How to make an Edgar Wright film:

1. Write an aggressively unfunny script.

2. Have outlandish characters act and talk in ways that no real person would, e.g. by following a woman one hasn’t seen for years into the bathroom, striking up a conversation with a total stranger in the men’s bathroom, or nonchalantly bickering with one’s friend while he’s clutching an inky, freshly decapitated corpse.

3. Recycle lines in slightly different contexts – “Debayoo tee eff,” and the bit about the fruity tang in the beer – to save time on writing clever jokes and please fanboys who will go, “I KNOW WHAT THAT IS!”

4. Every other time you cut from medium to wide or one scene to another, synchronize the edit with a person, lamppost, tree, or car moving laterally across the frame, so as to fool people that your filmmaking is significantly more involved and artistic. See The World’s End especially for this technique.

5. Conspicuously reference other Edgar Wright films for the benefit of Edgar Wright loyalists.

I’ll give this 3/10 for the blue robot gore and halfway entertaining fight scenes. Here’s hoping Baby Driver is a lot more Scott Pilgrim and a lot less Cornetto trilogy.