Listening to his killer tracks, Ansel Elgort impresses as BabyTRISTAR PICTURES

Sometimes one is at the cinema and one suddenly realises that a scene they are watching will one day be iconic. Its layout, frame-by-frame, will be splashing the pages of film magazine polls for years to come.

La La Land achieved this feat in its glorious epilogue, borrowing from genres and movies past to present a cornucopia of cinematic delights. Rarely, however, does one find oneself having these thoughts as often as one does during Baby Driver, from its high-octane opener to the tune of Bellbottoms by Jon Spencer Blues Explosion, to our hero’s comeuppance and romantic reunion at the close. It is, without doubt, one of the most remarkable heist movies ever made.

"The rhythm of life has never felt such a powerful beat, and Wright will have you feeling it in your fingers and feet whether you like it or not."

This should not come as any great surprise to followers of Edgar Wright’s directorial filmography. His “Three Flavours Cornetto” trilogy proved him to have a keen, biting sense of humour, British to the core, that have cemented Shaun of the Dead and Hot Fuzz amongst the best of comedies. While more niche in its appeal, Scott Pilgrim Vs. The World stands out as a favourite for many, and has generated a staggering cult following.

Blending the wit and unrelenting violence from the former with the American charm of the latter, Wright presents what may be the most original film of the year, coming as the summer blockbuster season gets underway. In the face of superhero after transforming robot after war epic, this is the refreshing treat you should be sure to see over the vacation.

Perhaps its strongest and most diverse character is its soundtrack, one whose absence and eventual death comes as the most bitter and difficult to contemplate. A musical of a different kind, this is a work of art choreographed to the letter, every beat, pulse, and rhythm both in life and in tune. As the opening credits roll, Bob and Earl’s Harlem Shuffle introduces us to the movements of our protagonist, the eponymous Baby, and the city of his life. Every look, step, and car is perfectly in time, the lyrics appearing on signposts and in graffiti, staggeringly detailed.

It is a trend that becomes more impressive in the more ferocious action scenes, every gunshot expertly placed with Tequila by The Button Down Brass in a shootout following an arms deal, more impressive in its brevity than the entirety of Ben Wheatley’s Free Fire. The rhythm of life has never felt such a powerful beat, and Wright will have you feeling it in your fingers and feet whether you like it or not.

That originality never yields, and while retro in influence, it is a film made for the present and all its quirks, from vaping hipsters to labelled coffee cups. The highlight of this is its upcoming star, Ansel Elgort, previously doomed to the fate of teenage dramas such as Divergent, who plays the part with expert timing and innocence that is consistently gripping to watch. Along for the trip are more recognisable faces, the most prominent being Kevin Spacey, whose deadpan crime boss maintains a feeling of uneasiness.

Indeed, far from glamorising the crime world, here we are faced with its harsh reality, our hero’s discomfort our reminder of his unwilling cooperation throughout. Much of the sinister comes from Jamie Foxx, and while his presence onscreen alongside Spacey sometimes brings a worrying similarity to Horrible Bosses, it is one of his finest performances of recent years. The rest of the ensemble, including Jon Hamm and Lily James, round the edges and Wright is sure to get the very best out of each of them.

This is a film that reminds filmmakers everywhere that often the greatest films come from not trying to be anything else. Its premise settled, every frame feels intimately detailed, and screams for repeated viewing. When the DVD is released, expect plenty of pausing and rewinding to capture every moment; moments that will, inevitably, go down in movie history

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