Baby Driver is the first film where the auteur has reverse engineered a soundtrack and actually made it into a film; imagine the best trailer, where the images, the music and the sound are working in perfect, cathartic harmony, timed to the millisecond. Now imagine a feature length version of that trailer; that’s Baby Driver.
She is in command of her characters in a tight, barely moving frame and also impressively creates tense sequences with limited means. Still, if she aspires to make films as good as her idols Kelly Reichardt and Bruno Dumont, she needs to find an interesting story — not just an interesting way of telling one.
Free Fire is what happens when a progressive filmmaker attempts to go multiplex with a film that is less an homage to minimal, one location crime-comedies, but more half-witted Reservoir Dogs imitation.