starring Ansel Engort, Kevin Spacey, Lily James, Jamie Foxx
written and directed by Edgar Wright
by Walter Chaw Edgar Wright is a good filmmaker and a better fan. The things he likes, he likes better than other people. It makes him the perfect choice for a zombie movie, a buddy movie, an Invasion of the Body Snatchers-type alien-invasion movie, even a videogame movie. What Edgar Wright doesn't appear to be is the type of Sidney Lumet/Walter Hill, gritty 1970s action-film auteur he'd probably like to be. With his new film, he's going for Report to the Commissioner but coming up with The Super Cops--and there's absolutely nothing wrong with that, except that straining for one impacts the effortlessness and unfiltered joy of the other. Baby Driver lands somewhere in the area of Peckinpah's The Getaway with its nasty rogue's gallery and Hill's The Driver with its enigmatic hero and his way with cars before sliding off the rails at the end, which feels like, of all things, the climax of Christine. Yet for a few effortless minutes at the beginning, it's something all its own, and it's delirious. It's the feeling you get when you first see Shaun of the Dead: like watching a favourite film for the first time again. I like that Wright loves all of these guys and their movies, but I wish he'd pick a lane. I admire his ambition and taste a great deal. But his far-ranging interests have made a disjointed mix-tape of this picture. It's the kind you make to impress instead of from the heart. For what it's worth, and it's not worth a lot, I just selfishly sort of wish he'd do more Cornetto films. How many flavours are there, anyway? At least seven, right? Let's get on that.