Baby Driver 2: Redline Encore (2026) hits the ignition with explosive style as Miles “Baby” (Ansel Elgort), fresh out of prison and desperate for a clean slate with Debora (Lily James), discovers that the criminal underworld doesn’t let prodigies ride off into the sunset—instead, it drags them back to the wheel with threats sharp enough to slice through vinyl.
Their quiet life crashes to a halt when a brutal new syndicate boss targets them, forcing Baby to return to the only stage he’s ever truly mastered: the open road, where every engine note is a heartbeat and every tire squeal is a scream. Elgort returns with a harder, colder intensity, driving with uncanny, almost supernatural rhythm—his reflexes honed, his improvisation sharpened into a weapon. But this time he’s not alone in the spotlight. Austin Butler tears onto the asphalt as The Metronome, a rival wheelman whose machine-like timing and emotionless precision challenge Baby’s instinctive musicality; their duels turn the streets of Atlanta into a symphony of destruction, where every chase is choreographed like a deadly dance number synced to pounding basslines.
Debora, no longer the innocent dreamer, steps up as Baby’s partner-in-crime and partner-in-survival, navigating heists, coordinating routes, and even squeezing the trigger when the rhythm demands it. With CJ Jones returning as Joseph to anchor Baby’s conscience, the story becomes a high-voltage showdown of loyalty, rhythm, and revenge. Gunfights unfold to syncopated drumbeats, heists unfold in perfect harmony with guitar riffs, and every drift, spin, and smash is timed to the soundtrack of Baby’s soul. Stylish, breathless, and pulsing with musical adrenaline, Redline Encore proves that escaping the past isn’t about hitting the brakes—it’s about outrunning the darkness before the final track fades out.