One of the best chase scenes in "Baby Driver" takes place in a Subaru WRX. During a retrospective at Munich International Film Festival, Walter Hill said, “An audience wants a familiar story, and they want it told in an unfamiliar way.” In "The 48 Hours Diaries," screenwriter Larry Gross told Hill, “Maybe it’s real hard to invent things. All you can do is make original combinations of old things.” This is the alchemy of storytelling, transmuting the old myths and archetypes into something that feels new and exciting. Edgar Wright’s "Baby Driver" has a little Walter Hill, Tarantino, Jacques Demy, William Friedkin and Kathryn Bigelow in its DNA. There’s even a Paul Williams cameo as a nod to "Smokey and the Bandit." But "Baby Driver" transcends homage. It’s a car-chase film, a heist film, a love story, a fairytale. It’s an action film made like a musical, with car chases, gunfire, even explosions choreographed to music. It’s a lot of things you’ve seen before, yet it’s unlike anything you’ve seen before. It gets the alchemy just right. "Baby Driver"’s titular character Baby (Ansel Elgort) was in a traumatic car accident as a child that killed both his parents. It’s […]

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