Baby Driver is just that. A triumph. For its sheer originality in execution and a cast of cool-cats capable of charming your socks off.

An unexpectedly delicious cocktail of two genres, musical and heist-movie, it starts with Baby (Elgort) in a high-speed chase, skidding between trucks and swerving in and out of tunnels to save bank robber Buddy (Hamm) and his friends from the police. They’re all puppets in the hands of Doctor (Spacey), who never uses the same crew twice except for his lucky Baby.

But little does Doc know that his good luck charm has started getting some bad feelings about the business, especially after meeting Debora (James). Doctor plans one last loot but this is where Baby shifts gears and goes off-track.

This is a musical unlike any other. People are neither dressed in costume, nor do they break out in song. The music comes from lyrical lines in the dialogue; it comes from the rhythm of machine guns firing bullets; it comes from a bundle of cash as someone brushes its edges. Steven Price’s smartly produced score and Bill Pope’s captivating camerawork result in a movie that is no less than a new car: slick, sexy and smooth. And this car backfires very few times. The dialogue-heavy second act tries to keep up the momentum with repartee instead of revving engines, but fails. Kevin Spacey delivers a performance that is just too reminiscent of his Frank Underwood from House Of Cards.