Alright, hands up if your jaw was dropped at those incredible car stunts throughout. Now put your hand back down if you were thinking that I’m at least two weeks late on this review. That should account for both of us, and I apologize. This stylish crime comedy-drama from writer-director Edgar Wright opened worldwide on June 28th, 2017, following its critically acclaimed premiere at South By Southwest. It has since grossed over $72 million at the box office, becoming one of Wright’s highest-grossing projects to date. After his unexpected exit from Ant-Man, he went ahead with his second American production to date, his first one being 2010’s Scott Pilgrim vs. The World. The plot stars Ansel Elgort as Baby, the greatest getaway driver in the world who loves listening to music. The mob boss he works for, Kevin Spacey, organizes new crews and bank robbery jobs every week, with one more before Baby can escape from this criminal life. His passion for leaving is only fueled when he falls in love with a diner waitress named Debora, which attracts the unwanted ire of some of the bank robbers. Getting it out of the way right now, I love Wright’s work, especially his Three Flavors Cornetto Trilogy. Hot Fuzz, in particular, is one of my all-time favorite comedies and made me start to love British humor. But this is definitely an American movie, with several jokes poking fun at its infrastructure and culture. But that doesn’t mean he isn’t any less welcome. Quite the opposite, in fact; Baby Driver is one of the best works of his career. In particular, the entire first act of this picture is essentially perfection from both a filmmaking and enjoyment standpoint. The trademarks of his filmography are all there, not the least of which is the kinetic camerawork of Bill Pope. After the brilliant cold open, the beginning scene consists of a single tracking shot of Baby walking around the streets of Atlanta. Getting some coffee, jamming out to songs on his iPod, interacting with some street folk. It’s actually quite inspired. What’s more inspired is the equally kinetic editing job of Paul Machliss and Jonathan Amos, which brings some really swift cuts of fast-paced scenes. This is common in many Hollywood productions, but the difference is that you can actually track everything in the action perfectly here. Ansel Elgort is endearing as the titular protagonist, keeping his wits and dignity about him. Although I was initially cautious with him when I saw him in both The Fault in Our Stars and Divergent, he shows here that he can truly act and make the audience empathize with him. Kevin Spacey may be the obvious choice to play an elderly but powerful man with a firm grip over everyone, but damn if he isn’t great at it. He exhibits all the greed of Frank Underwood in House of Cards, but still brings enough humor and care to make him a complete human. “Don’t feed me anymore lines from Monsters Inc. It pisses me off!” he says after getting tired of excuses. Jamie Foxx, Elza Gonzalez, Jon Bernthal, and Jon Hamm play the quirky gang of bank robbers, and each contributes a bit of something unique. Hamm particularly surprises as a violent criminal bent on killing those who get in his path. Meanwhile, Lily James as Debora has been the biggest point of contention for many reviewers that makes or breaks the film. Some say she was a great addition, others felt she was totally unnecessary. I’m somewhere in the middle of it all. While I did think the love story between her and Baby was sweet, it definitely felt forced and tacked on, especially near the end of the movie. If they had decided to cut her out of the movie entirely, I don’t think the plot would have changed too much. But rest assured, the whole rest of Baby Driver is absolutely awesome. One of Wright’s biggest things is how much he loves older films and even integrates elements of them into his movies. Whereas Hot Fuzz was a tribute to old action movies, this is clearly an homage to old-school heist movies like The Italian Job. But he packs in so much energy and charisma that it still feels fresh and original. And of course, what’s there to talk about this movie without the much talked-about soundtrack? They must have meticulously planned every song because they all fit so perfectly into each scene that is appropriate. In fact, most of the action sequences are tuned to the beat of a particular track. One such scene involves a shootout in which “Tequila” by The Button Down Brass is playing in perfect form, and many notes are topped by shots of gunfire. This was absolutely brilliant. (Appropriate use since the director is British) However, I do want to say that you shouldn’t walk into the movie expecting only a bunch of stomach-hurting humor. This is not a total laughing riot like his previous films and is instead arguably the most serious and grounded entry from his filmography. But it doesn’t take itself seriously just enough for it to still be a great blast. Expertly helmed but maybe 10 minutes too long, Baby Driver is a stylized opera of music and guns that is gloriously entertaining. This is by far Edgar Wright’s best American movie, and one I will have no trouble coming back to on multiple repeat viewings.