Baby Driver

Split-second ingenious unassailable guiltless reflexes, instinctively classifying delicate improvisation, piquant extemporization, serpentine spontaneity, the driver, driving the getaway vehicle, atavistic awareness vigilantly circulating extractions, an unprecedented impresario envisioned in wild heartlands brake swerve accelerate, coordinate chaos with implicit clandestine credulity, pulsating pumping propulsive paved impertinence, irreducibly reacting, to unpredictable explosive larceny.

Mad skills.

Variably exercised.

Character driven.

Edgar Wright's Baby Driver's hilariously character driven, with Ansel Elgort (Baby), Lily James (Debora), Bats (Jamie Foxx), Buddy (Jon Hamm), Darling (Eiza González), Joseph (CJ Jones), Griff (Jon Bernthal), and Doc (Kevin Spacey) each chauffeuring full-throttle eccentricities that make said characters their own.

The well-thought-out creatively choreographed romantically comedic yet harrowingly hardboiled script (Wright) supplies them with ample maneuverability.

In fact I'd argue this is Wright's best film.

There are two notable oppositions within that reflect different intellectual styles.

Baby and Doc's youthful and aged conversations provide the film with an executive frame as they reticently interact, Doc's nephew Samm (Brogan Hall) brilliantly expanding one of their sequences, while Bats and Buddy concurrently represent clever tenacious earnest hard work, as they durably discuss various subjects between jobs.

Nice to see Jamie Foxx rockin' it again.

Doc heartbreakingly embraces romance in the end, risking everything to aid young Baby and Debora as they wildly set off to matriculate on the run.

I've been focusing on the criminal nature of the film but it's also a warmblooded romance.

Baby owes Doc a large sum of money that he's been slowly paying off for some time.

He meets Debora at the diner where his deceased mom used to work and they hit it off, young adult love at its most endearing, hesitantly tender and shyly enthusiastic.

Since he engages in illicit activities quite frequently, however, the nogoodniks eventually terrorize their sanctuary, especially after they craft plans to escape, which unconsciously precipitate embroiled maturations.

Excellent film that's patiently yet boisterously detailed, the dedicated caregiving, the musical artistry, the Mike Myers gag, the paradoxical sense of coerced altruism, the relaxed quiet dignity, the wanton perplexed angst.

Realistic reverberations.

Sweet sweet summertime.

Breezy.