Jeremy Heilman’s review published on Letterboxd :
The notion that when you hear a rock song it’s directly speaking to you is the beautiful delusion that powers pop culture. Baby Driver runs with that to an unnerving degree, turning its soundtrack into a solipsistic cocoon. Given its love-conquers-all gestures, there’s some question about the degree that Wright is calling into question this ultimately distorted worldview. Still, allusions to films like Taxi Driver and Fight Club and a gruesome final act suggest that Wright recognizes the fundamental malignancy of this stunted macho fantasy (Besides, I can’t help but see both the yin and yang in media’s siren call after this week’s epochal Twin Peaks episode).
Ultimately, this was less fun but more interesting than I expected, given that Wright’s only made one other worthwhile feature (Hot Fuzz, obviously). Elgort is mostly just asked to hit his marks, but he is otherwise appropriately cast as a human vacuum. Average car chases and a good foot chase keep things humming along, but too many glowering villains gum up the works.