Mr. Harrigan’s Phone adalah film drama misteri arahan sineas kawakan John Lee Hancock. Naskahnya diadaptasi dari novel kompilasi horor If It Bleeds karya Stephen King. Film rilisan Netflix ini dibintangi Jaeden Martell, Donald Sutherland, Joe Tippet, dan Kirby Howell-Baptiste. Bermodal sineas dan sumber adaptasinya rasanya film ini bakal menjanjikan sesuatu yang menarik, benarkah?

Lima tahun sudah, Craig (Martell), bekerja pada kakek tua kaya raya, Harrison untuk membacakan novel, tiga kali dalam seminggu. Di sekolah, Craig adalah seorang bocah pendiam yang kerap di-bully rekan sekolahnya. Suatu ketika, Craig meraih hadiah ratusan dollar dari lotere yang diberikan oleh sang kakek. Craig memberikan hadiah sang kakek sebuah handphone untuk membantunya menyimak bisnis sahamnya secara online. Tak lama, sobat tuanya pun mendadak meninggal dan Craig meletakkan handphone sang kakek di dalam peti jenazah. Anehnya, Craig tak lama dihubungi oleh nomor handphone sang kakek.

Walau berjalan sangat lambat, premisnya yang menarik perlahan mulai terkuak. Apakah arwah sang kakek yang menghubungi Craig dari liang kubur? Apakah handphone sang kakek hanya di-hack? Pertanyaan ini menggelitik rasa penasaran kita. Belum lagi misteri tentang orang-orang di sekitar Craig yang tewas secara aneh. Apakah arwah sang kakek membantunya membalaskan dendam? Alih-alih mengarah ke sisi misteri dan horor dengan ketegangan mencekam, alurnya rupanya hanya berkutat di problem psikologis sang bocah. Pertanyaan-pertanyaan di atas tak mudah dijawab karena ini sepertinya hanya metafora belaka.

Ini yang menjadi problem arah kisahnya, apa sebenarnya yang ingin dituju? Apakah trauma Craig pada ibunya? Relasi batinnya dengan sang kakek? Atau dampak psikologis handphone terhadap pengguna? Atau semua ini hanya ada dalam pikiran Craig? Ataukah memang semua poin yang di atas? Pesan sebuah film tak mungkin serakus itu. Resolusinya pun tak jelas mengarah ke mana, karena tak ada konflik batin yang tegas dalam sang tokoh. Sikap dan aksi Craig juga terlihat selalu canggung, entah ini memang peran atau hanya akting.

Baca Juga  All Quiet on the Western Front

Mr. Harrigan’s Phone memiliki premis menjanjikan tanpa pengembangan yang intens dan mencekam. Terlalu banyak hal yang ingin diusung dengan kisahnya yang serba tanggung. Hasilnya pula, semua serba tanggung. Jika saja, film ini mengarah ke horor, rasanya bisa lebih kuat untuk mengusung tema trauma maupun dampak buruk teknologi. Apapun yang dilakukan Craig, tak ada bedanya jika sang bocah berujung terbujur kaku tak bernyawa di dasar danau. Sayang, film ini telah melewatkan kesempatan bagus melalui talenta sang sineas, pemain, dan premis kisahnya. Seharusnya bisa lebih baik.

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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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