"They grow up so freakin' fast." Edgar Wright's "Baby Driver" screeches across movie screens around the country and "Fault in our Stars" leading male, Ansel Elgort, is behind the wheel. "Baby Driver" also includes "Mad Men" star Jon Hamm, world class talents in Kevin Spacey and Jamie Foxx, and up and comer Lily James. From the instant "Baby Driver" begins we are placed in the shoes of our protagonist, Baby. From this second forward, we are Baby. We drive like Baby, we act like Baby, we walk, talk, breathe like Baby. For the first time in a long time, I haven't seen a movie where I've felt like I was in the shoes of our lead character. I pumped every brake, shifted every gear, and scavenged my iPod for the song that best fit my mood with Baby, and that's because Edgar Wright wanted us to. Going this route placed us right there with Baby step by step and it really made every scene come alive and feel personal to our lead. It's a film that reminds me a lot of one of my favorite films of all-time, "Back to the Future" (thanks Stephen). While "Baby Driver" isn't plotted or written as well, they remind me a lot of each other because of how the director approaches telling the story through our protagonist. Allowing us to learn about the characters Baby associates himself with, and the world those characters reside in. What Edgar Wright achieves here is the primary reason why I love "Baby Driver", but Wright adds icing and sprinkles on the cake through the sensibilities that make Edgar Wright a great film-maker. Much like his previous works, Edgar Wright continues delivering his pitch perfect editing, wicked sharp dialogue, and precise world building. It was when Edgar edited the sound of a wad of cash hitting a table to the beat of a song I whispered,"This man is a genius." The way he is able to inject a sense of energy, creativity, excitement, and originality to his works is unparalleled. There isn't a film-maker quite like Edgar Wright and he always delivers films that have a sense of familiarity to them, but adds some of that Wright originality that provides an invigorating film-going experience. While Wright is serving up this delicious cake, he puts together what I would consider the greatest soundtrack ever put to film. Full of some old familiars, underrated songs, or songs that will become more popular due to being given the spotlight in "Baby Driver". There is almost never a moment where music isn't playing in "Baby Driver", and it serves a purpose to the character and the narrative. "Baby Driver" almost plays out like a musical but not in the way that characters hop on tables and start jiving, but because of how the music is able to exert a character's feelings or current status of Baby's role in that world. The soundtrack is almost a character itself similar to that of Peter Quill's Awesome Mix Vol. 1 and 2 in the Guardians of the Galaxy films. It's quite impressive how film-makers over recent years have been able to incorporate music in such a creative way and I hope this trend continues. In conclusion, "Baby Driver" is nothing short of a masterwork from Edgar Wright. It does virtually everything right despite the issue I have with the plotting of the film. Luckily, the film contains so many fantastic elements to it that it's hard not to fall in love with "Baby Driver". Ansel Elgort brings the charm, Edgar Wright brings the creativity, and "Baby Driver" ends up being the finest piece of cinema composed so far this year. It's a stimulating symphony of action, crime, drama, and romance, and it never lets off the gas. "Baby Driver" gets a 96/100