Baby Driver

From his ‘Cornetto Trilogy’ (Shaun of the Dead, Hot Fuzz, The World’s End) to Scott Pilgrim vs. the World, some of the best recurring elements in the films of writer-director Edgar Wright are his memorable musical cues, often during action where the choreography is perfectly timed to the chosen song – think Shaun’s pool-cue-whacking of a zombie in sync with Queen’s Don’t Stop Me Now.

The relationship between music and motion proves the defining attribute of Wright’s thrilling latest, Baby Driver, in which he’s back in North America with a somewhat more serious crime tale. The eponymous Baby (Elgort, charismatic in a tricky, dialogue-light role) is a tinnitus-plagued getaway driver in debt to a crime boss (Spacey), and in burgeoning love with a waitress (James). Baby’s the best in the business because of the bangin’ tunes he’s constantly playing to drown out the humming; the perfect playlists helps him pull off the perfect escapes. As such, the uniquely-styled Baby Driver is essentially a car chase movie as a musical – take that, Ryan Gosling. [Josh Slater-Williams]