Although I’m not a down-on-my-knees fan of Baby Driver, it’s nonetheless an exuberant, mad-style movie that warrants applause for delivering something fresh and inspired and seriously nutso. Which is a miracle in today’s realm. I saw it again tonight at the Academy, and enjoyed the hell out of Cameron Crowe‘s post-screening interview with director-writer Edgar Wright and supervising sound editor Julian Slatter.

Another chunk of of my 6.28 review: “Baby Driver is one of the most strikingly conceived, purely enjoyable fast-car crime flicks I’ve ever seen. With Ansel Elgort as a Ryan Gosling-level getaway driver who needs the right kind of song playing in his ear buds in order to make it all come together, Baby Driver is a kind of action musical -— cray-cray car chases and ferocious gunplay synchronized with the sounds and vice versa. To some extent it reminded me of Drive, and at other times of Thief, Gone In Sixty Seconds, Bullitt…that line of country. At times undisciplined and often quite mad, but a great visionary action-and-music flick.”

(l.) Director-writer Cameron Crowe speaking with Baby Driver director-writer following Tuesday night’s Academy screening.

Me to Jett after he caught Baby Driver last summer: “You liked the ending, the last 15 or so?”
Jett: “Yeah.”
Me: “But you’re a huge Drive fan!”
Jett: “That was a different thing,” Jett replied. “This is a kind of satire of Drive with a La La Land attitude.”