When I Stop Blaming Others, the World become a Nicer Place

Saat menulis tulisan ini, saya baru saja tiba di kamar setelah penerbangan saya dibatalkan dan dijadwalkan ulang untuk berangkat besok pagi. Saya gak sendirian. Ada beberapa penerbangan lain yang juga dibatalkan keberangkatannya dan sampai saat ini, ratusan penumpang masih memenuhi counter customer service untuk menunggu kepastian dari pihak maskapai.

Kalau kalian bertanya apakah saya marah, saya jelas marah. Saya rugi waktu, seharusnya berangkat jam 18.20 kemudian ditunda hingga 20.20 dan akhirnya dibatalkan. Saya rugi uang, karena sudah telanjur memesan hotel di tempat tujuan dan bayar untuk malam ini. Namun, kali ini saya memilih untuk gak mengamuk di counter customer service seperti penumpang lainnya. Bagi kalian yang mengenal saya, ini suatu keanehan karena dengan tabiat nyinyir dan mulut sampah saya, seharusnya saya sudah “menghabisi” customer service maskapai dengan kata-kata pedas.

Ada beberapa alasan mengapa akhirnya saya memutuskan untuk gak mengamuk di bandara. Alasan pertama, saya memahami sepenuhnya bahwa kekacauan ini bukanlah sepenuhnya kesalahan maskapai. Landasan bandara rusak sehingga bandara harus ditutup selama tiga jam dan berdampak beberapa penerbangan komersil dibatalkan (selengkapnya baca disini). Saya tahu bahwa pihak maskapai juga dirugikan dengan kejadian ini karena harus membayar kompensasi kepada para penumpang sesuai UU Nomor 1 Tahun 2009 tentang Penerbangan dan Permenhub Nomor 89 Tahun 2015 tentang Penanganan Keterlambatan Penerbangan pada Badan Usaha Angkutan Niaga Berjadwal di Indonesia (selengkapnya cari aturannya atau baca disini), atas kekacauan yang tidak diakibatkan oleh kesalahan mereka sendiri. Pihak maskapai saya kebetulan profesional dan taat hukum, jadi mereka menjadwalkan ulang penerbangannya dan memberi kompensasi penginapan kepada para penumpang yang memang butuh penginapan. Saya? Lha wong rumah saya cuma berjarak delapan kilometer dari bandara. Mosok mau ikut minta penginapan?

Alasan kedua, karena saya melihat banyak penumpang lain yang kondisinya jauh lebih dirugikan dengan keterlambatan dan penundaan penerbangan ini. Ada nenek A yang meskipun sudah berjalan memakai tongkat, tetap bepergian sendiri dengan luar biasa gagah hanya untuk bertemu anak-anaknya. Ada bapak B yang single parent dan baru saja selesai perjalanan dinas ke Jakarta, bela-belain pulang duluan dari rekan rombongannya karena anak bungsunya sakit. Ada mas D yang besok harus ikut seminar yang dimulai jam 9 pagi, yang mana tiket seminarnya lebih mahal ketimbang harga tiket pesawatnya. Yang paling miris, adalah kisah mbak C. Mbak C akan menghadapi salah satu momen paling penting dalam kehidupan akademisnya: sidang skripsi, yang jadwalnya besok pagi jam 08.00. Sayangnya, penerbangan mbak C dijadwal ulang besok jam 09.40 pagi. Mbak C tentu panik dan marah, dan kami semua harus berusaha menenangkan mbak C sambil menjadi saksi untuk membantu meyakinkan dosen pembimbingnya agar sidang tersebut juga bisa dijadwal ulang. Sidang mbak C akhirnya dijadwal ulang di hari Senin, dan drama itupun diakhiri dengan wirid bersama agar mbak C lulus sidang.

Dengan banyaknya drama yang jauh lebih dramatis tersebut, mosok iya saya yang cuma mau jalan-jalan ini harus mengeluh dan mengamuk di counter customer service? Saya terima apa adanya saja, toh gak ada yang bisa disalahkan atas kejadian ini. Baik pihak maskapai maupun para penumpang gak punya andil dalam kekacauan tersebut. Kalaupun ada yang harusnya disalahkan, ya mungkin pihak pengelola bandara. Namun pihak pengelola bandara pun sudah berusaha sekuat tenaga untuk membetulkan landasan yang rusak, walaupun pada akhirnya domino effect-nya tetap tak terhindarkan.

Dalam perjalanan pulang, saya berpikir alangkah baiknya kalau kita coba berpikir jernih dan mempertimbangkan segala sesuatu dari berbagai aspek. Saya yakin bahwa ada banyak cara memandang suatu masalah, sehingga ketimbang hanya melulu menunjuk dan menyalahkan orang lain atas kejadian yang kita alami, mencoba mengerti posisi orang lain akan membuat kita jadi lebih bijaksana menyikapi masalah. Jika pun harus mengambil keputusan, keputusannya pun saya yakin akan jauh lebih efektif dan akomodatif.

