Baby Driver

It’s been a week since I saw “Baby Driver,” and I’m still pleasantly buzzed.

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Baby Driver is an almost perfect pastiche, a thoroughly enjoyable object. But sue me, I kind of miss the losers of the Cornetto Trilogy.

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A great pop song is a gimmick by design, not so different from a shiny fisherman’s lure. They don’t call it a hook for nothing.

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Edgar Wright’s glossy thriller, powered by an exceptional soundtrack, is the stuff of high-decibel dreams.

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Edgar Wright has always been a filmmaker who’s used music to spectacular effect.

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Edgar Wright drifts out of comedy and into the crime-musical bliss of Baby Driver.

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Baby Driver proves why we should never doubt Edgar Wright's vision, because few filmmakers can back their ambition with such quality thrills.

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The technical sophistication of Edgar Wright’s artistry reaches new heights with this heist-cum-musical.

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Much like Baby turns the world around him into music, writer/director Edgar Wright remixes the movies and tunes that have influenced him into the wildly joyous and fantastically entertaining “Baby Driver.”

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Blessed with old-school car chases and the year's best soundtrack, this crime thriller is the most fun you'll have at the movies this summer.

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The concept of the car chase suffered in limbo for too long with inexperienced directors too often cutting corners instead of respecting why films like “The French Connection,” “Bullitt” and “Ronin” are still held in high regard today.

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Wanting more is sometimes preferable to needing less, and I’m plenty content to groove with almost anything Wright’s strung into this tapestry.

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Ansel Elgort takes the wheel in Edgar Wright's music-driven cops-and-robbers romance, co-starring Kevin Spacey, Jamie Foxx and Jon Hamm.

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In “Baby Driver,” the director Edgar Wright is out to show you a most excellent time.

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The expertly cast Baby Driver premiered earlier this year at the SXSW Film Festival, where its positive reception contributed to the studio’s decision to accelerate the movie’s release date to an earlier, more coveted summer slot.

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The director of Shaun of the Dead and Hot Fuzz has returned with a genre mash-up that’s part heist drama, part musical romance.

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Ansel Elgort takes the wheel in this homage to heist movies.

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The first hour ranks among the greatest action comedies ever made — and then the rest of it happens.

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The good news is that, although Baby Driver is not much of a movie, it is an excellent music video — a club sandwich for the senses, lavishly layered with more than thirty songs.

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'Shaun of the Dead' director Edgar Wright builds an entire heist movie around the notion of a getaway driver who steers to the beat of his own playlist.

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“Baby Driver” begins with a bang, a showstopper of an opening number reminiscent of the ecstatic traffic jam in “La La Land,” only this time with the cars themselves as the dancers.

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Edgar Wright's Baby Driver couples a heist drama with delightful musical cues that works in all the right ways.

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