A toe tapping, tire burning, hard talking yet heartfelt masterwork of sound and fury, Baby Driver continues to elevate Edgar Wright’s stock as one of the most entertaining and innovative filmmakers working today.

The fifth film from British filmmaker Edgar Wright, this heist-caper-somewhat-musical takes classic film-noir elements and modifies it into a roaring super-beast of a genre film. Taking the entertaining masculinity of the rev-head movie without the thick necked posturing, and combining it with a love story filled with stakes and sweetness, Baby Driver is a film sure to stand apart from a marketplace crowded with franchise repetition.

Ansel Elgort stars as Baby, a curiously named getaway driver for criminal mastermind Doc (Kevin Spacey), who has under his charge a rotating roster of bank robbers and overall madmen, among them Buddy (Jon Hamm), Darling (Elsa Gonzalez), and the appropriately named Bats (Jamie Foxx). With “one more job” to go until freedom from Doc’s grip, Baby looks forward to a normal life with his sweetheart Debora (Lily James), yet he quickly learns that a life of crime is not that easy to walk away from.

Much like Scorsese and Tarantino before him, Wright uses the jukebox soundtrack as an efficient tool for character development and tone setting. Yet the intimacy and technical intricacy with which Wright does so in Baby Driver is something to behold. Strutting to its own unique rhythm, gliding with style, and filled with high- end stakes that urges an investment into its memorable characters, Baby Driver is without equal in its marriage between its visual, story and especially its jukebox soundtrack stylings.

Great too are its characters, who are all well played by a solid assemblage of talent. Elgort delivers his best performance yet as the iPod listening, night glasses wearing, hopeless romantic with a certain set of skills for driving from the fuzz like a man possessed; Kevin Spacey puts on an intimidating presence as the crime boss who backs his tough talking shtick with certain action; and Jamie Foxx steals scenes as a wildfire of a career criminal who can burn you at any given moment.

Yet it is Wright himself who is the real star of Baby Driver. Supposedly, Wright first began working on this idea for Baby Driver over 20 years ago. In that time Wright acquired the experience and skills to match the talent needed to pull off just what might be his most ambitious, and quite possibly best, film yet.