There's not much mistaking that this was a production marked with certain limitations, and we notably see this with the more complex effects, and sometimes too with poor lighting that obfuscates the goings-on in darker scenes. The storytelling also bears distinct rough patches, especially as the opening minutes heavily accentuate a political rivalry before the narrative skips forward several years while still keeping that rivalry on the back burner. (In fairness, maybe I'm just not knowledgeable enough of laws governing local elections in Indonesia in the early 80s to appreciate such details). One will also observe that as the story advances apace, the anticipated horror elements arguably come across as slightly more discreet and measured in their dispensation - and on top of all else, anyone who is familiar with genre classics of the previous several years will recognize clear influences in Wirjaatmadja Ngadiman's story. Mind you, none of these are outright flaws per se, and none are factors so severe as to majorly impact one's enjoyment, but no matter how you look at it 'Bayi ajaib' isn't a flawless film.
None of this matters too terribly much, however, for the strength this picture bears outweighs any reasonable criticisms to be leveled. Though there are recognizable strains in the plot, they are certainly given sufficient unique flavor to set this iteration apart. While the horror is perhaps less robust compared to other like-minded fare, rest assured that we get plenty of it, and a fair variety no less. There's blood, gore, and other practical effects and stunts; again, the more complicated ones are weaker, and that includes post-production additions, but still decent enough. Some moments are extra weird and/or cringe-worthy, at some moments there's a tinge of dark atmosphere to the proceedings, and elsewhere the horror is more thematic. Meanwhile, all those stunts and effects look great, and the art direction throughout is terrific. Filmmaker Tindra Rengat illustrates capable direction in orchestrating every shot and scene, and the screenplay they developed from the root story is solid in laying the foundation for the feature in all regards. The acting is commendable, if not specifically remarkable, and from cinematography and editing to costume design and hair and makeup, by and large everything looks and sounds good.
There is a distinct issue bothering 'Bayi ajaib,' though, and what it boils down to is a lack of the vitality that would allow its best ideas to truly flourish. Ninety-five minutes pass swiftly, but unexpectedly, for the broad tone here is so flat and uninspired that there's no crescendo, scant meaningful progression, and no spark to ignite the intended intense moments. A lush, stirring score could help to cement a dread ambience and augment the power of the violence, yet here the music is pretty much a non-factor, and worse are those themes that do present clearly and add an air of levity that twists the title's tonal troubles toward a uselessly sunny tack. A lack of ardent focus in the storytelling doesn't help, nor does the fact that when all is said and done the movie declines the sinister direction that would have made it more fun and more lastingly memorable. Maybe that's an issue with cinematic norms and values, just as has plagued other countries' film industries in different eras, but the end result either way is a flick whose best ideas see their potency stifled and which ultimately ends with a bit of a whimper.
I like this much more than not, and I think it's well worth checking out, especially for those with an interest in exploring all the wide possibilities that the genre has to offer. The chief caveat is that this piece just sadly lacks the vibrancy that would help it to stand tall or stand apart, and the horror flavors we customarily seek are simply not as strong here as they could be. 'Bayi ajaib' remains a good time, and I'm happy to give it a soft recommendation; just be aware that the viewing experience it offers is one more of general interest than of particular satisfaction.
