It’s been a hot minute since Edgar Wright has graced us with his genius. The man responsible for such perfect fare as Shaun of the Dead and Hot Fuzz, Wright has long been a pioneer of the Trojan horse comedy, trafficking highbrow laughs in with genre trappings. Unlike many of his contemporaries, Wright is known for his masterful command of visual language, finding laugh-out loud moments in sharp editing, frame composition, camera operation and a great ear for music that amplifies the deadpan, pun-happy, tongue-in-cheek writing gushing from the page. As the mainstream moves more and more toward studio comedies disemboweled by flat visual palettes that fail to embolden jokes with any discernible directorial decisions, Wright has further articulated and championed his particular filmmaking flavour and the world of cinephiles has been the more fortunate for it. Which takes us to Baby Driver. Read More