A Battle We Can (Always) Win


11 April 2012
Director: Peter Berg
Producer: Peter Berg
Script: John & Eric Hoeber
Cast: Taylor Kitsch / Liam Nesson / Rihanna / Brocklyn Decker / Tadanobu Asano
Cinematography: Tobias A. Schliessler
Editing: Colby Parker Jr. / Billy Rich
Music: Javier Navarrete
Studio:  Hasbro / Blue Grass Film / Film 44
Distributor: Universal Pictures
Running Time: 131 minutes
Budget: $200 million
          Film tentang invasi makhluk asing bukan hal yang baru lagi, dari film kelas independen hingga film berbujet besar dengan segala pesona visualnya. Beberapa film bertema ini tercatat berkualitas baik, macam Sign (Shyamalan) dan War of the Worlds (Spielberg). Sementara Independence Day (ID4) tercatat sebagai film invasi makhluk asing paling laris hingga kini. Lalu bagaimana Battleship?
Sejumlah ilmuwan menemukan planet yang mirip bumi nun jauh di seberang tata surya kita. Kita mengirim sinyal kesana dan ternyata mendapat respon dari makhluk asing. Good news for them but bad news for us. Tim kecil makhluk asing datang ke bumi dengan tujuan mengambil alih jalur komunikasi satelit di Hawaii untuk menghubungi rekan-rekan mereka di ujung galaxi karena ternyata bumi adalah planet yang layak huni bagi mereka. Sialnya, di tempat yang sama sedang diadakan latihan tahunan kapal perang antar negara. So, lets the battle begin, actually this is a battle we can (always) win.
Satu hal yang membuat heran, jika makhluk asing ini memang sejak awal ingin menginvasi bumi mengapa mereka tidak membawa sekaligus ratusan pesawat tempur (ID4, War of the Worlds)? Jika mereka hanya ingin melihat situasi dan mengukur kekuatan musuh, mengapa tidak melakukannya diam-diam? Apa gunanya mengambil resiko bermain-main dengan musuh (pihak bumi) jika mereka nanti pun akan membinasakan semua. Banyak lagi hal yang tak jelas tanpa penjelasan yang memadai. Aneh sekali, dengan teknologi makhluk asing secanggih itu mereka tidak memiliki alat komunikasi yang bisa mencapai planet asal mereka hingga harus susah payah menggunakan satelit bumi.
Harus diakui memang, beberapa sekuen aksi mampu disajikan dengan apik dan menegangkan dengan dukungan efek visual yang menawan. Pertempuran kapal perang modern memang jarang sekali kita lihat dalam film, paling-paling hanya pertempuran kapal selam (The Hunt for Red October, U-571, K-9). Walau bukan sepenuhnya melawan sesama kapal tempur di atas laut namun setidaknya pihak musuh “mengalah” (aneh bukan?) dengan memposisikan pesawat mereka sebagai kapal laut. Pertarungan adu strategi antara dengan pesawat musuh di malam hari cukup menegangkan walau sedikit mengherankan (lagi) dengan teknologinya pihak musuh tak mampu mendeteksi posisi lawan. Lalu senjata maut “Gerinda raksasa” yang keras, berisik, dan menakutkan lebih mirip seperti robot transformers ketimbang senjata.
Battleship tidak menawarkan apapun kecuali aksi pertarungan yang seru plus bumbu komedi. Karakter Lt. Alex Hopper yang ugal-ugalan membuat nuansa filmnya menjadi tidak serius. Polah tingkahnya sama sekali tidak mencerminkan seorang perwira dalam suasana genting sekalipun. Sayang karakter serius yang diperankan Liam Nesson (Admiral Shane) ternyata tidak dominan dalam film ini. Justru karakter “tak penting” yang diperankan super model, Brocklyn Decker (Sam) tampil lebih dominan. Andaikan Battleship menyajikan kisah yang lebih serius rasanya film ini jauh lebih baik. Melihat Battleship hanya membuat film invasi makhluk asing “medioker” macam ID4 menjadi tampak lebih baik. (C)
Artikel SebelumnyaWrath of The Titans
Artikel BerikutnyaMen in Black 3
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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