The Tomatometer rating – based on the published opinions of hundreds of film and television critics – is a trusted measurement of movie and TV programming quality for millions of moviegoers. It represents the percentage of professional critic reviews that are positive for a given film or television show.
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The Tomatometer is 60% or higher.
The Tomatometer is 59% or lower.
Movies and TV shows are Certified Fresh with a steady Tomatometer of 75% or higher after a set amount of reviews (80 for wide-release movies, 40 for limited-release movies, 20 for TV shows), including 5 reviews from Top Critics.
Percentage of users who rate a movie or TV show positively.
Oozing menace as addicted bank robbers, Jamie Foxx and Jon Hamm are all the more charismatic thanks to Bill Pope's luscious noir photography. Credit Jonathan Amos and Paul Machliss for the razor-sharp editing.
Baby Driver is sweet fantasy, unlike more violent and existential vehicular visions such as Drive or Bullitt. That means its two-bit thieves and criminal masterminds (Jamie Foxx, Jon Hamm, Kevin Spacey) are enjoyably cartoonish.
The band Spacemen 3 once titled an album "Taking Drugs to Make Music to Take Drugs To"... Edgar Wright, a major record-head, might appreciate this comparison: He makes movies out of ideas that are too crazy to make movies out of.
Baby Driver is wild, violent, often very funny and hugely inventive. Wright puts you right in the driver's seat with Baby for spectacular car escapades, but the characters and conversations he creates are just as gripping.
[Baby Driver] is very savvy about pop music and pop culture, and it has a number of thrilling car chase sequences. But those are side items, not main courses, and you can't put dessert before the meal. It winds up driving in circles.
Wright is savvy enough to realize that suspense and tension require characters that are more than human figures in a CGI playground. He does just enough with the men and women populating Baby Driver for us to get a sense of who they are.
Plays out like blasting your coolest friend's record collection in your car at 100 mph on the Atlanta freeway while cops close in on all sides - essentially what happens in the movie again and again, to always-riveting effect.