Baby Driver (2017) WEBDL Subtitle Indonesia MP4 & MKV

It’s been four years since Edgar Wright last directed a movie (2013’s “The World’s End), and “Baby Driver” plays like a picture made by a man who desperately wants to release some wiggles. It’s a semi-furious concoction of music and widescreen movement, continuing Wright’s addiction to cinematic speed, this time taking his fetishes to the streets of Atlanta to mastermind a crime film that’s driven by the mystery of an iPod playlist. “Baby Driver” is an idiosyncratic endeavor, perhaps a bit too in love with itself, but it’s entirely, 100% Wright, who rubs his fingers over every edit and lubricates the viewing experience with full soundtrack of hits and misses. The effort is noticeable and carries on longer than it should, but Wright has something here that’s volatile and distinct, keeping himself busy with another visit to Planet Edgar, where feats of strength are superhuman, attitudes are plentiful, and direction is nearly unstoppable.

Repaying a debt to crime boss Doc (Kevin Spacey), Baby (Ansel Elgort) is utilized repeatedly as a wheelman for Doc’s bank robberies. Keeping silent, with music blasting into his ears to help drown out tinnitus triggered by a childhood accident that killed his beloved mother, Baby is an expert behind the wheel, bewildering his brutish riders, including Buddy (Jon Hamm) and Bats (Jamie Foxx), who doesn’t trust the young man and his mysterious ways. Close to paying back Doc, Baby meets Debora (Lily James), a friendly diner server who takes a shine to the quiet but confident guy, with the pair starting something romantic that teases a mutual liberation from dead-end lives. However, Doc doesn’t want his successful association with Baby to end, pulling him into another job, planning a heist at a post office the driver wants no part of.

To understand “Baby Driver” requires appreciation for the art of editing and camerawork. Wright’s making his most visually audacious picture here, pairing the downward spiral of Baby with the soundtrack of his life, contained on several iPods that pack his pockets. He’s a music junkie, partially out of need to block the persistent noise that fills his hearing, but mostly out of the euphoria it provides, scoring his moods to obscure tracks from notable bands (including Queen, Young MC, T. Rex, and the Jon Spencer Blues Explosion). Music makes Baby cool, and it keeps him that way too, sustaining the earbud concert during his wheelman excursions, which slip into the unreal as Baby’s car slides around city streets, dodging lawmen and civilians. Wright also uses music to keep the beat during shootouts, with gunfire acting as extra percussion during standoffs, adding to an already insanely supervised editorial mission.

As a gimmick, “Baby Driver” is impressively imagined. Wright transforms the feature into his own mixtape of fantasies and B-sides, inching events into graphic novel territory as Baby falls for an impossibly beautiful and kindly waitress, and one who returns warmth immediately. Baby is also an ace driver in sunglasses, tearing through Atlanta, trying to preserve what little is left of his nobility, never interested in hurting those not involved in crime, and he records bits of conversations, turning them into samples for dance songs he keeps locked away in a briefcase. He’s a sort of superhero, showcasing unexpected parkour moves, also keeping a secret identity at home with deaf, elderly foster parent Joseph (a winning CJ Jones), who knows the real Baby. For an hour, “Baby Driver” really works, showing efficiency with characterization, but Wright also holds back on details, encouraging interest in the secret connections between characters. It’s the only restraint found in the film, which frequently explodes with car chases and heated encounters, with nearly every frame matched to music.

“Baby Driver” is impressively assembled, and performances generally find the rhythm of the movie, offering broad takes on villainy to emphasize Baby’s deceptive meekness. Wright builds something silly, sharp, and wild, but like most of his movies, he doesn’t know when to quit. The picture works through three endings before settling on the least satisfying one, weighing down the second half of the effort. There’s pacing imbalance that’s frustrating, and while Wright dazzles with technical tricks, the endeavor could do with some serious pruning. “Baby Driver” only really works when it moves at top speed, and it does that frequently, giving Wright fans plenty to enjoy when it comes to the film’s sense of humor and periodic bloodlust. It’s a crazy feature, but not consistently so, strangely applying the brakes when the viewing experience is best served at top speed with blazing music.