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Baby Driver is Edgard Wright’s Wunderkind

Smooth. It’s the word that comes to mind when discussing any of Edgard Wright’s films but feels especially apt to describe his latest genre-smoothie, Baby Driver (2017). Scenes dance from gunfights and street chases to diner chats and car seat makeouts with a confidence that is as intimidating as it is sexy. The camera spins and transitions through a film that almost dares you to look away and miss the next expertly choreographed sip of coffee. The dialogue is smart, but not too smart. It uses just as many words as it needs and lets the music do the rest. And by the time the credits role the film doesn’t appear transcendent, it just feels so much better than what the other guys are doing. In short, Baby Driver is smooth. Continue reading Baby Driver is Edgard Wright’s Wunderkind