“The only way to move is forward”

Films about the ability of a person to move back and forth in time are not exactly a rarity in cinema, with the concept of ‘second chances” working quite well in conjunction. Usually though, the concept is used in action films for the most part, which makes the family drama treatment Adrian Teh implements in “Reversi” a rather unusual one, for a number of reasons actually. 

Akid is a police negotiator who moonlights as a time traveler, an ability he inherited from his father, whose accidental death actually scarred Akid forever. And although his ability has helped him intensely at his job, with him managing to repeat failed missions, turning them into success, it also comes with a rub. Every time he goes back in time, part of his lifespan perishes. Eventually, Akid meets Sarah, an Aikido instructor, and the two fall in love. Soon they get married and even have a child, but tragedy hits Akid’s life once more. As he obsesses with changing the past in order to prevent the tragedy, two rather impossible options are presented and he is forced to make a choice. Eventually, the truth about his father is also revealed. 

Adrian Teh has come up with a very intriguing movie, as the aforementioned combination works quite well throughout the film, finding its peak after the tragedy. The message is also quite eloquent, in its metaphor: dwelling on the past makes no sense, the only way to move is forget and go forward. The way he presents this message, however, through time travel and intense repetition is quite smart, particularly since it also adds a sense of drama to the movie, which actually increases as time passes. Furthermore, the subtle comedy, which actually starts with the fact that the protagonist’s love interest is an aikido teacher, works quite well too, in entertainment terms.

These elements carry the movie from beginning to the finale; however, there are definitely moments when the whole thing falters. The repetition after the accident, for example, does get tiring after a point, even though it communicates the protagonist’s despair eloquently. It also stretches the movie to 140 minutes, which definitely overstays its welcome. Furthermore, the ending, and in general, the last part, although impactful in its revelations and dramatic premises, does move into melodramatic territory, with its tear-jerking approach not working particularly well. 

The characters on the other hand, are both well-written and well-portrayed. Beto Kusyairy as Akid is excellent in the way he carries his sorrow and guilt, while Shiqin Kamal as Sarah is quite convincing both in her initial feistiness and her later sadness. The chemistry between the two is also great, in one of the movie’s best assets. 

Danny Voon’s cinematography works well in the presentation of the various settings, without any particular exaltation. Chulat’s editing retains a mid-tempo that works well for the narrative, while a number of repetitious scenes are placed in a way that increases their impact and highlights the psychological status of the protagonist. 

Although it could definitely be brief, “Reversi” emerges as a smart movie that communicates its comments well, headed by the excellent characterization and acting.