Escape Plan yang rilis tahun 2013, terhitung merupakan film bersejarah karena untuk pertama kalinya mempertemukan dua aktor superstar laga pada eranya, yakni Sylvester Stallone dan Arnold Schwarzenegger. Namun, faktanya film ini tak laris-laris amat karena pesona dua aktor ini, kini memang sudah memudar. Jika saja diproduksi setidaknya 10 tahun sebelumnya, bisa jadi segalanya berbeda. Film ini pun tak direspon baik oleh para kritikus, sekali pun tak jelek-jelek amat. Agak mengherankan ketika sekuelnya diproduksi, dan kali ini tanpa Arnold pula, apa lagi yang mau ditawarkan? Film sekuelnya yang bertitel, Escape Plan 2: Hades diarahkan oleh sineas Stephen C. Miller yang memang sering menggarap film aksi B- Movies. Sekalipun begitu, Hades dibintangi oleh Stallone dan Dave Bautista yang kini namanya tengah naik daun, serta aktor dan penyanyi top Mandarin, Huang Xiaoming.

    Alkisah Ray Breslin (Stallone), sang spesialis tes kemanan penjara, kini meneruskan usahanya menembus penjara-penjara dengan keamanan maksimum. Suatu ketika, satu anak buahnya, Shu Ren (Xiaoming) diculik dan dijebloskan dalam penjara super ketat dan modern bernama Hades. Melihat ada sesuatu yang tak beres dalam kasus ini, Ray lalu meminta tolong partner lamanya, Trent DeRosa (Bautista).

    Sejak adegan pembuka saja, sudah tampak gelagat film ini adalah film berbujet murah, berbeda sangat jauh dengan film pertamanya (US$ 54 juta). Film yang rasanya tak layak diputar di bioskop ini, banyak menggunakan shot-shot dekat untuk menutupi kelemahan setting-nya dengan kualitas gambar yang kurang oke pula. Efek visual pun tampak murahan sekali, rasanya serial televisi pun bisa lebih baik dari ini. Kabarnya di AS, film ini memang tidak diputar di bioskop dan dirilis melalui format digital/Bluy Rayon demand. Lalu bagaimana plotnya? Tak perlu banyak komentar. Kisahnya terlalu cepat dan semua serba dipaksakan untuk bergerak maju, dan sepertinya, penikmat film pun tak sulit untuk mengetahui dalang di balik semuanya. Ok terkadang film aksi tak perlu menggunakan nalar atau logika, namun di film ini adegan-adegan aksinya pun bahkan tak bisa kita nikmati. Semua serba medioker. Bujet murah (film ini) rupanya identik dengan film murahan. Buang-buang uang jika kita menontonnya di bioskop.

Baca Juga  Batman Ninja

     Escape Plan 2: Hades adalah film aksi medioker dari segala sisi yang hanya menjual nama bintang-bintangnya saja. Dari bintang Asianya, sudah tampak target filmnya mau disasar ke negara mana. Film-film aksi Tiongkok, macam Operation Red Sea dan Wolf Warrior 2 juga semata mengedepankan aksi heboh tanpa harus berpikir panjang soal logika/nalar. Kita lihat saja hasilnya di sana. Anehnya lagi, kabarnya, film ini akan diproduksi sekuelnya! Stallone dan Bautista pun dikabarkan bermain di dalamnya! Apa semata uang? Aktor legendaris seperti Stallone amat disayangkan jika tidak mengakhiri karir panjangnya dengan manis dan hanya bermain dalam film medioker macam ini.

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PENILAIAN KAMI
Artikel SebelumnyaJailangkung 2
Artikel BerikutnyaKuntilanak
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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