Di tengah awal krisis korona, Mr Zoo The Missing VIP dirilis di negara asalnya, Korea Selatan (22 Januari lalu). Film aksi komedi garapan Kim Tae-Yun ini nyatanya sukses komersial. Film ini dibintangi Lee Sung-min, Kim Seo-hyeong, serta Bae Jeong-nam. Jika kalian tak asing dengan sosok Dr. Dolittle, kisah film ini memang memiliki kemiripan tokoh utama yang juga bisa berbicara dengan binatang. Seberapa mirip kisahnya?

Alkisah Tae-ju adalah member dari agen keamanan pemerintah yang baru saja naik pangkat. Tae-ju adalah seorang sosok yang tak suka dengan binatang apa pun karena ia mengangapnya menjijikkan. Suatu ketika, divisinya mendapat tugas berat untuk melindungi seekor panda bernama Ming-Ming yang menjadi simbol kedamaian hubungan antara Korea dan Cina. Satu kelompok teroris berhasil menculik sang panda dan dalam aksi pengejaran Tae-ju mengalami kecelakaan hingga kepalanya terbentur ke jalan. Setelahnya, Tae-ju mengalami hal aneh yakni ia mampu berbicara dengan binatang. Walau dianggap tidak waras, berbekal kemampuan barunya bersama seekor anjing polisi bernama Ali, Tae-ju pun melacak jejak sang panda.

Walau tokohnya memang mirip Dr. Dolittle (yang kebetulan rilisnya nyaris bersamaan), namun kisah film ini sangat berbeda dan segar. Kalau boleh saya bilang, film ini jauh lebih menghibur daripada film yang dibintangi Robert Downey Jr. baru lalu. Plot investigasi kriminal dan sisi komedi, juga fantasi, dikombinasi dengan baik dengan tokoh-tokoh binatang yang amat mencuri perhatian penonton. Ali dan Ming-Ming, bersama sekilas sosok binatang lainnya menjadi pemicu utama sisi komedinya, di luar tentu aksi konyol Tae-ju yang diperankan sangat baik oleh sang bintang.  Beberapa kali polah dan banyolan mereka memang sungguh memancing gelak tawa. Kapan lagi kita bisa mendengar seekor harimau menyanyi satu lagu pop Korea? Dialog memang tidak dimaksudkan bercanda, namun aksi polah mereka yang mengundang tawa penonton.

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Dari sisi cerita, satu hal paling mengganjal adalah lubang plotnya yang sangat menggangu di banyak momen. Banyak hal tak dijelaskan untuk memaksakan sebuah adegan atau banyolan. Iya memang, ini film komedi, apa saja bisa terjadi, tapi lubang plot bisa ditambal agar lebih elegan dan tidak diumbar semudah ini. Namun, kelemahan ini sedikit tertutup oleh momen dramatik di beberapa adegannya. Satu momen sesaat ketika sang anjing diselamatkan oleh Tae-ju, disajikan manis dan menyentuh memperlihatkan kehangatan hubungan antara sang anjing dan majikannya. Tentu bukan hal mudah dalam produksinya membuat adegan semacam ini (dialog antara anjing dan manusia).

Ide Mr Zoo The Missing VIP memang tak baru, namun kisahnya menghibur dan hangat sekalipun terdapat kejanggalan cerita di sana-sini. Setidaknya, di film ini sosok sang anjing diperankan anjing sungguhan, bukan CGI seperti dalam The Call of the Wild baru lalu. Walau Ming-Ming tampak memang sebuah “boneka” tapi tak apalah, masih bisa dimaafkan. Kesulitan pengambilan gambar dengan binatang seringkali juga diakali dengan penggunaan shot dekat dan transisi editing, yang menjadi terkesan “murah” memang, tapi jelas lagi-lagi bisa dimaklumi, alih-alih menggunakan CGI dan malah terlihat artifial.

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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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