Baby Driver begins with one of the most arresting openings seen this year. We motor through a car chase over the dulcet tones of the Jon Spencer Blues Explosion with ‘Bellbottoms’, as the eponymous motorist Baby (Ansel Elgort) evades police with remarkable skills that demonstrate why he is the best driver around. Writer-director Edgar Wright then ups the ante with one of his trademark long takes, as Baby essentially dances his way through the streets of Atlanta to the tune of Bob and Earl’s ‘Harlem Shuffle’. It is an opening of assured choreography and bravura musical choices, that clearly lays out Baby Driver‘s conceit of a heist film shot and edited like a musical. Overall, this conceit works, but the film never quite accelerates to the level achieved during its opening. The performances are very fine, especially Jamie Foxx as genuinely menacing psychopath Bats, while the romance between Baby and Debora (Lily James) is sweet and charming. Wright makes smart use of the Atlanta locations and delivers several rubber-burning car chases as well as some surprisingly nasty gun fights. These sequences fit with the straightfacedness of the film, which may be a surprise for those expecting a comedic tone like Wright’s Cornetto Trilogy as well as Scott Pilgrim VS the World. The lack of comedy is not a problem as the film works as a straight heist thriller with a distinct and imaginative soundtrack. However, in its final act the film meanders off the highway with some ill-judged sentiment that has been previously absent. Sentiment is fine but needs to be there since ignition – here it feels like an incongruous diversion from the brutality of the gangster milieu. In addition, the finale of the film is overdone with more than one too many ‘It’s not over yet!’ moments. Thankfully the film’s denouement avoids mawkish sentimentality, ensuring that this ride gets back on the road rather than becoming a wreck. Baby Driver may not be a perfect journey, but it still offers ample swerves and spins.