I, The Executioner (Beterang 2) merupakan sekuel dari film aksi kriminal komedi laris produksi Korea Selatan, The Veteran (2015). Film ini kembali dibintangi para pemain seri pertamanya, antara lain Hwang Jung-min, Oh Dal-su, Jang Yoon-ju, Oh Dae-hwan, dan Kim Shi-hoo. Film ini juga masih diarahkan Ryoo Seung-wan. Akankah film ini mampu menyamai sukses film pertamanya yang meraih penghasilan kotor lebih dari USD 90 juta secara global?

Detektif senior Seo Do-cheol (Jung-min) bersama tim dan atasannya, masih  aktif memberantas kriminal setelah sekian lama. Seluruh negeri kini dihebohkan oleh pembunuh berantai berinisial Haechi yang membunuh orang-orang yang dianggap berdosa dengan merilis video mereka sebelum dibunuh. Situasi semakin diperburuk oleh seorang influencer video yang mengambil kesempatan di tengah situasi tersebut. Sementara kepolisian sibuk dengan kasus besar ini, seorang polisi muda tangguh yang mahir beladiri, Park Sun-woo (Jung Hae-in) menarik perhatian Do-cheol untuk direkrut ke dalam timnya.

Jika kalian sudah menonton film pertamanya, pola alur plot sekuelnya tak jauh dari ini. Bedanya, seri pertamanya lebih fokus pada sosok sang detektif (dominan bekerja secara solo) sementara sekuelnya begitu cepat berpindah dari satu karakter ke karakter lainnya. Saking cepatnya, kadang penonton terasa kewalahan mengikuti plotnya karena informasi demi informasi terus mengalir. Walau antar subplotnya kelak memang berhubungan. Agak lepas di awal, namun di akhir semuanya terkuak.

Bagi penikmat film sejati, rasanya tak sulit mengantisipasi kisahnya, atau memang ini disengaja dengan sudah di”bocorkan” sejak awal? Entahlah. Arah kisahnya terlalu mudah terlihat dan jujur dalam beberapa momen terlihat agak memaksa. Apa dasarnya, sang detektif menuding begitu cepat sosok Haechi adalah “orang” tersebut? Lalu apa motif Haechi melakukan ini semua? Apakah sang detektif memang sudah diincar Haechi sejak awal untuk membangun skenario yang demikian rumit? Tak ada alasan yang tegas dan jelas. Jauh berbeda dengan seri pertama yang fokus dengan sosok protagonis dan antagonis utama sehingga plotnya pun bisa diikuti dengan mudah.

Baca Juga  Inside Out

I, The Executioner mengikuti formula film pertamanya dengan mengangkat kasus dan tema lebih kekinian. Lantas bagaimana aksinya? Ketimbang film-film senada yang dibintangi Ma dong-seok, tak ada yang mampu dinikmati secara koreografis. Selipan komedi? Humornya tak jauh dari film-film Korea Selatan kebanyakan yang kadang terlalu konyol dan absurd. Soal dialog, kadang saya risi dengan budaya di sana (jika iya) yang bernada bicara “kasar” dan volume tinggi yang berkesan merendahkan, entah ini rekan kerja, atasan, suami-istri, terlebih seorang kriminal. Kadang pun hingga bermain tangan dan kaki. Ini jelas problem saya sendiri. Fans seri pertamanya jelas bakal lebih menikmati sekuelnya ini ketimbang yang belum menonton. Para kasting pendukungnya juga kini tampil lebih dominan dari film sebelumnya. Tampak sekali, film ini hanya mencoba mengekor kesuksesan film pertamanya tanpa ada kejutan berarti selain isunya yang mengangkat dampak buruk dari media sosial.

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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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