Metic­u­lous, bom­bas­tic and fun hell, Edgar Wright’s heist flick is every­thing an orig­i­nal movie should be If you think about it, had Edgar Wright stayed on “Ant Man,” this film would cease to exist as we know it today. After Mar­vel and the Eng­lish direc­tor, known for such films as “Shawn of the Dead,” “Hot Fuzz” and “The World’s End,” as well as an Amer­i­can depar­ture with “ Pil­grim vs. The World,” the eccen­tric film­mak­er turned to some­thing a lit­tle safer: heist film. Need­less to say, it’s impos­si­ble to expect any­thing safe from Wright, and the ball­sy move to cast teen heart­throb Ansel Elgo­rt in a seri­ous film role, espe­cial­ly after the col­lapse of the “Diver­gent” , was the start. Near­ly every­thing about “Baby Dri­ver” seems rel­a­tive­ly com­fort­able in the­o­ry, but slight­ly risky in its over­all deliv­ery. And god­damn if it is not the most fun you’ll have the this year. Baby (Ansel Elgo­rt) is a young get­away dri­ver work­ing for crime boss Doc (Kevin Spacey), repay­ing for dam­aged goods ear­li­er in his life. Suf­fer­ing from tin­ni­tus ( ring­ing in the ears), Baby lis­tens to music through his head­phones while doing his […]