Baby Driver (15)


British director Edgar Wright has written and directed a sharp and satisfying heist movie that has heart, soul and some stunning set pieces.

Wright has retained a lot of the comic style that was on display in his previous offerings Shaun Of The Dead and subsequent sequels but Baby Driver manages to be thrilling and exciting at the same time.

Baby Driver played by Ansel Elgort is a getaway driver for big bad boss Kevin Spacey and his band of merry robbers who rob banks with the relish of comic book villains.

Baby is very good at what he does but a trauma in childhood that leaves him with tinnitus means he relies on his iPod to block out the drum-hum and help him focus on driving the baddies to freedom.

The advantage to the viewer is that similar to Tarantino films of the past, the soundtrack is as gripping as the driving action seen on the screen.

An old debt to Spacey means Baby just can't get out the gang's clutches, however a romantic sub plot rears it's head leading to a change of attitude for Baby.

If it sounds slightly old hat, Wright had an ace up his sleeve and this has to be the soundtrack that turns this average heist flick into a modern day musical, using colours and choreography that La La Land fans may scream at.

Everything seems choreographed to the music. but there's no dance routines or spontaneous singing.

It's grounded in the real world, but seen and heard through Baby's eyes, music permeates everything he does.

The film is clever and joyful, despite the dark subject matter and characters and Elgort is a charismatic and likeable lead.