Baby Driver opens with a rush, an expertly choreographed car chase to the explosive sounds of The Jon Spencer Blues Explosion’s Bellbottoms and never lets up from there. It’s the cinematic euphoria direct Edgar Wright has been aiming for his entire career, a barrage of exhilarating sequences soundtracked by an endless loop of sonic bliss. The story is intentionally familiar – a getaway driver on his last heist after meeting the girl of his dreams – but Wright moulds it all into a film unlike any we’ve seen before. With its cast in top form and filmmaking of the highest calibre, this is brilliantly stylized, absurdly enjoyable, and one of the best movie experiences in years.



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