A Good Day to Die Hard (2013)
98 min|Action, Thriller|14 Feb 2013
5.2Rating: 5.2 / 10 from 221,284 usersMetascore: 28
John McClane travels to Russia to help out his seemingly wayward son, Jack, only to discover that Jack is a CIA operative working undercover, causing the father and son to team up against underworld forces.

Ketika melihat trailer-nya beberapa bulan yang lalu sudah tercium kualitas filmnya yang buruk, dan dugaan tersebut ternyata tidak salah. Sejak seri 1 hingga 4, seri Die Hard menjadi salah satu film action franchise yang paling populer dan dinanti. Plotnya yang khas, karakter John McClane yang karismatik, jaminan adegan aksinya yang wah dan menegangkan, plus sedikit bumbu humor, serta skala cerita yang semakin meluas. Wajar jika semua orang memiliki ekspektasi yang tinggi terhadap film ini. Film kelimanya kali ini dengan cerobohnya menghilangkan semua keistimewaan seri ini.

Cerita kali ini ada di tanah Rusia, dimana puteranya terlibat plot membingungkan yang melibatkan seorang tokoh penting, Komarov. McClane terlibat dalam situasi rumit ini di waktu yang salah. Hasilnya McClane terlibat perburuan dog & mouse yang tak jelas dan perkembangan cerita yang serba membingungkan pula. Motif cerita menjadi hal terlemah dalam kisah filmnya karena aspek inilah yang menggerakkan aksi. Motif cerita yang lemah menjadikan adegan aksi menjadi hambar dengan ketegangan cerita yang sama sekali nol. Kita tidak mampu bersimpati maupun peduli apapun dengan karakternya. Singkat kata, kisahnya sangat memaksa. Sub plot bapak dan anak malah terasa sedikit menyentuh, itu pun karena kita telah mengenal karakter McClane sejak lama.

Baca Juga  The Jungle Book

Satu yang paling disesalkan adalah adegan aksinya yang brutal. Di seri Die Hard terdahulu, McClane adalah sosok polisi yang nekat tapi tidak ngawur dan ia selalu memiliki alasan atau motif yang kuat untuk melakukan sebuah tindakan atas aksinya. Satu alasan utamanya adalah jiwanya terancam (semua seri), orang-orang terdekatnya terancam nyawanya (seri 1, 2, dan 4), dan sesuatu hal yang bisa mengancam jiwa banyak orang (seri 1, 2, 3, dan 4). Kali ini McClane bukan sosok McClane yang sebenarnya tapi sosok yang sangat ceroboh dan ngawur. Sekuen aksi kejar mengejar mobil di kota adalah satu contoh sempurna. Hanya untuk menyelamatkan anaknya tanpa tahu apa yang sebenarnya terjadi, dia bisa membunuh puluhan banyak orang di jalanan. Lalu ada satu aksi memukul seorang pemilik mobil yang tak bersalah. What the hell? This is not John McClane.

Die Hard 5 atau A Good Day to Die Hard (judul paling konyol dari semua seri) dari segala sisi bukan seri Die Hard seperti lazimnya. Plot, karakter, adegan aksi, terlebih unsur thriller, semua adalah salah. This is no Die Hard. Fans sejati Die Hard boleh jadi kecewa berat. I Hope this is the last time. John McClane is too old for this. 

PENILAIAN KAMI
Overall
10 %
Artikel SebelumnyaThe Last Stand
Artikel BerikutnyaZero Dark Thirty
A lifelong cinephile, he cultivated a deep interest in film from a young age. Following his architectural studies, he embarked on an independent exploration of film theory and history. His passion for cinema manifested in 2006 when he began writing articles and film reviews. This extensive experience subsequently led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched the minds of students by instructing them in Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended beyond the classroom. In 2008, he published his seminal work, "Understanding Film," which delves into the core elements of film, both narrative and cinematic. The book's enduring value is evidenced by its second edition, released in 2018, which has become a cornerstone reference for film and communication academics across Indonesia. His contributions extend beyond his own authorship. He actively participated in the compilation of the Montase Film Bulletin Compilation Book Volumes 1-3 and "30 Best Selling Indonesian Films 2012-2018." Further solidifying his expertise, he authored both "Horror Film Book: From Caligari to Hereditary" (2023) and "Indonesian Horror Film: Rising from the Grave" (2023). A lifelong cinephile, he developed a profound passion for film from an early age. After completing his studies in architecture, he embarked on an independent journey exploring film theory and history. His enthusiasm for cinema took tangible form in 2006 when he began writing articles and film reviews. This extensive experience eventually led him to a teaching position at the esteemed Television and Film Academy in Yogyakarta. From 2003 to 2019, he enriched students’ understanding through courses such as Film History, Introduction to Film Art, and Film Theory. His scholarly pursuits extended well beyond the classroom. In 2008, he published his seminal work, Understanding Film, an in-depth examination of the essential elements of cinema, both narrative and visual. The book’s enduring significance is reflected in its second edition, released in 2018, which has since become a cornerstone reference for film and communication scholars across Indonesia. His contributions to the field also encompass collaborative and editorial efforts. He participated in the compilation of Montase Film Bulletin Compilation Book Volumes 1–3 and 30 Best-Selling Indonesian Films 2012–2018. Further establishing his authority, he authored Horror Film Book: From Caligari to Hereditary (2023) and Indonesian Horror Film: Rising from the Grave (2023). His passion for cinema remains as vibrant as ever. He continues to offer insightful critiques of contemporary films on montasefilm.com while actively engaging in film production with the Montase Film Community. His short films have received critical acclaim at numerous festivals, both nationally and internationally. In recognition of his outstanding contribution to film criticism, his writing was shortlisted for years in a row for Best Film Criticism at the 2021-2024 Indonesian Film Festival. His dedication to the discipline endures, as he currently serves as a practitioner-lecturer in Film Criticism and Film Theory at the Indonesian Institute of the Arts Yogyakarta, under the Independent Practitioner Program from 2022-2024.

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