Jadi, kejadian kali ini bikin saya menyadari bahwa jika kita berhenti menyalahkan orang lain dan melihat sekeliling dengan lebih baik, kita mungkin akan sadar bahwa dunia adalah tempat yang jauh lebih baik dari prasangka kita. Ada banyak hal yang bisa disyukuri di dunia ini. Tambahan lagi, kita juga akan jadi jauh lebih bijaksana menghadapi masalah. Tantangan buat kita bukanlah semata-mata bagaimana kita menemukan solusi dari masalah, tetapi lebih kepada bagaimana solusi yang kita pilih membuat dunia ini jadi lebih baik.

Satu hikmah lain yang bisa saya ambil adalah: saya gak akan terbang dari Halim lagi dan tolong kembalikan Halim jadi sekedar pangkalan militer! Haha.

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War for the Planet of the Apes (2017): Apes Seem More Humane than Before

Directed by: Matt Reeves | Produced by: Peter Chernin, Dylan Clark, Rick Jaffa, Amanda Silver | Written by: Mark Bomback, Matt Reeves | Starring: Andy Serkis, Woody Harrelson, Steve Zahn, Karin Konoval, Amiah Miller | Music by: Michael Giacchino | Cinematography: Michael Seresin | Edited by: William Hoy, Stan Salfas | Production Company: Chernin Entertainment | Distributed by: 20th Century Fox | Official Website

9/10

This is the 2017 summer blockbuster I’ve been waiting for and my whole time waiting is not wasting in vain!

When I saw the first movie, Rise of The Planet of The Apes (2011), I already fell in love with this rebooted franchise. Though the original franchise (1968-1973) gives me eerie feeling, it is this reboot series that satisfy me. On Rise we saw Caesar (Andy Serkis) is a pet chimpanzee and thanks to James Franco terrific acting, we get the illustration on how Caesar has become more than just an ape, but a character. On Dawn of The Planet of the Apes (2014), we saw how Caesar deal with betrayal of his own colleagues and how he became a fully respected leader, while human is wiped out due to the plague of Simian flu. It is on War, we finally saw Caesar as a complete character, who shares his traits of both being a charismatic leader that free the apes, or an angry apes who seek for revenge against humanity who have killed his wife Cornelia (Judy Greer) and his eldest son Blue Eyes (Max Lloyd-Jones).

On War, Caesar and the apes are facing situation where humanity are threatened by their existence and feared them. The soldier, now led by Colonel Cullough (Woody Harrelson), are starting to confront the apes in battles, one of them is killing both Cornelia and Blue Eyes. Burned in anger and seek for revenge, Caesar decides to kill the colonel. Alongside orangutans Maurice (Katin Konoval), chimpanzee Rocket (Terry Notary) and gorilla Luca (Michael Adamthwaite), he searches for Colonel. On his journey, they met a muted girl Nova (Amiah Miller) and comical chimpanzee Bad Ape (Steve Zahn). Later they find out that the Colonel has caught all apes and now forced-labored them to build him a wall.

This is a post-apocalyptic movie that shows us no glorify of the war. There is no glory of killing here, including killing the treacherous colleagues, not like on Dawn where we can feel the glory of Caesar killing Koba. Everyone here is a victim to their own circumstances, including the should-be-villain Colonel Cullough (Woody Harrelson). Although Harrelson tries his best to be a villain we can hate by mimicking Marlon Brando’s Kurlz in Apocalypse Now (1979) with shaving his head using commando knife just like Brando, or capturing the apes in a giant cage that remembering us of pigs slaughterhouse in Okja (2017), in the end we can understand why he did all the things he had done and why he built the wall surrounding him. His death scene is not satisfying, but understandable, and made us realized that Caesar is more humane than we probably think he is.

Caesar himself, though he shares the same traits with other post-apocalyptic movie characters who have turned from zero to revolutionary hero, feels more conflicting compared to his character in the previous two installments. His losses of both his wife and son has captured him in nightmare he barely never imagined before, and made him become more like Koba than himself. Andy Serkis has, once again, successfully motion-captured him into more than just a talking ape, and turned him into a believable and capable leader. Caesar maybe the only ape who has the most lines to be talked, and though most of his lines are showing off his smart, it is his charisma, his body language and his living eyes that has become the reasons why we should believe this character is the hero we need.

The other apes are also become more humane within their minimized conversations and their sign languages. Their interactions are cute, funny and also touching. Finally, this is the third installment we need, that has turned the whole franchise into movies, not just a product or a product placement (yeah I look at you Transformers).

