Baby Driver

I can vividly remember leaving the cinema after watching Edgar Wright’s last film: Scott Pilgrim vs. The World, seven (!) years ago now thinking, correctly, that it’d sit amongst my all-time personal favourite films for years to come.

I’m pleased to say that Wright’s long-awaited fifth picture, and first as sole writer and Director: Baby Driver, leaves the exact same feeling.

Once again changing up genre, Baby Driver sees Wright turn his attention to what, in effect, comes across as a car chase, crime musical (La La Land with cars? Drive as a music video?) and is utterly original, compelling and fresh.

A banging soundtrack and endless sense of fun leave it with a Guardians Of The Galaxy-esque feeling of escapism and a pseudo-realistic, small-scale feel allows you to glance over any minor plot holes.

The film concerns Ansel Elgort's titular Baby (the film is named after the Simon & Garfunkel song of the same name) who is a getaway driver for Kevin Spacey's crime lord. Baby has a tortured past and aspirations beyond crime and his life is flipped upside down upon meeting Lily James' Debora at a diner.

Too much more description of plot would potentially spoil the fun but particular highlights are Wright’s use of full songs during particular segments (a car chase, the title credit sequence and a foot chase scene particularly) which are timed perfectly to the beat; it’s meticulously detailed (song lyrics are even subtly hidden in the background) and immensely satisfying.

There are also great villianous turns from Jon Hamm, Jamie Foxx and Jon Bernthal.

Put simply, it’s a must-see. Film of the year so far.

5 stars *****