Make no mistake, Baby Driver is pure cinema. To miss this thrill-ride on our screen is to do a disservice to you, the audience and to pure imaginative and adrenalin fuelled film making itself.
Edgar Wright, one of the few true, and the only British, auteurs in cinema, has fine-tuned his passion project to within an inch of its lense. Every edit, every stunt, every rhythmically timed sequence is meticulously planned and executed. His visual flair is his trademark and his eschewing digital to shoot on 35/70mm film stock is his weapon of choice.
Baby-faced Ansel Elgort is behind the wheel as Baby, the getaway driver working for Kevin Spacey. His struggle with tinnitus means he's plugged into his iPod 24/7. For him that means chauffeuring crooks (including Jon Hamm and Jamie Foxx) to and from banks to hi-octane backdrop of classic pop. For us this means car chases and shootouts to the beat of the music. It's a unique big screen experience indeed.
Wright has taken 1978's The Driver, Blues Brothers and, funnily enough, La La Land and put them in the grinder. This slick motor is the result. (research Jack Whiting) Fantastic. Don’t miss a beat.