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Wrath of Man wouldn’t make a big fortune in the Box Office, even in normal times. But in Indonesia, it is enough to put Jason Statham’s face on a poster, it seems that the pandemic is unable to hold back the filling of cinema chairs. Our audiences adore Statham (to be precise an action that promises endless gunfire, so Bruce Willis and Nicolas Cage’s Class B films are still a big hit). Top Movie Site

So that when the remake of the French film titled Cash Truck (2004) bombarded the studio with whistling bullets at its climax, the ticket price had already paid off. On the other hand, a small portion of the audience who came because of the name Guy Ritchie, might wonder why the third act was only filled with “endless shots of people shooting guns”, as if the director was running out of style.

Though “style” is the identity of Guy Ritchie, and it was only two years ago that he got back to his roots with the hunky Gentlemen. Make no mistake, it doesn’t mean the Wrath of Man is bad. Ritchie’s quirk can still be found here and there, and is often an advantage. But it’s hard to deny the impression, if the film is made by “Guy Ritchie who tries his best to be the guy Ritchie that the public likes”. It can be seen from how the script he wrote with Ivan Atkinson and Marn Davies delivers the “foul-mouthed witty banter” favorite of Ritchie, who is eager to sound unique, intriguing, and edgy, but forgets that to have this impact, the conversation has to be interesting to follow, or better yet, it’s useful for reinforcing characterizations (of course I didn’t expect a second point to come from a Guy Ritchie).

After the opening sequence in the form of a deadly robbery, we get acquainted with Harry Hill aka H (Jason Statham), a new employee of a cash delivery truck sales service company. Every week the money they bring is in the range of hundreds of millions of dollars, so they are often targeted by robbers (including what we saw at the beginning of the film). While on duty with Bullet (Holt McCallany) and Boy Sweat (Josh Hartnett), it was the turn of the H truck to be targeted. To everyone’s surprise, H, who passed the test with a tight score, was able to kill all the robbers by himself.

Predictably, H has a secret, and in order to unravel the truth about him, Wrath of Man invites us on a non-linear path. Again, “very Guy Ritchie”. The plot skips forward three months, moves back five months, moves forward three weeks, and so on. It’s a headache trying to follow the numbers that appear on the screen, but believe me, it doesn’t have to be. Duration is only trinkets. Most importantly, we just know which event happened first, and it’s not difficult. Best Movie

It must be admitted that the storytelling technique is able to maintain the appeal of the plot, turning the cliché story about revenge (which of course does not have significant emotional weight considering this is Ritchie’s work), into a dynamic spectacle armed with several twists. Not to forget, the opening scene appears repeatedly from different points of view. The perspective that focuses on H, serves to explain the protagonist’s motivation as well as to give a shocking effect, but the detailed retelling through the point of view of the robbers including Jan (Scott Eastwood), has no significant purpose, except to patch a very thin plot and can be completed only in 60 minutes.

But as already mentioned, although some of Ritchie’s quirks here are like an attempt to repeat the past heyday, at the same time, his stylish approach is also a plus. Including the title, Wrath of Man has several title cards containing lines like “Scorched Earth” and “Bad Animals, Bad”, all of which sound like edgy versions of Shakesperean stories. Christopher Benstead’s music, which almost never stops throughout its duration, gives off a similar impression. The impression that this is a tragedy, where anger, revenge and violence are like poetic acts.

Because of that, when the retaliation finally happened, Ritchie took a risk by not packing it on a high note (even though it happened after a prolonged gun battle), but emphasizing the personal emotions (read: grief and anger) of his character. Similar to the director, Statham is definitely not a figure synonymous with sensitivity, but the combination of the two gives guarantees about a stylish presentation of badass action. Movie Review

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