast and performances. With 45 minutes available, “Scenes” gives us a lot of good information. Some of this leans toward happy talk, but more than enough substance comes along the way.

Eight Selected Scene Animatics go for a total of 35 minutes, 42 seconds. These show the crude animation used to plan out various scenes. They’re fun to view.

Within Rehearsals & Pre-Production, we get three elements. This area includes “Ansel Elgort Audition” (4:39), “Annotated Coffee Run Rehearsal” (3:27) and “Hair, Make Up and Costume Tests” (8:56).

“Audition” shows Elgort as he works through the scene with the Commodores song, while “Run” offers a glimpse of a trial run for the opening choreographed sequence. Finally, “Tests” give us a look at Elgort, James, Spacey, Foxx, Hamm, Gonzalez, and actor CJ Jones as they try out various guises. None of these feel great, but they add texture to the package.

Discussed by Wright in his commentary, we find the Music Video for Mint Royale’s “Blue Song”. Directed by Wright in 2003, it offers a clear stylistic foreshadowing of Driver. A good video in its own right, its historical context makes it a fine addition to the set.

Next comes a Complete Storyboard Gallery. This provides a slew of stills and divides into four thumbnail sections. I like the thoroughness of this feature.

Under Promos & More, we locate a mix of materials. We get three trailers as well as a music video for “Chase Me” by Danger Mouse Featuring Run the Jewels and Big Boi.

“More” also tosses in a “Mike Relm Baby Driver Remix” along with 13 short movie promos. These all offer a nice view of the attempts to market the film.

The disc opens with ads for Spider-Man: Homecoming, Rough Night, Life (2017), T2 Trainspotting, November Criminals and The Dark Tower.

Ambitious and flashy, Baby Driver often connects with its lively sense of action. However, it drags too much in the middle, and that makes the whole less satisfying than I’d like. The Blu-ray offers very good picture and audio as well as a strong selection of supplements. Though it occasionally sputters, Driver becomes a mostly engaging effort.

Viewer Film Ratings: 3.6666 Stars Number of Votes: 3
15:
04:
2 3:
02:
01:
View Averages for all rated titles.

.
Review Archive:  # | A-C | D-F | G-I | J-L | M-O | P-R | S-U | V-Z | Viewer Ratings | Main