Come Play (2020)
96 min|Drama, Horror, Mystery|30 Oct 2020
5.8Rating: 5.8 / 10 from 19,593 usersMetascore: 58
A monster named Larry manifests itself through smart phones and mobile devices. Feature film version of the 2017 short film.

Come Play adalah film horor yang ditulis dan digarap oleh sineas debutan Jacob Chase. Film berbujet U$ 9 juta ini dibintangi oleh nama-nama yang belum terlalu familiar, seperti Gillian Jacobs, John Gallagher Jr. , serta aktor cilik Azhy Robertson. Uniknya, Come Play diadaptasi dari film pendek yang juga digarap sang sineas yang berjudul Larry. Apakah sineas debutan ini mampu menyajikan sesuatu yang baru dalam filmnya?

Oliver adalah seorang bocah autis yang tinggal bersama ibunya dan sang ayah yang bekerja sebagai tukang tiket parkir untuk memenuhi kebutuhan harian mereka. Oliver tak bisa lepas dari telepon genggamnya yang juga ia gunakan untuk berkomunikasi dengan orang lain, baik di rumah maupun di sekolah. Ia pun memang tak punya teman dan sering menyendiri. Suatu ketika, satu hal aneh terjadi ketika layar hpnya menyajikan gambar monster aneh yang setelahnya mulai mengusik kehidupan Oliver.

Plot horor macam ini memang sudah tak asing untuk genrenya. The Babadook rasanya adalah komparasi ideal untuk menyajikan hubungan tak biasa antara Ibu dan putranya, atau lebih jauh lagi film masterpiece, The Shinning. Come Play pun, inti kisahnya menyajikan hal yang sama, hanya saja skala kisahnya sedikit meluas ke orang-orang di sekitar Oliver. Alur kisahnya pun tak banyak kejutan berarti dan tak sulit diduga arahnya. Satu segmen adegan horor ketika rekan-rekan Oliver bermalam di rumahnya, mampu disajikan sangat impresif, namun sayangnya pengembangan cerita tidak mengarah ke pemain-pemain cilik ini. Justru plotnya semakin menyempit antara Oliver dan ibunya. Tak buruk memang, namun setelahnya menjadi terasa terlalu familiar walau ending-nya amat menyentuh dan jarang kita jumpai dalam film horor sejenis.

Baca Juga  Bumblebee

Walau tak bisa dibilang segar, unsur penggunaan gadget untuk menyajikan sisi horornya terbilang lumayan dalam beberapa momen. Sang monster yang hanya bisa terlihat melalui layar hp membuat sineas tentu mudah untuk memainkan sisi ketegangan melalui jump scare. Pencapaian film ini jelas tidak buruk untuk seorang sineas debutan. Tiga pemain utamanya juga bermain sangat baik, khususnya pemeran Oliver (Robertson) dan sang ibu (Jacobs). Sayang, rekan-rekan Oliver tidak dieksplorasi lebih jauh karena mereka semua bermain sangat luwes.

Come Play menggunakan elemen cerita horor familiar dengan penggunaan unsur gadget sebagai media pemicu ketegangan, walau tak banyak menampilkan jump scare segar dan mengigit. Pesan keluarga dan kehangatan kasih sayang masih merupakan poin utama seperti kebanyakan film horor lainnya. Poin lainnya jelas adalah efek punggunaan hp berlebihan yang tak bagus buat anak-anak. Kita sudah banyak melihat dalam keseharian, bagaimana komunikasi dunia maya mulai menggantikan komunikasi langsung tatap muka. Larry hanyalah merupakan manifestasi komunikasi sejenis yang kini telah merasuk ke generasi muda masa kini. Beware.

Stay safe and Healthy!

 

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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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