Dunkirk (2017): A War Film has never been as Beautiful as This

Directed by: Christopher Nolan | Produced by: Emma Thomas, Christopher Nolan | Written by: Christopher Nolan | Starring: Fionn Whitehead, Tom Glynn-Carney, Jack Lowden, Harry Styles, Aneurin Barnard, James d’Arcy, Cillian Murphy, Kenneth Branagh, Tom Hardy | Music by: Hans Zimmer | Cinematography by: Hoyte von Hoytema | Edited by: Lee Smith | Production Company: Syncopy, Inc. | Distributed by: Warner Bros Pictures | Official Website

8.5/10

As one of the most anticipated summer blockbuster movie of this year, Dunkirk fulfill the hole that has been left by other movies: being a historical war movie. The most interesting thing in Dunkirk that you might not see on other movie set on World War II is that instead of glorifying the war, Dunkirk chooses of focusing on those who suffered it, or how they escaped the war, or in this case, came home.

Sets on May 1940 where the British and French were cornered at Dunkirk by the Germans, this movie split its plot on three different but intertwined subplot, set on different space of time:

  1. The Mole: One week before the evacuation (starts on 26 May 1940), young British Soldier named Tommy (Fionn Whitehead, I almost write his name as unnamed soldier as his name is barely mentioned the entire movie) tries every way he could to evacuate from Dunkirk and get back home. His unfortunate fate keeps on following him and his colleagues: Gibson (Aneurin Barnard) and Alex (Harry Styles, in a look that I finally know why Taylor Swift ever fell for him), as their vessels keep on sinking after the Germans blows it up. The lost of the vessels are the reason why the British Government finally activates Small Vessels Protocol, calling all owners of small vessels (yachts, naval motor boats, tugboats etc.) to help the evacution of the soldiers at Dunkirk.
  2. The Sea: One day before evacuation, a civil boat owner Mr. Dawson (Mark Rylance), alongside his son Peter (Tom Glynn-Carney) and Peter’s friend George (Barry Keoghan) answer the call and sail to Dunkirk. They soon meet a traumatic and shivering soldier (Cillian Murphy), who insist they must return to England. Mr. Dawson refuses and decides to continue their expedition to Dunkirk. It turns out later that Dawson’s eldest son had been sent to war as a pilot but never returned, so Dawson decides to help as many people as he could in order to make anyone has a better fate from his son.
  3. The Air: One hour before the evacuation, three Spitfire pilots: Farrier (Tom Hardy), Collins (Jack Lowden) and their squadron leader are sent to assist the evacuation. On their way, they are encountered by several Germans bombers that has been successfully sunk the British Destroyer Ships full of soldiers. Soon after their leader was shot down, Collins plane is damaged and he ditches the plane at water. Collins is later helped by Dawson while Farrier continues to Dunkirk to make sure the evacuation is done, even it means he won’t have fuel to return home.

Just like the other Nolan’s movies, this movie is done beautifully. The cinematography is brilliant, since they use very small CGIs, so you can see about 300,000 soldiers lining and waiting for miracle on the beach, for real. Each actor also has done their part and feels like they were chess pieces that plays a game to win Grandmaster Nolan. The young actors plays their role with dignity, and you can see that their acting were real, as real as their seniors did. You can see despair in Whitehead, bravery in Glynn-Carney and even arrogance in Styles. They were the souls of this movie, and their contribution to the movie’s whole emotions are even better than the other well-known actors.

Other best parts of this movie are the intensity and the music scores. Nolan seems to know well that intensity plays a big part for war movie, so he builds it right from the start. He even doesn’t give us time to feel relax, and retains the intensity at the increasing level throughout the 107 minutes runtime. This movie shows that a war movie can be built without a very long runtime with addition of abundant drama (Yes, I look at you, Gone with the Wind). The intensity of the plot is supported wholeheartedly by Zimmer’s beautiful scores.

No gory scenes like the other war movies, but still you are suggests to not bring your children watching Dunkirk, even if he/she is a fan of Harry Styles. Please stick to the subplot timeline, otherwise you’ll get confused. Happy watching!

