Edgar Wright drifts out of comedy and into the crime-musical bliss of Baby Driver

Master Of None (Photo: Ali Goldstein), Downward Dog (Photo: Brian Douglas/ABC), and The Handmaid’s Tale (Photo: George Kraychyk/Hulu). Image: Libby McGuire. Screenshot: The Incredibles Robert Broski (Photo: Suzanne Tenner) Photo: Sony In Wright’s exhilarating genre pastiche Baby Driver , lanes of traffic become dance floors for swerving vehicles, gunshots ring out like bebop punctuation, and even the tough-guy patter has a musical quality, a rat-a-tat rhythm. Wright, the director of Shaun Of The Dead , Hot Fuzz , and a couple other peerless laugh riots, has crammed a jukebox musical under the hood of a gearhead crime caper. His clever hook: The movie’s hero, an underworld wheelman played by Ansel Elgort, has a lifelong case of tinnitus, and he drowns out the high-pitched whine by flooding his damaged eardrums with music, a constant stream of good vibrations piped in the candy-colored iPods he keeps in his pockets. Wright has always a movie like this in him, and not just because he’s been dreaming about it since the ’90s. Up until , the filmmaker has used his supreme technical prowess mostly for the purpose of jokes, scoring big laughs crack timing—the quick cut a priceless […]

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