Rarely does one come across a film on crime with high-octane car-chase sequences, accompanied by an ear-pleasing soundtrack. Baby Driver (Ansel Elgort) suffers from a constant ringing in his ears – a result of a car accident in his childhood that killed his parents – but compensates for his disability by perennially donning earphones and listening to the playlist on his iPod. This helps him in his job as a getaway driver for his mentor, veteran mastermind Doc (Kevin Spacey). Doc never works with the same team except for Baby, who is considered his lucky charm. After meeting Debora (Lily James) a waitress, and bonding with her, Baby wants to quit the racket for good. But Doc pressures him into the familiar ‘one last time’ heist with Bats (Jamie Foxx), Buddy (Jon Hamm) and his girlfriend Darling (Eiza Gonzales), who envy his superhuman feats behind the wheel and detest his cool-minded approach to the heists.

It’s a familiar theme – daring heists in broad daylight, but writer-director Edgar Wright invests the story with as much music as action and crime – Baby’s life’s soundtrack becomes synonymous with the film’s soundtrack.

Whether it’s Queen’s ‘Brighton Rock’ or The Ventures’ ‘Tequila’, Wright keeps the music flowing, keeping the viewer aurally and visually engrossed. He extracts mature performances from the entire cast, and whether it is the staid Kevin Spacey as Doc or the villainous Jamie Foxx as Bats, each character seems well fleshed out. While Elgort prancing though the streets may not quite remind one of John Travolta, the young protagonist proves to be the scene-stealer in a tailor-made role.

Shot in Atlanta, the film is named after Simon & Garfunkel’s song ‘Baby Driver’ from their 1970 album ‘Bridge Over Troubled Waters’ and inspired by a music video Edgar Wright had directed 14 years ago.  A must watch!