If this doesn't get nominated for Best Sound Editing then I will Baby Drive myself into an 8-foot-long metal pole.
Baby Driver starts off with one of the most engaging opening scenes in film in recent memory. The opening car chase's use of color, sound, and car choreography all blends together in cinematic bliss. We are then shown a scene of our titular character, Baby, jamming to his own music while going for a coffee run. This is important because music plays such a vital role in the film. Within the first five minutes of the film you get solid idea of what Edgar Wright has in store for you.
Caretaker by day, talented getaway driver by night, Baby is an example of someone who is dealing with a tragic past but also gets involved with the wrong people in his present day life. Indebted to Doc (Kevin Spacey), Baby must play the driver role in a series of robberies around the city. Baby is not entirely a bad person and eventually wants to be free of his criminal duties.
What I love most about Baby Driver is simply what I love about all of Edgar Wright's films: the tight attention to detail, the editing, and the script. A lot of love was put into editing the action scenes of this film. This is one of those films where the action on screen matches with the music being played and it is done exceptionally well. Even dialogue-heavy moments have musical cues. You wouldn't be wrong if you wanted to classify Baby Driver as an action musical.
The script is especially noteworthy. Not a line, character, or joke is out of place. Without spoiling any specifics, I will just say that Baby Driver does not leave any loose ends. Every beat of the movie has an introduction, a link, and a payoff. Whether it be a plot point, a joke, or a character moment It all comes full circle by the end of Baby Driver's 1h53m running time.
Action blockbusters don't get much better than this. Please go see this film instead of Transformers: The Last Knight.