Last week, I saw Baby Driver, a groovy, infectious jukebox-musical action flick that left me floored. The film by turns funny and thrilling, and although his character doesn’t say much, it’ll make a star of leading man Ansel Elgort.
So when I read the news on Wednesday that writer-director Edgar Wright and Sony, which released Baby Driver, were talking sequel, I nearly blew a gasket.
Looka here. I get the nature of remakes, reboots, and sequels, but the reality is some shit just needs to be left alone. Say, for instance, Baby Driver.
There’s a lot that could be attributed to the film’s success. The original premise, the amazing supporting cast (Jamie Foxx, Kevin Spacey, and Jon Hamm are KILLER), the unbelievably dope wall-to-wall soundtrack. But ultimately, the film is a one-off.
“The studio have asked me to think about writing a sequel, and it’s funny — it is one of the ones that I might do a sequel to because I think there is somewhere more to go with it in terms of the characters, especially Baby,” Wright said on Empire’s podcast.
Hey, I love Wright and think he’s incredibly talented. And I get it, this is his first bona fide box-office smash (nearly $40 million in its first week), but there’s no way he’ll be able to recapture the same magic in a sequel. Lightning in a bottle, that sort of thing.
Certain stories lend themselves to sequel treatment IMO: comic-book films, sprawling space operas, horror movies, etc.
But a film as singularly unique as Baby Driver is its own thing and should be left alone. The story was told brilliantly, beautifully, and it ended perfectly. I hope that Wright ultimately recognizes what a masterpiece he’s created and leaves it alone.