Lily James cannot fight the music. In the title role of 2015’s handsome Cinderella rework, her beautiful singing served as a plot point, attracting a suitor to her like a sailor drawn in by a siren’s song. She’s gotten another bump in visibility as the female lead of Baby Driver, another film fundamentally oriented around music. (The swooningly romantic scene in which she and her crush Baby share a pair of earbuds at a laundromat is already a fan-favorite.) Now she’s taken her next major role, and it’s sure to put her vocal cords through their paces.
You know an Edgar Wright film when you see one, even if Simon Pegg isn’t nearby — the distinctive (and often heartfelt) sense of humor, the impressive editing, the momentum, and the predictably awesome soundtrack, all working in time to deliver a film that’s remarkably poignant for such a well-oiled machine. Baby Driver might not be quite what you’re expecting from the director of Scott Pilgrim and Shaun of the Dead, and yet it’s entirely what you’re hoping to see. Despite some of its unexpected qualities and low-key visual style, it is perhaps the most Edgar Wright film to date.
As the new trailer proudly proclaims (as well it should), Baby Driver is currently sitting at 100 percent on Rotten Tomatoes, which will likely push Edgar Wright’s latest to the top of many must-see summer movie lists. That rare critical consensus could change when Baby Driver hits theaters in a few weeks, but trust us on this: You’re going to want this movie in front of your eyeballs (and in your ears) as soon as humanly possible.