Retro Television Reviews: The Brady Bunch Hour Episode 1.9


Welcome to Retro Television Reviews, a new feature where we review some of our favorite and least favorite shows of the past!  On Fridays, I will be reviewing The Brady Bunch Hour, which ran on ABC from 1976 to 1977.  All nine episodes can be found on YouTube!

This week, The Brady Bunch Hour comes to a close and with it, I gain my freedom from having to watch any more pitch perfect but incredibly boring performances from Florence Henderson.

Episode 1.9

(Directed by Jack Regas, originally aired on May 25th, 1977)

Two things happened on May 25th, 1977.

First of all, a film called Star Wars opened in theaters across the country.

Secondly, on ABC, The Brady Bunch Hour aired for the final time.

The final episode begins in the same way as all of the previous episodes.  The Kroftettes do a kickline before driving into the pool and the audience applauds while the announcer reads off the names of the Bradys and announces that tonight’s special guest stars include Paul Williams, Rip Taylor, Lynn Anderson (who was a country-western singer), and Ann B. Davis.

Dressed in blue, The Bradys come out and perform a song called I’ve Got Love, which was written for a Broadway musical called PurliePurlie was a show about a black preacher living in the South during the Jim Crow era so you have to wonder how exactly the song relates to anything having to do with The Brady Bunch.  As led by Florence Henderson, the Bunch turns the song into an “up with people”-style anthem.  The Kroftettes meanwhile swim around with a punch of plastic hearts.

The song ends and, as the rest of their family struggles to catch their breath, Carol welcomes everyone to the show.

“I love love!” Carol announces.

The banter starts and the joke this time is that Carol enjoyed the song so much that she just won’t stop singing even while the rest of the family is trying to talk.  This gets annoying pretty quickly because we’ve all had a relative like Carol, that person who can carry a tune and who goes out of their way to make sure that no one ever forgets it.  Reportedly, one of the main reasons that Florence Henderson agreed to do The Brady Bunch Hour was because she wanted to transform herself into a Barbra Streisand-style singer and the producers agreed to allow her to do a solo in every episode.  Henderson did not have a bad voice but she still had a tendency to oversell every song that she sang, performing in an over-rehearsed manner that revealed little real personality.  During the last few episodes, a desperation creeped into Henderson’s performances, as if she felt that she alone could save the show by singing the Heck out of every song that she got.

After a minimum amount of banter (in which not a word is said about this being the final episode of the series), we cut to Carol and the kids performing a song called We’ve Got Us in front of a cardboard city skyline.  For some reason, everyone’s dressed for golf.

At one point, the Brady daughters carry Carol across the stage while Carol sings.  The audience applauds but Cindy looks like she’s struggling not to lose her grip on Carol’s ankles.

Peter and Bobby then carry Greg out on their shoulders while Greg sings.  At one point, they nearly drop Greg and Greg’s reaction (his singing voice goes up several octaves) would seem to indicate that this was not at all planned.

After the rest of the Bunch marches off stage, Peter sneaks back and discovers that Mr. Merrill (played, of course, by Rip Taylor) is sleeping on a park bench.  Mr. Merrill gets upset when Peter tries to move a trashcan because that is apparently where Mr. Merill keeps all of his stuff.  Peter finds a slinky in the trashcan and Mr. Merrill announces, “Haven’t you ever seen Palm Springs?”  Peter also finds a bottle of liquor in the the trashcan.  Mr. Merrill explains that it’s “Beethoven’s fifth.”  Peter and Jackie proceed to perform Me and My Shadow and it’s just as painful as it sounds.

The show goes to commercial.  When it comes back, Fake Jan announces that the next guest is “my favorite female recording star, Lynn Anderson.”  Fake Jan spends so much time praising Lynn that Greg comes out and tells Fake Jan that giving Lynn too much of a big build-up will make Lynn nervous.  “Ladies and gentleman,” Fake Jan says, “a singer who’s not too bad, Lynn Anderson!”  (To give credit where credit is due, I laughed.)  Lynn Anderson comes out and sings a song called Right Time Of The Night and Fake Jan was right.  She’s not too bad.

