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Theatrical Review

Baby Driver

There is a refreshing simplicity to Edgar Wright's Baby Driver, which is not something one can usually say about his films. Ever since his breakthrough horror-comedy Shaun of the Dead (2004), which introduced the world to Simon Pegg and helped invigorate a new cottage industry in postmodern zombie movies, Wright has delighted in toying with, subverting, and in some cases completely upending beloved Hollywood genres, but always with the sensibility of a kid who loves the toys he's breaking (that sensibility apparently was too much for Marvel, which sent him packing from Ant-Man several years ago). His best films, which also include the buddy-cop parody Hot Fuzz (2007) and the multimedia action-fest Scott Pilgrim vs. the World (2012), manage to defy convention while also holding fast to some basic emotional tenets'”male camaraderie in the former and romance in the latter. Sometimes he goes for too much, as in the recent The World's End (2014), which unsuccessfully tried to marry an ale-soaked buddy reunion comedy with an end-of-the-world alien invasion plot, but you can't fault his ambition and resolve.

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