Like all Edgar Wright movies, Baby Driver is a kinetically charged explosion of style. A lively thrill from start to end laced with musical sensibilities.
But considering his previous work (Shaun of the Dead and Scott Pilgrim vs. the World, to name a couple) this should come as no surprise. He is a restless director who seemingly enjoys turning simple plot-lines into hyper-jazzed features ... and he does it so well.
Ansel Elgort is the eponymous Baby. A talented getaway driver forever in debt to a criminal king-pin named Doc (Kevin Spacey).
Baby suffers tinnitus, a "hum in the drum" as the po-faced Kevin Spacey describes, meaning he wears earbuds with a carefully chosen iPod playlist to drown out the constant ringing - a distraction which he finds insufferable.
The iPod also provides the soundtrack to his life. He is, in a sense, living in a musical as exemplified in an early scene (that ventures unabashedly into La La Land opening sequence territory) where Baby dances down the street to Bob & Earl's Harlem Shuffle.