As Lynn finishes up the song, Fake Jan announces that Lynn is the best.  “You just can’t say stuff like that on TV,” Greg says, sounding a bit like a jerk, if we’re going to be honest.  Fake Jan demands that Greg tell her one person who sings as well as Lynn Anderson, who looks as good as Lynn Anderson, who has more hit records than Lynn Anderson, and who has beautiful blonde hair like Lynn Anderson.

“Paul Williams,” Greg says.  “Great musician, but he’s a troublemaker …. remember when he came by the house?”

“Oh yeah,” Fake Jan says, “that was trouble.”

It’s flashback time!

We cut to the Brady Compound, where Alice is attempting to break up with Rip Taylor’s Jackie Merrill.  Carol interrupts their fight to tell Alice to go clean another part of the house.  Alice agrees to go on a date with Jackie, mostly to get him to go away.  After Merrill leaves, Carol announces that Paul Williams is coming over.  Marcia enters the living room, dressed in overalls because Paul Williams is into simple things, “like how people feel inside.”

Carol says…. I am not making this up …. Carol says, “Oh.  Well, maybe you should swallow him, then.”

*snicker*

Greg enters the living room and starts leaving copies of his songs all over the living room.  Marcia makes fun of his lyrics.  Greg tells her, “Watch your mouth.”

*snicker*

Anyway, Marcia runs off crying.  Mike enters the living room, looking confused.  Carol explains that Paul Williams is only coming over to discuss what he’s going to do on the show.  He doesn’t want to see Greg’s music or hang out with Marcia.  A disgruntled Greg collects all of his lyrics.  Finally, after Greg leaves the living room, Paul Williams rings the doorbell.

Paul tells Mike that he’s a “big fan of yours.”  The audience laughs because Paul Williams is short.  However, it turns out that Paul Williams is an even bigger fan of Carol’s.  As Paul flirts shamelessly with Carol, Mike leaves to get the kids.  Mike and the kids re-enter the living room just in time to hear Paul announce that he’s in love with Carol.  The show cuts to commercial.

When the show returns, Mike is standing on stage, by himself.  He’s wearing another one of his turtlenecks.  “Welcome back to the second half of my family’s favorite show,” Mike tells us.  Mike makes fun of Paul for being short and then shows us what happened at the Brady compound.

What happened?, you may ask.  Well, Mike tells Paul that he doesn’t appreciate Paul loving his wife.  Bobby asks if Mike is going to punch out Paul but Carol says that Mike doesn’t punch people out.  “Good,” Paul says, “anyone over 5’5 punching me is assault with a deadly weapon.”  (Because Paul Williams is short, get it?)  Cindy asks Paul why he’s in love with Carol, as if even she can’t believe it.  Paul says that Carol is “one foxy lady.”  Mike promptly sends the children out of the living room and then starts yelling at Paul (or, at the very least, his voice goes up an octave or two as he expresses his annoyance).

Paul apologizes and then says that he has a compulsive personality “because I’m short,” and that occasionally, he does something compulsive like declare his love for Carol Brady.  Paul then suggest that he and Carol could get married on the show.  After Carol turns him down, Paul explains that he only came on the show so he could meet Carol.  He then Carol a broach that once belonged to his grandmother.  “She was a very foxy lady too,” Paul says, “Short but foxy.”  Paul leaves.

“What a sweet man,” Carol says, looking at the brooch.

“He’s a loon!” Mike declares.

Before Mike can say anything else insensitive about the man who just opened up his mental health on national television, Fake Jan comes running in with Lynn Anderson.  Lynn mentions that Paul Williams is in love with her and then holds up a brooch that Paul gave her.  “It was his grandmother’s!”

We cut to the pool, where Peter has decided to outsmart Greg by getting in the pool himself.  Greg swears that he wasn’t planning on pushing Peter in the pool this week.  Peter climbs out of the pool and announces that Paul Williams is the next musical guest.  “He’s so short,” Peter says, “he needs a ladder to get into a good mood.”  Paul comes out and shoves both Greg and Peter in the pool.