Baywatch (2017): It’s Sun, Sand, Beach, and Dwayne Johnson

Directed by: Seth Gordon | Produced by: Ivan Reitman, Michael Berk, Douglas Schwartz, Gregory Bonann, Beach Flynn | Screenplay by: Damian Shannon, Mark Swift | Starring: Dwayne Johnson, Zac Efron, Alexandra Daddario, Kelly Rohrbach, Priyanka Chopra | Music by: Christopher Lennertz | Cinematography by: Eric Steelberg | Edited by: Peter Elliott | Production Company: Paramount Pictures, Contrarian, The Montecito Picture Company, Vinson Pictures, Seven Bucks Production, Flynn Company, Cold Spring Pictures | Distributed by: Paramount Pictures, Shanghai Film Group, Huahua Pictures | official website

4.8/10

When it comes to another movie remake, you cannot move on so far from its original story. Or charm. Or the main attraction why people are decided to watch this movie at the first time. On this movie, the charm itself lies upon their casts, and their abs, biceps and cleavage, and thanks to Dwayne Johnson’s friendly smile, this movie is a bit far from total destruction. Or at least he saves what he could save, instead of letting the other things fall apart.

You don’t watch Baywatch for the plot, I do truly understand that. I also understand that the original TV series that aired on 1990s wasn’t take the plot seriously too, as long as they have Hasselhoff’s manly figure and Pamela Anderson’s cups. Enter then Dwayne Johnson as the next generation of Mitch Buchannon (I don’t even know why they give the same name to him if they also want to do Hasselhovian cameo), a friendly and dedicated lifeguard who has taken his job as his life. Anderson’s role of CJ Parker is handled by Kelly Rohrbach, who’s been oversexualized over her slow motion run that seems to be Baywatch’s trademark over the years. To freshen the line up, enter three new recruits: retired Olympic Gold Medalist Matt Brody (Zac Efron), smart marine biologist Summer Quinn (Alexandra Daddario, who had been awkwardly casted as Johnson’s daughter on San Andreas (2015)) and tech nerd Ronnie (Jon Bass).

The plot is quite simple, as seems that they wholeheartedly know that the audience would take the plot lightly. The Baywatch team must team up against smart club owner, drug dealer and property queen Victoria Leeds (played beautifully by Priyanka Chopra). Leeds is actually a good villainess: she has charm, looks good on tight silk dress that I almost think she could be one of that Baywatch team, and she is determined to get what she wants. The minus is she doesn’t look intimidating enough. Chopra is fine, sexy and fulfill the requirements of being on one screen with all those good looking actors, but her villainy doesn’t show what is the impact other than Johnson’s saying that it’s worse than coccaine.

This movie relies so much on Dwayne Johnson as the other actors keep on flailing on showing their character. However, since all the emotions are carried upon Johnson’s shoulders, almost all scenes that supposed to be funny turns out failing successfully. Despite of Johnson keeps calling him with nicknames like “One Direction”, “Bieber”, “NSYNC” until “High School Musical”, Zac Efron is nothing more than just a pretty face (and a ripped body) that tries too hard to look dumb and ask for your pity. Efron cannot bring out the comedy he should have performed through his character. Not to mention the comedy they try to bring out in bullying Jon Bass, or the oversexualized images of all the actresses. 

So overall this is the Baywatch we have longed to see since 1990s, a better version, but still a soulless movie. They hint sequel so let’s just pray they will make a better one next time.

Despicable Me 3 (2017): Two Grus can’t Escape the 3rd Films Curse

Directed by: Pierre Coffin, Kyle Balda | Produced by: Chris Meledandri, Janet Healy | Written by: Cinco Paul, Ken Daurio | Starring: Steves Carrell, Kristen Wiig, Trey Parker, Miranda Cosgrove, Jenny Slate, Steve Coogan | Music by: Heitor Perreira, Pharrell Williams | Edited by: Claire Dodgson | Production Company Universal Pictures, Illumination Entertainment | Distributed by Universal Pictures | Official Website

6.7/10

When I first saw the trailer of Despicable Me 3 few months ago, I was thinking, “Oh here we go again, the third installment.” After so many great movies are ruined just instantly when they released the third installment, I wasn’t expecting more of this movie. I was watching for the girls. And always the girls. For me, Margo, Edith and Agnes are the cutest element of Despicable Me that need to be explored more than just those boring, squeaky, yellowish thing that try so damn hard to look cute called Minions. I never thought the whole Despicable Me franchise to be as hilarious as other people think. They’re funny yes, but not hilarious. This movie even has some more cringed moments instead of hilarious one.

In this third movie installment of Despicable Me franchise, regardless the spin-off movie Minions (2015), Gru (still played by Steve Carrell) and his wife Lucy (Kristen Wiig) are fired from the Anti-Villain League after they were failed restraining Balthazar Bratt (played by South Park’s Trey Parker). Going home to their daughters, Gru finds out that he has an estranged twin brother that lives on Freedonia, called Dru (also played by Steve Carrell). Dru should be an upgraded physical version of Gru with less villainous character. He is blond, lives on a mansion, having many luxury cars and even helicopters. However, since he is lack of villainy character, their father thought he is a shame to family tradition. So, he contacts Gru to teach him how to be a villain. Gru then ask Dru to steal the biggest diamond in the world that has been stolen by Bratt. 

