wrath of becky

Masih ingat Becky (2020), gadis cilik brutal yang membalas dendam kematian ayahnya? Kini sekuelnya telah hadir, Wrath of Becky yang dirilis oleh platform Prime Video. Sekuelnya kini diarahkan oleh Matt Angel dan Suzanne Coote. Sang bintang remaja, Lulu Wilson, kini didampingi oleh Sean William Scott, Denise Burse, Jill Larson, serta Kate Siegel. Akankah sekuelnya kini sebrutal film pertamanya?

Dua tahun setelah kejadian mengerikan yang menimpa Becky (Wilson), sang gadis beberapa kali kabur dari orang tua asuhnya. Ia pun bersama Diego, anjing setianya, akhirnya mendapat tempat di rumah seorang nenek tua bernama Elena (Burse) yang kesepian. Becky pun kini bekerja di sebuah kedai kopi. Suatu ketika, tiga orang laki-laki asing datang dan mengganggunya, Becky pun membalasnya. Tak terima dengan ulah Becky, tiga orang tersebut mengikuti dan mendatangi rumah Becky, lalu tak sengaja membunuh Elena. Becky pun lantas mencari mereka untuk membalaskan dendam. Siapa sangka, ketiga lelaki tersebut rupanya bagian dari komplotan radikal paling dicari di AS yang dipimpin seorang mantan militer bernama Darryl (Scott).

Wrath of Becky dibuka dengan opening title unik dengan gambar-gambar skets layaknya “montage” yang menuturkan eksposisi ringkas petualangan sang gadis sebelum ia tinggal di rumah Elena. Premisnya yang menjanjikan seolah bakal menyajikan aksi sadis yang lebih brutal dari sebelumnya. Faktanya tidak. Kita tentu penasaran bagaimana plot aksi brutal bisa masuk ke dalam kisahnya, dan ini bermula ketika tiga lelaki asing datang masuk ke kafe. Semua berjalan natural, namun ketika mereka ke rumah Becky dan membunuh Elena, serta membawa anjingnya (untuk apa?), ini jelas-jelas tidak masuk akal. Logisnya, Becky seharusnya dibunuh untuk menghilangkan saksi. Belakangan, mereka pun terlibat dalam komplotan radikal yang akan mengadakan pemberontakan di kota, justru membuat segalanya tambah tak masuk akal. Ini adalah kesalahan fatal naskahnya.

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Aksi brutal yang menjadi trademark, juga kini seolah tanpa gigitan. Aksi sadisnya terasa lebih “soft” dengan hanya sedikit intensitas ketegangan yang bisa kita rasakan. Dalam seri pertama, situasi “Die Hard” dapat kita rasakan kuat karena ancaman begitu nyata. Namun kini, satu-satunya yang mengancam hanyalah sosok Becky sendiri. Lemahnya karisma sosok antagonis yang diperankan Sean William Scott membuat segalanya menjadi terasa seperti banyolan. Dibandingkan sosok antagonis seri pertama yang diperankan Kevin James yang sikapnya dingin, tegas, dan keras, kita pun bisa merasakan aura bengis karakter melalui sorot matanya.

Tidak menyengat seperti film pertamanya, namun Wrath of Becky masih memiliki potensi melalui sosok brutal protagonisnya. Dari sisi aksi dan pemain, seri keduanya ini terasa jauh lebih halus. Pesona Lulu Wilson tidak seperti sebelumnya, kini ia justru terlihat sebagai gadis remaja yang sakit jiwa ketimbang traumatik. Potensi pengembangan kisahnya rasanya justru lebih menarik, namun apa bedanya kelak dengan seri-seri agen perempuan tangguh lainnya yang sudah jamak di pasaran. Sosok gadis kecil yang brutal ini adalah satu hal yang membuat seri ini begitu menarik dan segar.

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Artikel SebelumnyaFirst Snow of Summer – EoS 2023
Artikel BerikutnyaAsghar Farhadi
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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