Paul then sings The Hell Of It, a song that he wrote for Brian DePalma’s Phantom of Paradise.  While he sings, thunder rumbles on the soundtrack, the Kroftettes perform in the pool, and the lights in the studio flash on and off.  It’s actually surprisingly good for The Brady Bunch Hour but you have to wonder how the show’s target audience felt about a song that was sung from the point of view of someone who had just sold his soul to the Devil.

We then cut to a country road, where Carol sings a country song called Born To Say Goodbye.  She’s no Lynn Anderson, that’s for sure.  Still, listening to the lyrics, you have to wonder if she sang this knowing that the show was about to end.  Despite the fact that no one on the show has mentioned anything about this being the final episode, one would have to think that the Bunch had some sort of knowledge that things weren’t looking good for the show’s future.

We then cut to a comedy skit, in which Paul Williams tells us that the member of the Brady Bunch will be recreating the voyage of Columbus.  At one point, Williams flubs his lines but keeps going.  According to Wikipedia, several members of the cast and crew have said that Paul Williams was drunk while filming The Brady Bunch Hour and that is definitely the vibe that comes through.  Anyway, the skit is actually about what was going on with Columbus’s family while Christopher was out exploring and it’s called  The Columbus Bunch.  The members of the Bunch all speak with exagerrated Italian accents.  It’s annoying as Heckfire.  The skit goes on forever and as I watched it, I actually found myself thinking of the terrible fantasy sequences that used to appear on Saved By The Bell.  It’s painful and the fact that everyone involved seems to be trying so hard makes it even more painful.

It’s time for the final finale of The Brady Bunch Hour!  This week, there’s no banter before the finale.  Instead, the Bunch appears on stage, wearing white suits.  Mike says “The finale this week is….” and I honestly can’t understand what it is that he says next.  It sounds like he says, “The finale this week is done,” but that wouldn’t make any sense.  All I know is that the members of the Bunch desperately run off stage, as they do at the start of every finale.  Again, I’m not sure why anyone thought it was a good idea to show the Bunch as being totally scatter-brained and incapable of the least bit of professionalism but whatever.  The show’s almost over.

As for the finale, it’s all about music.

The Krofetettes dance while Bobby, looking like Satan’s stepchild, plays a ragtime tune on the piano.

Mike and Carol sing a few bars from the hottest song of 1950, Music!  Music!  Music!

Marcia sings Look What They’ve Done To My Song, Ma, which was a song by Melanie, the folk singer who appeared on an earlier episode.

Carol, who is literally sitting in front of a poster that reads Easy Listening, performs 1962’s The Sweetest Sounds, a song that was previously covered by Barbra Streisand.

Greg sings a song called Music Is My Life.  Greg’s voice isn’t terrible but it’s awfully generic.  He might need to get a different life, especially considering that this is the final episode.

Geri Reischl, who is so talented that she deserves to be referred to by her real name (and not Fake Jan) for this performance, comes out and sings Hey Mister Melody and once again shows that she was way too musically talented for this show.  She and Florence Henderson had the best voices of the cast but, unlike the overly rehearsed Henderson, Geri actually brought some spontaneity to her performances.

Rip Taylor and a miserable-looking Ann B. Davis perform The Music Goes Round and Round.

Paul Williams and Lynn Anderson perform an Old Fashioned Love Song.  One can almost sense Florence Henderson fuming off-stage over Lynn getting to be the one who performed with Paul Williams.

The Brady kids come out and sing Piano Man with the all the good-natured cheer of a church youth group.

The finale ends with the entire cast doing an unenthusiastic version of I Believe In Music.  Paul Williams dances with Florence Henderson while a manic Rip Taylor throws confetti all over the stage.

After a commercial break, the Bunch comes out to say goodnight.

“Remember last week when I said, ‘I guess this bring us to the end of tonight’s show?” Carol says.

