Writer-director Edgar Wright (The Three Flavours Cornetto Trilogy, Scott Pilgrim vs. the World), brings another slick and eccentric experience to the big screen in Baby Driver. Ansel Elgort (Divergent, The Fault in Our Stars) is Baby, a young man with severe tinnitus who drowns out his condition with music. He almost constantly has his headphones plugged in, playing his life out to a personalised soundtrack of songs such as Bellbottoms and Queen’s Brighton Rock. Wright frames the story around this concept, with a wide array of varied and excellent songs that the onscreen shenanigans are closely choreographed to – with pinpoint and precision editing that keeps things zippy.
The plot itself though is familiar. Baby is a young getaway driver trying to get out of the game but is forced to repay a debt to Doc (Kevin Spacey), a crime boss who has Baby under his thumb. Forced to team up with an assortment of unsavoury types, such as Jon Hamm’s greasy Buddy and Jamie Foxx’s impulsive Bats, to execute a series of heists, Baby discovers his love interest in waitress Debora (Lily James) which reaffirms his desire to get out. The plot then hurtles towards Baby’s ‘one last job’ before he can finally escape with Debora. It’s a familiar setup, but executed with a killer soundtrack from a director with a truly unique voice.