All those fusses you're hearing about this Film ain't fake – It's 100% pure class of Entertainment!

Rating: 9/10 (27 June 2017)

This film blends awesome action with a superior soundtrack in an original and logical way that makes it all an incredibly fun thrill ride, where the tunes bring the audience into the protagonist's head in a uniquely fun way that I've never experienced before.
Imagine if OK Go videos were full-length films and you've only cracked half the technical excitement inside of Baby Driver. The 80's aesthetic that Wright is channelling extends far beyond just some of the song choices. It permeates from every choice in sets design, car models, wardrobe and even the characters. True to the colour palette of the decades the film is paying homage to, every aspect of the film is vibrant. The colours pop and draw us into the film like moths to a very inviting flame.
The beauty of the film isn't just in the physical pieces, but in how Wright uses them in a complex ballet of moving parts to tell the story. This includes the often comical interactions with characters that are themselves semi-anachronistic archetypes of films past. We have the Bonny and Clyde duo working with the mercurial, unhinged gangster and the mob boss in businessman skin. There's even the misunderstood hero with a rough past falling for someone whose speed is the opposite of his own. The great unifying force that brings Baby Driver together goes beyond the way they interact with each other and includes how they interact with their surroundings.
In addition to the edge-of-your-seat car action, Baby Driver is also the best and most convincing love story that you are likely to see in the cinema this year – making it an almost perfect date-movie, in that you'll likely fall in love with its leads, Baby (Ansel Elgort) and Debora (Lily James).
Without getting into the film's minutia, which is revealed in flashbacks as the narrative progresses, Baby is an indentured servant of sorts to a criminal kingpin known as Doc (Kevin Spacey), who masterminds bank heists with the young man as the getaway driver.
But, Baby is not just any wheel-man. He has supernatural skills behind the wheel, powered by an iPod mix that fuels and focuses his special abilities. Through the film's soundtrack, you hear the tunes he hears and you will believe a man can fly – through traffic – going any direction – as if he were Superman on wheels.
Like any good anti-hero, our man just has to do one more job and then he's out and can walk away from "the life" forever and, of course, things are never that easy. Just as Baby meets diner waitress, Debora, and falls madly in love, his world goes uncontrollably awry.
In the past, Wright has always included a core theme into his films that everything else revolves around. This time it isn't zombies, aliens or even a cabal of evil exes, but something more relivable: moving music and fast cars. We've all been in the car when our favourite song comes on and we can't help but loudly belt it out while doing some very misguided form of choreography when you probably have both hands on the wheel. Or maybe it's just me? Either way, use that image and increase it exponentially.The film's choreography and car-epigraphy (what I lovingly call car movements set to music, duh) treats every object, including the cars, as a sort of character or an extension of their expression. Every action is synchronised to create a perfect punctuation for that scene. Every song choice mirrors and embodies the emotion of the moment.