For Our Consideration: Baby Driver and Get Out play it straight, but they’re based in the lost art of parody

There are plenty of jokes in Baby Driver, Edgar Wright’s colorfully kinetic crime-musical extravaganza. The quips fly as fast as the bullets, and the tense stretch right before or after a high-stakes heist is sometimes punctured by some inspired comic relief—say, a lunkheaded criminal confusing fictional Hollywood serial killer Michael Myers with real Hollywood star Mike Myers. You’ll laugh, when not gripping the armrest or bobbing your head to the pop songs on the soundtrack. But Baby Driver is not built primarily to amuse. “It’s funny in places but it’s not a comedy,” Wright said of the film back in December during a first-look interview with Entertainment Weekly, and he wasn’t kidding. That makes it an anomaly in the career of its British writer-director, who’s always mixed multiple genres in the blender of his enthusiastic style, but historically with humor as the main …

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