Anyway, this movie is suffered to what’s called “the third films curse” that happened so many times before and ruined such great franchises like The Matrix, Alien, Tobey Maguire’s Spiderman and even The Godfather. This movie has lost its charm, thanks to the busy plot so it feels like a TV series that try to air all their multiple episodes at the same time. The movie is also not entertaining enough for adults, and not colorful enough for children. They probably think that the key to Despicable Me’s success is The Minions, so they try to give the minions more portions in this movie. Those additional Minions portions are also failed. They seem to forget that the main element of this movie is Gru, and when Gru lost his charm, the movie also lost its charm. 

Gru has lost his cunning as one of the world’s greatest villain and awkwardness when it comes to his interactions with both Lucy and the girls. Carrell seems to only differentiate Gru from Dru by giving Dru a weirder accent. I believe you can feel the boredom of Lucy and the girls watching Dru and Gru complete each other’s sentences. While Gru is trying to reconnect with his estranged twin brother, Lucy is trying to be a mom for her three adopted daughters. The cuteness of the girls have not gone and still would give you those “aaaawww” moments, but the other humors is more cringing than it should be.

After all, this movie is a good choice for family and friends gathering and watching without thinking about other worldly traits. Be careful watching this movie with your kids, there were some Minions nudity here.

Spiderman: Homecoming (2017): Holland is Spiderman We Deserve in a Wrong Timeline

Directed by Jon Watts | Produced by Kevin Feige, Amy Pascal | Screenplay by Jonathan Goldstein, John Francis Daley, Jon Watts, Christopher Ford, Chris McKenna, Erik Sommers | Starring Tom Holland, Michael Keaton, Marisa Tomei, Zendaya, Jon Favreau, Robert Downey Jr. | Production Company Columbia Pictures, Marvel Studio, Pascal Pictures | Distributed by Sony Pictures Releasing | Official Website

7.8/10

I spent my latest 15 years watching three different Spideys: Maguire, Garfield, and now Holland. I tried to look at each reboot like I look at James Bond movies every time they change the actors, but I can’t. Every reboot is like being in the different timeline from the others, and this movie is no exception to that rules. Every time they reboot the franchise, they got a new actor, with different character of the (should be) same Peter Parker and different love interest. There’s no longer radioactive spider bites nor Uncle Ben’s death to that legendary “with great power comes great responsibility” scenes. So yes, the lack of these scenes give us a brand new Spiderman.

Begins with the event after Loki summoned the Chitauri to New York on The Avengers (2012), Adrian Toomes (Michael Keaton) is running salvaging business on the remains of Chirauri’s high-tech weapons. Soon, Department of Damage Control took over the cleanse up and gave Toomes reasoning to build his own underground factory of illegal weapons. Then we are brought to eight years later where we meet teenage Peter Parker (Tom Holland) after he joins up team Ironman on Captain America: Civil War (2016). Peter Parker in this movie is a 15-years-old high school student from Queens, Brooklyn, who lives with his aunt May (Marisa Tomei). There will be no explanation what happened to Uncle Ben, but Parker refers it as “after what has happened to her”. A new love interest is introduced too, a girl named Liz (Laura Harrier), instead of a girl named Michelle, or the new MJ (Zendaya). 

Clumpsy and awkward, Parker is trying hard to prove his worth to Tony Stark (Robert Downey Jr), while he ends up being reckless and irresponsible to his own harm. When he tries to convince Stark that Toomes has turned into a man with metal wings called The Vulture, and he’s up to no good, Parker realizes he’s on his own, saving the world at his school’s Homecoming night.

Holland’s Parker is, as I said before, clumpsy and awkward, and looks like a crybaby who tries so hard to get the attention of his parents, or in this case, Tony Stark. The lack of reasoning why he becomes a hero, like the death of Uncle Ben or so, has influenced this too. He also lacks of the greater reason why he must save the world, other than prove himself worthy by restraining The Vulture hijack Stark’s stealthy jet. However, the script makes Parker loveable, and gives us a character we can laugh at. 

The actual star of this movie is The Vulture. Plays by the man who plays Birdman himself Michael Keaton, he looks both terrifying and intimidating with or without his metal wings. Keaton also gives us glimpse of his peculiar Bruce Wayne from Batman 1989. The Vulture, or Adrian Toomes, is a good villain who has brain and backgrounds, reasons and motives, make the character believable and understandable for every single thing he did. 

Finally, don’t leave your seat too early. There are two post-credit scenes you can enjoy the most.

Surat Kecil untuk Tuhan (2017): Tolong Kembalikan Joe Taslim ke Film Laga!

