Baby Driver (dir. Edgar Wright, 2017) – Deep in debt, a young getaway driver is coerced into working for a criminal mastermind, whose incrementally dangerous heists put him in a tough spot.
Driven by stylistic action, Baby Driver would more than please thrill-seekers who habitually set soundtracks to every little routine.
Baby Driver may seem like a novel concept, but it seems Edgar Wright has been building up to his rhythmic caper film all along. Back in 2002, he has already tinkered with the idea in his music video for Mint Royale’s Blue Song, starring Noel Fielding, Nick Frost, Julian Barratt, and Michael Smiley (whom I only wish were in this film):
His subsequent works have snuck in more than a few musical moments too. A standout scene in Shaun of the Dead saw scrimmage attuned to Queen’s anthemic Don’t Stop Me Now. Hot Fuzz introduced Sergeant Nicholas Angel to the addictive beat of Adam Ant. Not forgetting how Scott Pilgrim, well, launched the short-lived fictional career of Sex Bob-omb.
So it is unsurprising that his next project would own an equally killer soundtrack. Not content with stirring song choices, his latest stylistic adventure finds the visuals to match in a genre purely fuelled by excitement. Once the film opens with a getaway drive perfectly synced to Jon Spencer Blues Explosion’s Bellbottoms, there is no question that the audiences are in for a real treat.