Given the amount of awkwardly snappy dialogue found in “Baby Driver” (2017), I shall feel no shame in turning this review into a gearhead punfest for a film whose plot stalls out just before the checkered flag. The backstory (good kid collides head-on with bad dude) is finely tuned and the setup (one last job, girlfriend waiting for a fast getaway) is a high-octane classic, but the leaky climax is all over the road, loose in, tight out and full of knocks, pings and run-on. Not even the music, which flows like pure diesel, can jump-start this poor-handling caper flick.
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The death of boomer masculinity occurred somewhere near the 105-405 interchange. For years, Michael Bay has been a high priest of action filmdom, preaching a holy Hollywood trinity of bullets, testosterone and helicopters (lots of helicopters). Today’s action market is dominated, however, by a spandex-clad rainbow coalition playacting stories created and curated by nerds and geeks. Bay’s unsuccessful “Ambulance” (2022) brings cops, robbers and EMTs to a bank heist, then takes us on one of his patented, never-ending, catastrophic car chases. The awkward, tiresome Cain-and-Abel subplot featuring Yabya Abdul-Mateen II and Jake Gyllenhaal adds speed bumps to a chaotic movie.
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