The Sound + Vision of 'Baby Driver'
It's tough to pick a favorite music cue in Edgar Wright's impeccably soundtracked homage to Seventies car-chase flicks: That opening getaway set to Jon Spencer's "Bellbottoms?" An armored-car robbery and subsequent freeway shoot-out scored to the Damned's "Neat, Neat, Neat?" Our man Baby (viva Ansel Elgort's endless array of sunglasses!) eluding the lukewarm fuzz to the yodeling-friendly strains of "Focus" by Hocus Pocus? Whatever showstopping set piece you might single out, however, pales in comparison to what the British writer-director has done with the movie as a whole. It's impossible to think of a better example of a sustained mesh of sound and vision than this set-to-shuffle crime thriller – the sort of high-concept cinematic caper that anyone could come up with and only someone like Wright could actually pull off.