Baby Driver


When one thinks of car chases in cinema, 1968’s “Bullitt” and 1971’s “The French Connection” unquestionably define the genre. This year’s “Baby Driver” comes very close but has its own additional distinction in the choreography of montage and music above and beyond that of the stunt cars. Writer-director Edgar Wright’s conception is to have his title character, the getaway driver for a gang of bank robbers, start a song with a heavy beat on his iPod whenever a chase begins. The resulting sight-sound synchronicity scores, heightens and crescendos the exciting action. Mr. Wright has also inspired strong performances from Kevin Spacey, Jamie Foxx, “Mad Men’s” Jon Hamm, “Downton Abbey’s” Lily James, and as the driver, newcomer Ansel Elgort—a clear candidate to become the 21st century James Dean.

In his Wall Street Journal review, Joe Morgenstern concluded that you’re, “likely to come away with an uptick in your spirits and a grin on your face that won’t quit.”

I sure did!

Jerry Weissman

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