Directed by: Fajar Bustomi | Produced by: Frederika | Based on Novel with the same title by: Agnes Davonar | Cinematography by: Yudi Datau | Screenplay by: Upi | Starring: Bunga Citra Lestari, Joe Taslim, Izzati Khanza, Bima Azriel, Lukman Sardi, Teuku Rifnu Wikana, Aura Kasih, Maudy Koesnaedi | Distributed by: Falcon Pictures

7.2/10

Ini reviu kedua yang saya tulis dalam Bahasa Indonesia. Mungkin trend ke depannya akan demikian. Film Indonesia akan tetap direviu dalam Bahasa Indonesia, sedangkan film selain film Indonesia akan direviu dalam Bahasa Inggris.

Ketika mencari tahu tentang film ini, saya baru tahu kalau ada film dengan judul serupa yang rilis tahun 2011, dibintangi Alex Komang. Usut punya usut, novel dari mana film ini diadaptasi rupanya semacam antologi dengan banyak cerita. Film ini, sebagaimana film tahun 2011, adalah salah satu dari cerita dalam antologi yang ditulis Agnes Davonar dengan judul Surat Kecil untuk Tuhan. Jadi, dua film dengan judul sama ini tidak berkaitan sama sekali, meski dua-duanya punya adegan sama dimana si tokoh utama menuliskan harapan dan doanya melalui surat untuk Tuhan.

Surat Kecil untuk Tuhan (2017) bercerita tentang sepasang kakak beradik yatim piatu Anton (Bima Azriel) dan Angel (Izzati Khanza) yang nekat kabur ke Jakarta karena kerap disiksa pamannya sendiri. Di Jakarta, Anton dan Angel tertangkap dan dipekerjakan oleh Rudi (Lukman Sardi) untuk jadi pengamen jalanan dan harus menyetor uang setiap harinya. Suatu hari, Angel tertabrak mobil ketika hendak menyeberang jalan dan ditolong oleh Soraya (Maudy Koesnaedi). Selagi Angel dirawat di rumah sakit, Rudi memberi tahu Anton bahwa ada keluarga yang siap mengadopsinya. Lima belas tahun kemudian, Angel dewasa (Bunga Citra Lestari), yang belakangan diketahui diadopsi oleh Soraya dan suaminya Edward (Jeroen Lezer), menjadi pengacara sukses yang memilih bekerja membela kaum tertindas di Sydney. Namun, selama lima belas tahun ini pula, bayangan Anton terus menghantui Angel. Angel pun nekat kembali ke Indonesia untuk mencari jejak Anton, meninggalkan karir dan pertunangannya dengan Martin (Joe Taslim), seorang dokter ahli jantung muda.

Saya jarang nonton film Indonesia, tetapi percayalah sampai detik ini, jarang sekali ada film Indonesia yang bikin saya tergerak dan salut. Tahun ini, baru film Ziarah (2017) yang sukses bikin saya menangis dan terpukau meski jalan ceritanya sederhana dan jauh dari kemewahan. Film ini, meski digadang-gadang sebagai “film yang menguras emosi”, nyatanya gagal membuat saya gak ngantuk selama menontonnya. Alasannya sederhana. Saya mengakui kalau plotnya ambisius, berpotensi menjadi both tearjerker dan satir terhadap fenomena di balik kehidupan jalanan Jakarta yang selama ini dipandang sebelah mata. Plot bagus dibangun dari scene-scene awal dimana penonton dihadapkan pada kondisi Anton dan Angel yang cuma menampilkan satu nada: elegi.

Sayangnya, begitu plot diarahkan pada plot besarnya, yakni kehidupan Angel setelah dewasa, cerita lantas jadi acak-acakan, dan seperti membuang sia-sia suasana sedih yang dibangun sejak awal. Cerita ditarik dari pencarian Angel pada sosok Anton, hingga pengungkapan rahasia mengerikan di balik risiko yang mengancam anak-anak jalanan, yang sebenarnya punya potensi bagus untuk dijadikan plot utama. Saya tadinya berharap cerita akan diakhiri dengan drama courtroom macam episode di serial Law and Order atau Ally McBeal, dan menonjolkan sosok Angel sebagai pengacara sukses yang berjuang menghadapi masa lalunya yang kelam. Namun, film ini justru memilih untuk mengakhiri ceritanya dengan twist yang bikin film ini jadi lebih mirip Kuch Kuch Hota Hai (1998) ketimbang Lion (2016) yang dianggap mengusung tema serupa. Drama courtroom-nya hanya dijadikan scene sekilas yang kehilangan emosinya. Parahnya lagi, twist-nya pun nanggung, padahal jika mau digarap lebih serius dengan menekankan pada revealing scene-nya, film ini harusnya berakhir dengan lebih memuaskan.

