No Hollywood suit and no diehard fan could have had the foresight to picture something like this, namely because nobody but Wright had any idea what this was supposed to be. This is something that’s been brewing inside his head for over two decades, and that unquestionable dedication, confidence, and passion fuels each and every scene of Baby Driver.

The mechanisms at work in Baby Driver, while calibrated with hair’s-breadth precision, are nothing new. Here’s what is: the sheer glee with which the film prods around in its own clockwork to show you what spins what.

The director’s most ambitious work to date is a wildly successful romantic heist comedy, propelled from scene to scene with a lively soundtrack that elevates its slick chase scenes into a realm of musicality that develops its own satisfying beat.

Baby Driver, Wright’s first-ever solo screenplay, is a thrilling and original cinematic joyride that pays homage to heist masterpieces while creating a legacy of its own.

The concept of the car chase suffered in limbo for too long with inexperienced directors too often cutting corners instead of respecting why films like “The French Connection,” “Bullitt” and “Ronin” are still held in high regard today. Like all great students, Wright tips his hat to the teachers and refuses to phone in the camerawork on his stunts.