Do Revenge is a teen drama film directed by Jennifer Kaytin Robinson. The story is said to have been inspired by the legendary crime film Stranger on a Train, directed by Alfred Hitchcock. This film stars a series of young stars, Camilla Mender, Maya Hawke, Sophie Turner, and Sarah Michelle Gellar. This film was released by Netflix yesterday. So, how far is the premise of “Stranger on a Train” treated by the plot?

Drea (Mendez) is a high school student who is humiliated by her boyfriend, Max, after a video of her intimate relationship goes viral. Meanwhile, Eleanor (Hawke) is a high school student who is humiliated by her girlfriend, Carissa. The two girls, shunned by their schoolmates, then made a revenge scenario by swapping places so their actions would not be recognized. The two are unwittingly caught up in a game that makes them lose themselves.

If you want to compare it to Stranger on a Train, the story of this teenage conflict is not serious and playful. If the genre is different (horror-thriller), it could be that the plot is much more biting. Without any comparison, the film’s plot is already trapped in the complexity of its own story. Intrigue after intrigue passed, and without us understanding the motive, we no longer care about the character. This kind of revenge scenario is definitely too heavy for a high school kid’s brain level. Then the twist ending, oh my gosh! The direction is clear; why should it be made this complicated? It’s like we buy meat buns, then our partner says it’s not meat buns, but a meat bun. We seem to be deceived when in fact, we are not.

Do Revenge is trapped in the chaos of overlapping plots until we lose our connection with each character, not to mention the cast members who don’t look like teenagers anymore. Just check the age of each star; Camilla Mendez, for example, is already 28 years old! The headmaster “Buffy” (Gellar), even looks young for his role. Am I the only one seeing this? If the script is playful and the casting is too forced, how will we take the story seriously?

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Artikel BerikutnyaWebinar FFWI XII Seri Ketiga Mengupas Urgensi Nasionalisme dalam Film
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). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.


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