Baby Driver

It's thrilling filmmaking, a total blast, and rarely misses a beat.

Wright's ensemble cast has great comedic timing that, coupled with the percussive score and smooth action setpieces, will you ready to peel out of the local theater.

Baby Driver is so poorly written on levels of plot, characterization and (especially) dialogue that Wright's typically first-rate craftsmanship fails to save it-and, in context, even becomes its own source of annoyance.

The joy of Baby Driver is that, though you've seen versions of this story before, many times over, you've never seen it done quite like this.

It's all bolted together like clockwork, an assemblage of elements designed to arouse and engage an audience that needs a reason to stop looking at their phones.

The influences are there, but Wright builds on and subverts them in his hugely entertaining movie, one of the most satisfying films of its type to emerge in quite a while.

Baby Driver is a lovely, action packed film with an absolute gem of a story and it just might be Edgar Wright’s best.

The chassis of Baby Driver is the familiar “one more job” predicament smashed and splashed with jolts and sprays of meet-cute romance, catchy music, brass balls, and sheer action.

With Baby Driver, Wright delivers a delightful, mid-summer cinematic treat.

Baby Driver's comparatively small, handmade quality serves it well, making this kinetic piece of entertainment feel less like an anonymous studio tentpole than a personal labor of love.