Aktor paling menonjol disini jelas Lukman Sardi. Dengan penampilan yang jauh berbeda ketimbang biasanya, Lukman lagi-lagi menunjukkan kelasnya sebagai salah satu aktor paling versatile yang dimiliki Indonesia saat ini. Lukman berhasil membuktikan bahwa jadi antagonis tak perlu identik dengan mata melotot dan nada suara tinggi. Posturnya yang kurus justru mendukung paradoks antagonismenya. Di lain sisi, Bunga Citra Lestari cukup sukses mengendalikan seluruh emosi film ini. Didapuk jadi penopang dari keseluruhan emosi film, Bunga menampilkan kemarahan dan kesedihan yang seimbang, meskipun lagi-lagi karena plot filmya acak-acakan, emosi Bunga jadi seperti terbuang sia-sia. Yang paling disesalkan dari casting film ini adalah pemilihan Joe Taslim sebagai dr. Martin, tunangan Angel. Joe Taslim mungkin merupakan salah satu aktor Indonesia paling populer saat ini, baik di Indonesia maupun di mancanegara. Sayangnya, skenarionya membuat Joe tampil inferior dibanding Bunga, sehingga terkesan Martin hanya lelaki cengeng yang rela melakukan apapun untuk meraih kembali cinta kekasihnya. Padahal, kalau mau digali lebih lanjut, karakter Martin seharusnya bisa jadi penyeimbang sisi emosional Angel.

Jadi kalau ditanya apakah saya merekomendasikan film ini, saya akan bertanya apakah kalian penyuka drama. Jika ya, silakan menonton film ini. Namun jika Anda adalah penonton film awam seperti saya, ya mendingan tunggu filmnya diputar di TV lokal saja.

Jailangkung (2017): Tenggelam dalam Nama Besar Pendahulunya

Directed by : Jose Poernomo, Rizal Mantovani | Produced by: Sukhdev Singh, Wicky V. Olindo | Screenplay by: Baskoro Adi Wuryanto | Starring: Lukman Sardi, Hannah Al Rashid, Amanda Rawles, Jefry Nichols, Wulan Guritno, Butet Kertaradjasa | Production Company Screenplay Films, Legacy Pictures

6.5/10

Saya memutuskan untuk menulis review ini dalam Bahasa Indonesia, meskipun saya menyadari saya jauh lebih confident menulis dalam bahasa Inggris. Jadi, saya mohon maaf atas ketidakpatuhan saya dalam kaidah penulisan tulisan argumentatif dalam tulisan kali ini.

16 tahun yang lalu, saya masih ingat saya minta uang pada mama saya untuk nonton film Jelangkung (2001). Film tersebut fenomenal, both haunting and pioneering the Indonesian horror genre. Terbukti sampai hari ini, dengan sekian banyak judul film horor Indonesia yang rilis selama 16 tahun ini, film Jelangkung yang rilis di tengah mati surinya perfilman nasional dan satu angkatan dengan Petualangan Sherina dan Ada Apa dengan Cinta ini masih memorable buat saya, dan merupakan salah satu film horor Indonesia di luar horor Suzanna yang bikin saya jadi parno beberapa waktu setelah menontonnya.

Hari ini, ketika saya pamit pada mama saya untuk menonton film ini (kali ini gak pakai minta uang karena alhamdulillah sudah lebih cerdas memanfaatkan voucher tiket Gotix, haha) mama saya nanya, “Lho, ini film Jelangkung yang tempo hari itu? Keluar lagi?” Jika kalian berpikiran sama dengan mama saya, maka saya akan jawab, “Bukan. Ini bukan film tahun 2001 yang diputar ulang macam film-film Studio Ghibli yang lagi tayang ulang di bioskop tiap awal bulan, atau remake dari film Jelangkung.” Meski dua tokoh utama di balik film Jelangkung, Jose Poernomo dan Rizal Mantovani, kembali reunian di film ini, film ini adalah film baru, baik dari segi cerita, atau dari segi, ehem, intensitas horornya.

Jailangkung (2017) berkisah tentang keluarga Ferdi Joyonegoro (Lukman Sardi), duda beranak tiga yang ditinggal mati istrinya Sarah (Wulan Guritno) saat melahirkan anak mereka yang bungsu. Ketiga anak Ferdi: Angel (Hannah al Rashid), Bella (Amanda Rawles) dan Tasya (Gabriella Quinlynn), tidak pernah mengetahui kalau ayah mereka kerap kali datang ke sebuah rumah di pulau terpencil di Jawa Timur, sampai suatu hari Ferdi pulang dalam kondisi koma. Berbekal nekat dan pengetahuan minim tentang konsep jiwa raga, ketiganya berangkat ke pulau tersebut ditemani Rama (Jefry Nichols), teman Bella yang juga pemerhati konsep kejiwaan. Disana, mereka menemukan fakta bahwa Ferdi datang kesana untuk memanggil arwah mendiang istrinya. Seperti sudah disepakati sebelumnya, pada hari naas tersebut, Ferdi memanggil arwah yang salah, mengabaikan peringatan Sarah bahwa ada arwah yang ingin membalaskan dendam lamanya pada mereka.