Yes, we do.  Carol, is there something you need to share with the audience about the show’s future?

“Well, I’m saying it again this week,” Carol says, “I guess this brings us to the end of tonight’s show.”

Mike tell Carol that she should come up with something new to close the show and Carol does a stuttering impersonation of Porky the Pig and that’s when I nearly threw a shoe at the screen.  Fortunately, I was distracted by Cindy saying, “And don’t worry about Paul Williams, he’s not really crazy.”  Everyone says goodnight and the show ends….

….and never returns!

So, The Brady Bunch Hour has come to an end and what have we learned from these reviews?  Cocaine was very popular in the 70s.

Next week, we start a new show!  Here’s a preview:

Retro Television Reviews: The Love Boat 1.23 “Musical Cabins”


Welcome to Retro Television Reviews, a feature where we review some of our favorite and least favorite shows of the past!  On Wednesdays, I will be reviewing the original Love Boat, which aired on ABC from 1977 to 1986!  The series can be streamed on Paramount Plus!

Let’s hear it for life’s sweetest reward!

Episode 1.23 “Musical Cabins”

(Dir by Allen Baron, originally aired on May 6th, 1978)

This week’s episode of The Love Boat opened with …. a commercial!

Actually, if you’re watching the show on Paramount Plus like me, every episode opens with a commercial and occasionally the commercial freezes and you have to start all over again.  This week, though, was significant because it was a new commercial from Pfizer.  The commercial opened with P!nk holding a rubber germ.

“If I was holding COVID-19,” P!nk says, “I would be in trouble …. because I have asthma.”

Plus, she would be in trouble because that’s the biggest goddamn germ I’ve ever seen.  Don’t get me wrong.  I have asthma too and I am more than aware of the dangers of getting an aggressive respiratory illness.  But I’m just not sure that having a bunch of celebrities passing around a big rubber germ is the best way to advertise the vaccine.  As soon as P!nk threw the germ at Michael Phelps and ?uestlove, the commercial started to lose me.  It felt cheap, like one of those ICDC commercials that Master P forced Romeo Miller to do.  Don’t throw germs at your friends.

Speaking of which, this week’s episode of The Love Boat is all about friendships and relationships.  Ms. O’Roarke (Marica Wallace) is a gossip reporter who has heard that the Pacific Princess is a notorious hotbed of lust and hedonism on the high seas.  She books a ticket and then sneaks around the boat with her notepad, watching as people go in and out of different cabins.  She thinks that she’s uncovering evidence of an orgy on the high seas but actually, she’s just witnessing a bunch of misunderstandings.

For instance, Didi (Barbara Rhoades) is so disgusted by Curt (Dick Gautier), her chauvinistic boyfriend, that she refuses to stay in their cabin.  When Gopher informs her that the cruise is sold out and there are no other cabins available, Doc immediately volunteers his cabin.  Judging from the look on Gopher’s face, he’s just about had it with Doc hitting on every single passenger on the boat.  An HR report is about to be filed.

Doc, for his part, assumes that Didi is looking for more than just a place to sleep.  Being the swinger that he is, Doc slips into his pajamas and offers to help Didi unwind.

Didi is scandalized and kicks Doc out of his own cabin.  Doc ends up asking Julie if he can crash in her cabin.  Julie agrees but then wonders why Doc has never tried to hit on her.  Doc replies that he thinks of Julie as being a “kid sister.”

Wrong answer, Doc!

Fortunately, Julie is soon approached by Nelson Hoag (Paul Williams), who has been asking every woman on the cruise if she’ll consider marrying him.  Everyone turns Nelson down but what they don’t know is that Nelson is going to inherit a good deal of money but only if he gets married before his next birthday!

Julie and Nelson spend the night talking and Julie is actually charmed by Nelson.  However, just as she learns in to kiss him, Gopher shows up and puts the kibosh on it.  Gopher is going to have a lot of HR reports to write.

