In Edgar Wright’s “Baby Driver,” hosts Andy and Doug dissect the stylish heist thriller as the director’s bold American debut, praising its groundbreaking musical synchronization—where gunshots, tire screeches, and foot chases pulse to a curated soundtrack like a rock opera on wheels—while critiquing the hollow lead character of Baby (Ansel Elgort), whose tinnitus-driven iPod obsession and muted personality fail to spark empathy or chemistry with love interest Debora (Lily James), leaving viewers rooting more for scene-stealing villains like Jon Hamm’s volatile Buddy and Kevin Spacey’s calculating Doc; standout practical stunts, clever callbacks to Wright’s Cornetto Trilogy rhythms, and meta nods elevate the adrenaline-fueled caper, but the solo screenplay exposes a departure from Simon Pegg’s witty voice, resulting in a visually dazzling yet emotionally shallow ride that thrives on action spectacle over character depth.