Like Quentin Tarantino, Edgar Wright’s postmodern filmmaking style is heavily driven by influences and homages to existing movies. The three installments of Wright’s “Three Flavors Cornetto Trilogy” are all affectionate jabs at well-worn genres and their well-worn tropes. Scott Pilgrim vs. the World is a bubblegum mashup of video games, comic books, and music videos. Baby Driver harks back to the visceral vehicular carnage of car chase movies like The Driver and Gone in 60 Seconds with an added jukebox musical twist.