Since Doc is sleeping in her cabin, Julie ends up staying in Nelson’s cabin.  Meanwhile, Nelson meets Irene (Michele Lee), a widow who is pretending to be an heiress.  Irene allows Nelson to stay in her cabin and then she spends some time with an entirely smitten Captain Stubing.  Is anyone on the boat actually doing their job?

Eventually, as O’Roarke hides behind the corner and takes notes, everyone meets in one cabin to work out their feelings.  Curt wants Didi back but Didi actually prefers the company of the gentle Nelson.  For her part, Irene likes men who take what they want and say whatever pops into their mind and that certainly describes Curt.  By the end of the cruise, Julie and Doc are friends again, Didi is married to Nelson, and Irene is dating Curt.  And O’Roarke realizes that she doesn’t have a story so she tears up all of her notes.

Usually, I can’t stand shows (or movies) where the plot hinges on a series of misunderstandings that could all easily be cleared up by people just not being stupid but I actually found this episode of The Love Boat to be rather charming, as the show made good use of the cast’s natural chemistry and the guest stars actually brought some much needed emotional depth to characters who were otherwise rather thinly written.  Yes, Nelson was a little weirdo but, oddly, he and Didi made for a really sweet couple.  Add to that Michele Lee brought a sense of genuine sadness to her role as the lonely widow.  Watching the show, I found myself hoping that things would work out for her and they did!

Yay!

I hope next week is this good!

The Further Adventures of Smokey and the Bandit


The first Smokey and the Bandit is a classic.  What about the sequels?

Smokey and the Bandit II (1980, directed by Hal Needham)

The gang’s all back in this sequel to Smokey and the Bandit!  Burt Reynolds is the Bandit!  Jackie Gleason is Sheriff Buford T. Justice and his two brothers, Reginald and Gaylord!  Jerry Reed is Snowman!  Sally Field is Carrie!  Pat McCormick and Paul Williams are Big and Little Enos!  Mike Henry is Junior!  Dom DeLuise is an Italian doctor!  Terry Bradshaw and Mean Joe Greene play themselves!  There’s an elephant!

You get the idea.  Smokey and the Bandit II promises more of the same.  In some ways, it delivers.  There are some entertaining stunts.  The finale features what was, at the time, the biggest car chase ever filmed.  But Smokey and the Bandit II fails at the most important part.  It fails to recreate the fun of the first film.  Everyone is just going through the motions.  Burt Reynolds later said that he only made the film as a favor to Hal Needham while Sally Field said that she agreed to appear in the film as a favor to Burt Reynolds.  Jackie Gleason did the movie because he needed the money but, because he was also in poor health, he requested that his scenes be filmed first and that they be filmed quickly.  That the three stars didn’t have much enthusiasm for the project is obvious while watching the movie.

This time, Big Enos wants the Bandit to transport an elephant to the Republican National Convention in Dallas.  The Bandit, however, has been an alcoholic wreck ever since Carrie left him to, for some reason, get back with Junior.  Snowman manages to sober up the Bandit and, after they help Carrie run out on her wedding for a second time, it’s time to transport an elephant.

In hot pursuit, Sheriff Justice gets help from his brothers, all of whom are also played by Gleason.  Reginald Justice is a Canadian Mountie who speaks with a posh accent that is in no way Canadian.  Gaylord Justice is a flamboyant state patrolman.  Whenever the brothers talk to each other, doubles are used.  There are a few split screen shots that are so ineptly handled that it ends up looking like a page from a comic book with each Gleason standing in a separate panel.  The end credits list Gaylord as having been played by “Ms. Jackie Gleason,” just in case you’re wondering the level of this film’s humor.

Dom DeLuise gets some laughs as an Italian doctor who is recruited to take care of the elephant but otherwise, this is a depressing movie.  Burt Reynolds and Sally Field were on the verge of breaking up when this film was made and neither one of them acts their scenes with much enthusiasm.  Watching the movie, it’s impossible not to compare their strong chemistry in the first movie to their total lack of it in the second movie.  There’s a subplot about the Bandit trying to prove that, even though he’s getting older, he’s still a legend and, for those who know anything about Burt Reynolds’s career, it hits too close to home.  Combining that with the sight of an obviously unwell Jackie Gleason and you’ve got a surprisingly depressing comedy.

