Now the world don’t move to the beat of just one drum.

What might be right for you, may not be right for some.

Writer and director Edgar Wright is one guy moves to the beat of his own drum, as does his ridiculously cool new film Baby Driver.

The titular Baby is a wheel-man for notorious crook Doc, who runs his city like it’s his own personal piggy bank.

Doc is a man with a plan, and his plans involve hiring a different crew for each of his carefully choreographed heists.

Except when it comes to Baby, who has turned into something of a good luck charm for our mafia don.

You see, Baby has been boosting and driving fast cars around the city since he was a kid – until the day he lifted the wrong ride, Doc’s ride.

Now Baby’s on the hook until Doc says otherwise, and that ain’t gonna be any time soon.

Our kid’s also got a thing for music, if only to drown out the white noise of his tinnitus flavoured world.

There’s one other sound Baby has a thing for, and that belongs to a bored but beautiful waitress called Debora who works in his favourite diner.

But betting away clean from the dirty life Baby’s fallen into ain’t gonna be a smooth ride.

Baby Driver is an offbeat name for a film, but then Wright’s an offbeat kind of guy.

His films are anything but, and the director behind Spaced and the Simon Pegg shaped cornetto trilogy may have produced his best film to date with this latest cinematic adventure.

Opening with a thrilling car chase through that’s straight out of a grand theft auto wet dream, Baby Driver takes you for a ride and never lets go.

Mixing high octane stunts with classic storytelling tropes and a stellar cast that includes Kevin Spacey, Jamie Foxx and John Hamm is a sure-fire recipe for success.

But the devil’s in the detail, and the music in Baby Driver is what’s got people talking about it.

Scenes are set to the beat of whatever song Baby – played pitch perfectly by Ansel Elgort – happens to be listening to, so his driving rhythm and the rat-a-tat-tat of gun fire happens in time to the music.

It’s the sort of ingenuity anyone familiar with Wright’s brilliant Scott Pilgrim vs the World has come to expect from this innovative British auteur.

But that doesn’t make it any less impressive, and I’d be surprised if Baby Driver doesn’t deservedly launch Wright into Hollywood’s mainstream megawatt spotlight from now on.

As for the film itself, as a certain Mike Myers might say – though not in an unexpected cameo about half-way through – it’s groovy baby.

Jonathan Campbell