Seperti yang saya bilang sebelumnya kalau film ini menawarkan pembaruan daripada film Jelangkung, baik dari segi cerita yang lebih terkesan ingin menonjolkan drama keluarga berlatar horor, atau dari segi pace filmnya yang bikin saya pingin garuk-garuk kepala karena inkonsistensinya. Jika pada film Jelangkung (2001) lebih menonjolkan kisah anak-anak muda penasaran, maka film Jailangkung (2017) ini menambahkan sedikit latar belakang keluarga yang menghadapi kutukan karena perbuatan leluhurnya di masa lalu. Sukses? Gak juga. Saya agak bingung alasan di balik penambahan drama keluarga ini. Jika alasannya adalah untuk menciptakan diferensiasi dengan film pendahulunya, maka penambahan ini boleh dibilang memberikan nuansa baru. Namun demikian, nuansa baru yang ditampilkan sayangnya justru mengurangi intensitas kengerian yang ditimbulkan. Ditambah lagi, kenyataan bahwa akting aktor-aktor muda macam Amanda Rawles dan Jefry Nichols justru tenggelam setiap kali mereka berada dalam satu scene dengan Lukman Sardi atau Hannah Al Rashid. Selain ditambahkannya drama keluarga, berubahnya mantra juga mengurangi intensitas horor dari film ini. Alih-alih menambah kengerian dengan mantra baru “datang gendong, pulang bopong” menggantikan that famous “datang tak dijemput, pulang tak diantar”, mantra tersebut jadi terkesan lucu karena rhyming yang dipaksakan.

Pace filmnya juga penuh inkonsistensi. Untuk beberapa adegan, film terasa bagaikan dikejar setan (literally) sehingga penonton dibuat sulit bernapas dan teringat pada kengerian di Jelangkung  (2001). Beberapa adegan yang lain justru seperti dipanjang-panjangkan, bertele-tele dan bikin saya pingin tidur saja karena memunculkan banyak pertanyaan dan lubang-lubang di badan ceritanya. Beberapa adegan juga terkesan dipaksakan, dibikin seolah-olah mengerikan padahal ketegangannya tidak terbangun penuh sebelumnya, sehingga terasa janggal dan gampang ditebak. Sedikit spoiler, adegan paling dipaksakan menurut saya adalah saat karakter Angel melahirkan bayi setan di liang lahat. Adegan ini mungkin terinspirasi dari film Beranak dalam Kubur (1972), tetapi skenarionya buruk banget sehingga saya jadi bisa menebak jelas arahnya dan kengeriannya pun jadi jauh berkurang. Adegan ini juga gak terasa signifikansinya di keseluruhan cerita, atau memang mungkin disiapkan untuk petunjuk bakal adanya sekuel selanjutnya.

Casting para pemainnya juga menurut saya butuh perbaikan disana-sini. Lukman Sardi memang terasa dominan, tetapi menempatkan Hannah Al Rashid sebagai putri tertuanya tanpa membuat Lukman tampak jauh lebih tua kok ya seperti memberi obat batuk pada penderita maag. Tidak fatal, memang, tetapi gak pas juga. Belum lagi Amanda Rawles dan Gabriella Quinlynn yang gak mirip sama sekali sehingga tidak terasa seperti saudara sekandung. Karakter Rama yang diperankan Jefry Nichols juga nampak seperti memenuhi karakter laki-laki ganteng yang memang kurang di film ini. Hal terakhir yang buat saya cukup mengganggu adalah cara pengambilan gambar menggunakan aerial shot yang berlebihan sehingga jadi terasa seperti menonton via Google Earth. Belum lagi karakter hantunya yang lebih ngepop dan imut jika dibandingkan dengan suster ngesot yang dipopulerkan oleh Jelangkung (2001).

Overall, film ini cukup bagus jika dibandingkan dengan beberapa film horor Indonesia lain selama kurun waktu 16 tahun setelah Jelangkung (2001) dirilis. Namun jika dibandingkan dengan Jelangkung atau dengan Tusuk Jelangkung (2003) sekalipun, saya rasa-rasanya masih lebih memilih untuk menonton kedua film pendahulunya tersebut ketimbang nonton film ini.