There is one cool thing about Smokey and the Bandit II.  After the critics thoroughly roasted the film, Hal Needham took out a one-page ad in Variety.  The ad was a picture of Needham sitting in a wheel barrow full of money.  That’s one way to answer your critics!

Smokey and the Bandit 3 (1983, directed by Dick Lowry)

Smokey and the Bandit 3 is even more depressing than the second film.  Not surprisingly, Sally Field is nowhere to be found.  She had broken up with Burt after the second film and was busy pursuing a career as the type of actress who didn’t appear in car chase films.  Burt does appear in the film but he only makes a cameo appearance, showing up for a few minutes at the end with a resigned look on his face as if he realized that he was never going to escape being typecast as an aging good ol’ boy.  Also not returning was Hal Needham.  Needham was busy directing Stroker Ace so he was replaced by Dick Lowry.  What type of director was Dick Lowry?  Other than Smokey and the Bandit 3, Lowry’s best known credit is for Project Alf.

Jackie Gleason, Jerry Reed, Pat McCormick, Mike Henry, and Paul Williams all return but none of them look happy to be there.  The plot is that Sheriff Buford T. Justice has retired to Florida but he just can’t turn down a challenge from Big Enos and Little Enos to drive a stuffed shark from Miami to Dallas.  Smokey is the Bandit!  (That was originally the title of this film.)  When it looks like Buford is doing too good of a job of transporting the shark, the Enoses hire Snowman to chase Buford and slow him down.  It doesn’t make any sense and Jerry Reed and Jackie Gleason don’t share any scenes together despite co-starring in the film.  Supposedly, Gleason was originally cast as two characters — Buford and the man hired to slow Buford down — but when preview audiences were confused by the film, the studio demanded reshoots.  Jerry Reed was brought back and all of the scenes featuring Gleason as the new Bandit were reshot with Reed.  Reed even grew a mustache, wore a red shirt, and broke the fourth wall just like Burt did in the first film.

Not surprisingly, Smokey and the Bandit 3 is a disjointed mess that doesn’t even have any spectacular car crashes to justify its existence.  Jerry Reed is as amiable as he was in the first two films but Jackie Gleason’s Buford Justice was never meant to be a lead character.  In small doses, he was funny but Buford was too one-dimensional of a character to build an entire film around.

Smokey and the Bandit 3 was a failure with critics and at the box office so the Bandit’s adventures came to a temporary end.  Years later, Hal Needham produced four made-for-TV prequels the starred Brian Bloom as a young Bandit.  I haven’t seen them.  If I ever do, I’ll review them.

Film Review: Baby Driver (dir by Edgar Wright)


Baby Driver, the new film from director Edgar Wright, is awesome!

That’s the succinct way of putting it and, if you really want to fully enjoy this film, I suggest that you stop reading this review now. There’s no way that a review cannot, to a certain extent, spoil a movie.  Baby Driver is a kinetic blend of action, comedy, romance, and music and it is a movie that you should see without any preconceived notions and expectations.  It’s a movie that earns the right to surprise you with just how good and entertaining it is.  It’s a movie that you should experience fresh.

So, go see the movie.  Seriously, go right now.  GET OUT OF HERE AND SEE THE MOVIE!  This review will still be waiting for you when you get back.  Who knows?  Maybe, while you’re watching the movie, I’ll actually correct some of the typos.  Or maybe not.

Anyway, go away.  I’ll wait for you to return.

la dee da la dee da…

Okay, did you see the movie?  It’s really great, isn’t it?

