Timo Tjahjanto: A Master of Maximalism in Genre Cinema

Indonesian director Timo Tjahjanto is celebrated for his relentless, unapologetic maximalism. Known for pushing the boundaries of genre films, his works brim with manic energy, aiming to leave nothing behind. This excess is beautifully embodied in his horror and action films, from the deliriously cheesy short Safe Haven in V/H/S/2 to the hyper-violent action extravaganza Headshot, which he co-directed with Kimo Stamboel as part of the Mo Brothers. The blood-splattered violence of his films often makes you wonder if the CGI blood will ever stop flowing, giving his work an unhinged appeal.

The Double-Edged Sword of Excess

While Tjahjanto’s excess is undeniably exhilarating, it also proves to be his Achilles’ heel. His latest film, Shadows of the Dead, much like The Night Comes for Us, is another chaotic symphony of violence and death. However, the sheer scale of the carnage often overpowers the film’s narrative, leaving it more exhausting than engaging. The film is an orgy of dismemberment and brutality, with a spirit that is easier to appreciate than its execution. Despite its ambitions, Shadows of the Dead falls short, making it hard for viewers to stay fully engaged. Tjahjanto’s enthusiasm is palpable, but the skill needed to balance such intensity often falters.

“The Labyrinth of Shadows”: A Promising but Derivative Beginning

Shadows of the Dead starts off with promise, adopting a “more is less” approach to storytelling. The plot centers on a mercenary clan, the Shadows, who will kill anyone for the right price, with no regard for moral values. Dressed in tactical black gear, these characters ooze a coolness that’s hard to ignore. One of the central figures is 13 (played by Angela Rivero), an emotionless assassin tasked with taking down a gang of cartoonish yakuza. The film’s high-speed massacres, with decapitations and gruesome injuries, are Tjahjanto at his finest. Yet, the film quickly veers off-course when 13 accidentally kills an innocent geisha, triggering a crisis that complicates the film’s direction.

The Heart of Darkness: The Emotional Struggles of 13

Following the botched mission, 13 is left grappling with her conscience, leading to an emotional conflict that puts her at odds with her mentor, Umbra (Hana Malasan). Umbra’s cold-hearted mantra, “Our mission is never easy, but it’s never complicated,” highlights the film’s underlying exploration of emotional suppression. While 13’s internal conflict offers an interesting subplot, the execution falters. Her subsequent exile and attempt to suppress her emotions come off as predictable, lacking the depth needed to truly engage viewers.

Too Many Threads, Too Little Focus

Despite a seemingly straightforward premise, Tjahjanto’s penchant for overstuffing his films with subplots detracts from Shadows of the Dead. The narrative spirals into a convoluted web involving a political election and a multi-million-dollar drug heist. Amid the chaos, larger-than-life characters like pimp Haga, his trigger-happy lover Soria, and corrupt cop Prasetyo are introduced, but their conflicts remain underdeveloped. Tjahjanto’s world-building is ambitious, but it lacks the structural support to sustain the numerous storylines. The film tries to lay the groundwork for a potential franchise, yet it becomes bogged down by its own complexity, leaving the audience disoriented.

Missed Opportunities in Character Development

The rich potential for exploring deeper themes—such as the patriarchal control over female assassins, stripping them of their instincts—remains untouched. Tjahjanto hints at these ideas but never fully dives into them, leaving much of the film’s emotional undercurrents unexplored. Instead of using the opportunity to explore these power dynamics, Shadows of the Dead opts for action-packed detours that do little to serve the plot. As a result, the film feels like a missed opportunity to balance brutal action with emotional depth.

Action Without Escalation: Fight Sequences That Fall Flat

The film’s fight sequences, a hallmark of Tjahjanto’s work, lack the expected impact. While they are visually impressive, they fail to create meaningful tension. The pacing of the action moves too quickly to allow for proper engagement, and the over-reliance on CGI blood and digital effects detracts from the visceral nature of the combat. A particularly weak moment involves a villain’s face being pushed into unconvincing fake flames, highlighting the film’s tendency to prioritize spectacle over substance.

Brutality as Tjahjanto’s Signature Strength

Despite its shortcomings, Shadows of the Dead succeeds in one crucial area: brutal, unrelenting violence. The long, draining fight sequences leave the audience feeling as battered as the characters on-screen. Tjahjanto’s ability to convey raw emotion through action is undeniable, and in moments like these, his directorial style shines. The character of 13, desperate to escape the void created by the organization, radiates her emotional turmoil in the brutal hand-to-hand combat scenes. These moments allow Tjahjanto’s film to momentarily rise above its flaws.

Final Thoughts: Style Over Substance

Ultimately, Shadows of the Dead is a film that wants to be the coolest action movie ever made, but it struggles to deliver something truly good. While Tjahjanto’s passion and creativity are evident, the film’s disjointed narrative, underdeveloped characters, and overuse of CGI diminish its potential. If Tjahjanto focuses on crafting tighter stories with more emotional depth, his films could achieve the balance they need to be more than just brutal spectacles.

Rating: C

Shadows of the Dead premiered at the 2024 Toronto International Film Festival and will be available on Netflix starting Thursday, October 17th.