Edgar Wright's Baby Driver is a heist film set in a contemporary time period to the tune of an American jukebox spanning decades. The story, just like the score, operates similarly in the way this modern summer blockbuster is rehashing classic Hollywood heist film conventions; a good kid mixed up with the wrong people, a love-at-first-sight romance set in a diner of all places, and a deaf foster father who advises in signs? The ASL is one of the small new touches the film uses to make this heist feel fresh, but in reality the core of the story has been done before.
What is clear and why this film works is that it has never been done before by Edgar Wright, who infuses his style in every scene, from the quick cuts to the whipping camera. The movie pulsates to the score almost as if it was an extended music video. The dialogue simply progresses the plot, the characters have distinction but no development and this is all in service to keep it light. Wright does this all to serve the escapism, the one thing I relate most with the characters, less from its thematic presence and more because the film works on this superficial level, at a very high level of it at that.