As a result of the childhood car accident that killed his parents, Baby (Ansel Elgort) has been left with a permanent case of tinnitus.  He uses music to drown out the constant ringing in his ears.  There’s almost never a time that Baby isn’t listening to his ipod.  When we first see Baby, he’s sitting behind the wheel of a car, singing along with Jon Spencer and the Blues Explosion.  The second time that we see him, he’s getting coffee while listening to Harlem Shuffle.  In a delirious homage to Singin’ In The Rain (and in a scene that puts the opening traffic jam of La La Land to shame), Baby literally dances across the streets of Los Angeles.  For Baby, every day is a musical.

Of course, Baby doesn’t just use music to block out the ringing.  He also uses the music (and an ever-present pair of sunglasses) to keep the world out.  He rarely speaks or even makes eye contact and, as long as he’s listening to his ipod, he has an excuse not to interact.  He doesn’t have to explain the small scars around his eyes or how he makes his money.  The few times that he does speak to people, it’s to record their voices, which he then turns into music.  Music and the driving are the only two ways this orphan can express his feelings.

When the movie begins, Baby appears to be close to only two men.  One is his deaf foster father, Joseph (CJ Jones).  Baby lives with Joseph, in an apartment where Baby regularly stashes thousands of dollars.  Joseph always watches in disapproval as Baby hides the money under the floorboards.  Joseph signs at Baby that he deserves better than the life he’s leading.  Baby always signs back that he’s only a few jobs away from being done.

Baby’s other father figure is Doc (Kevin Spacey).  Doc is a rich and connected man.  At times, he seems to sincerely care about Baby but there are other times when Doc is just as quick to threaten to kill him and everyone that he loves.  Doc plans bank robberies for a living.  Doc may change associates from robbery to robbery but one thing always remains consistent.  Baby is always his driver because Baby is the best.  As Doc explains it, the first time he saw Baby, he was stealing Doc’s Mercedes.  Baby drives for Doc as a way of paying off his debt to the older man but you still believe Baby’s sincerity when he tells Doc, “We’re a team.”  (One the film’s best throw-away jokes is the line where Doc reveals that he knows where Baby got the idea to say that.)

Things start to change for Baby when he meets Debora (Lily James), a waitress who appears to love music just as much he does.  For Baby and Debora, it’s love at first sight but Doc has one more job that he needs Baby for.  It’s their most dangerous job yet and, making thing even more complicated, are the three people who Doc has recruited to work with Baby.  Buddy (Jon Hamm) is a former wall street banker who is eager to prove what a badass he is.  Darling (Eiza Gonzalez) is his wife, who enjoys talking about how many of their former partners have died.  And finally, there’s Bats (Jamie Foxx), a complete and total psycho who brags about never telling a single story that doesn’t end with someone getting killed.

Baby Driver is a propulsive blast of pure adrenaline, perhaps the closest that we will ever get to a genuine pulp musical.  The action scenes left me literally breathless.  I saw the movie at the Alamo Drafthouse and, before the film started, there was a clip of Edgar Wright listing his favorite car chases.  He listed all of the usual suspects, Bullitt, The French Connection, Mad Max: Thunder Road.  The chases scenes in Baby Driver can proudly be listed next to all of those scenes.  This is genuinely exciting crime film, featuring wonderfully over-the-top turns from Foxx, Hamm, and especially Spacey.

But you know what?  Baby Driver may be a great action film but what makes it special is that it’s also a film with a heart.  Rather bravely, Edgar Wright has not only made an action musical but he’s also mixed in a very sincere and unabashedly sentimental love story.  You never doubt for a second that Baby would give up everything — music, driving, even his life — for Debora.  The scenes between Baby and Debora are almost deliriously romantic.  Ansel Elgort and Lily James both share a very likable and very real chemistry.  You want things to work out for Debora and Baby.  You feel like they belong together and, when it looks like either Baby or Debora might be in danger, you worry for both of them.  As exciting as the film’s action sequences were, it was the ending that brought tears to my eyes and that was almost totally due to the performances of Elgort and James.

Baby Driver is one of the best films that I’ve seen so far this year.  See it this weekend!  If you’ve already seen it, see it again!  This film deserves to be rewarded.