Baby Driver

Within the span of a decade, Edgar Wright has become one of the most popular directors working today. His spark of creativity has yet to either falter or disappoint (and hopefully never will). It's safe to say he has nowhere to go but up.

So how has he fare with his American debut Baby Driver? Being more action-based than his Cornetto Trilogy or his TV series Spaced, it has car chases that would make Steve McQueen proud, a soundtrack of variety, and a rather solid lineup of actors involved. (Again, it's a testament of how Wright works that gives the film industry a much-needed spark of originality.)

As he showed with his more British-oriented productions, Wright has the editing play just as crucial of a role as the script. Thanks to the work from editors Paul Machliss and Jonathan Amos and sound editors Mary J. Ellis and James Peterson, what Wright had envisioned becomes reality. That said, it's not without its bumps in the road. (That wasn't intentional, honest.)

Wright doesn't exactly have the best track record with female characters, and Baby Driver only furthers that claim. (The only reason Spaced worked was because Jessica Hynes was both co-creator and co-writer of it.) Granted, Wright still has time to rectify this but when will it actually happen?

Baby Driver continues to prove Wright's worth as a writer-director. Yes, it has some flaws that were also found in his works with Simon Pegg and Nick Frost but in the long run, who cares? It's rad as hell.

My Rating: ****1/2