The Hunger Game: Catching Fire adalah peningkatan di semua lini jika dibandingkan dengan seri pertamanya. Cerita justru sangat menarik di separuh awal ketika ketegangan politik serta bibit revolusi mulai mencuat dan ketika permainan dimulai, hanyalah aksi pengulangan permainan seperti seri pertamanya. Mood jauh berbeda dengan sebelumnya dimana nuansa ketegangan dan kemarahan lebih berperan sepanjang filmnya. Para pemain khususnya Jennifer Lawrence tampil jauh lebih matang dari sebelumnya, dan munculnya karakter-karakter baru, seperti Finnick dan Johanna cukup menyegarkan filmnya. Dari sisi pencapaian aksi dan efek visual tidak berbeda jauh dari seri pertama. Film ini memang cukup istimewa sisi pencapaian artistiknya dari semua lini, namun tidak untuk substansi ceritanya.

Seperti pada seri pertama, problem The Hunger Games bukan pada film namun pada sumber ceritanya (novel). Tidak habis pikir mengapa otoritas Panem membuat permainan sekonyol ini hanya semata untuk menekan aksi pemberontakan. Langkah konyol Presiden Snow merombak ulang permainan The Hunger Games pada seri kedua ini justru menjadi blunder bagi pemerintahannya. Untuk membunuh karakter Katniss jelas tidak perlu susah-susah membuat skenario sedemikian rumit. Bunuh saja Katniss diam-diam dan buat seperti kecelakaan, selesai sudah masalah. Kok repot sekali… Sejalan dengan cerita yang semakin meningkat tensi politiknya justru semakin menambah permainan The Hunger Games kehilangan greget dan useless seberapapun tegang aksinya. Permainan The Hunger Games hanya seperti tempelan saja. After all this is movie about revolution not some games.

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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). His passion for film extends to the present day. He continues to provide insightful critiques of contemporary films on montasefilm.com, while actively participating in film production endeavors with the Montase Film Community. His own short films have garnered critical acclaim at numerous festivals, both domestically and internationally. Recognizing his exceptional talent, the 2022 Indonesian Film Festival shortlisted his writing for Best Film Criticism (Top 15). His dedication to the field continues, as he currently serves as a practitioner-lecturer for Film Criticism and Film Theory courses at the Yogyakarta Indonesian Institute of the Arts' Independent Practitioner Program.

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