Baby Driver' Review: Probably Edgar Wright's best film so far

Egdar Wright breaks his historical chain of comedy films with Simon Pegg and Nick Frost with his latest film, Baby Driver. A music-filled thriller with a simplistic narrative that reminds the viewer of Nicolas Winding Refn's 'Drive' from 2011.

Music drives this film forward. It's fused into its narrative, with our protagonist suffering from tinnitus and using the world of music to block out the uncomfortable sound of constant ringing; it's the disconnect he needs from his past and present, given a car crash in which his parents died in is the reason for his tinnitus.

Spending his childhood with a foster parent, Baby reduces himself to a life of crime from a young age, unfortunately stealing from a very dangerous man that is impressed by Baby's talents as a driver. Baby is forced to pay off his debt as a getaway driver throughout the years, eventually leading to the 'one last job' manipulation of criminals.

Narrative-wise, Baby Driver is a film about criminal manipulation, and the tough escape anyone would face when forced to accept the next job, but Baby is generally a good person; his morals are all in the right places, and it shows when he attempts to protect people from his not-so-friendly criminal associates.

The blend of music and choreography is a beautiful blend in Baby Driver, with Edgar Wright's cinematography focusing on connecting music in one way or another with character actions and interactions, even during the action scenes. It feels almost like a musical in parts, and that's where it feels truly unique as a film, despite its many similarities to other works of the same genre.

It truly feels like Edgar Wright's best film so far, with him having true creative freedom and him exploring his creative potential outside of comedy.