Jomblo Fi Sabilillah (2023) User Reviews

The best movie from the Director Jastis Arimba

[dioapurwanto · 10/10 · 16 September 2023]

I've been following Jastis Arimba from his first movie as a director (212: The Power of Love). This last one (Jomblo Fi Sabilillah) is the best movie. The stroryline is surprising, the actors give us fine acting, the music scoring is perfectly match to the scenes, even the lighting and the clour grading are very balance.

This movie tells us about four brotherhood-friends who are still single in their mature age, but they don't want to look for some girlfriend. They only want to improve their own quality to marry and to be good husbands. On the other hands, there are girls who also single with their own life path. Will the men meet the girls and live together in beautiful marriages? Just watch them in the cinemas now!

Good movie for the good viewers!

Lost Brilliance: A Profound Concept Marred by Cinematic Ineptitude in Arimba's Latest Film

[renerenerene · 4/10 · 3 October 2023]

The conceptual foundation of this film undeniably possesses exceptional depth, exploring the profound interplay between spiritual values and the imposition of prevailing socio-cultural norms. Regrettably, the cinematic execution falls disappointingly short, exposing a glaring lack of finesse characteristic of Arimba films.

Arimba's latest endeavor, much like its predecessors, suffers from a palpable sense of haste. The performances lack nuance, resembling parched terrain devoid of emotional depth. The cinematography, too, seems to suffer from a dearth of creative ingenuity, capturing scenes with a simplicity that borders on banality. Furthermore, the editing process appears to have been mishandled, resulting in a final product that betrays a fundamental misunderstanding of cinematic language.

Arimba must recognize that the ensemble he assembled for this venture lacked the prowess necessary to elevate his cinematic vision. One cannot overlook the importance of understanding the impact of actors' intonations on dialogue delivery and the subtleties of body language in conveying a character's essence. This oversight underscores a crucial gap in Arimba's approach to filmmaking, highlighting the need for a more discerning and knowledgeable team.

It is profoundly disheartening to witness such a brilliant concept fall victim to the inadequacies of a team ill-equipped to navigate the intricate tapestry of cinema. This unfortunate outcome raises questions about the accessibility of filmmaking tools in the modern age, blurring the lines between genuine artistry and amateur experimentation. The belief that anyone can craft a compelling cinematic narrative is a fallacy; true mastery of the medium demands a profound understanding of its nuances and a relentless pursuit of excellence.

In conclusion, the potential for cinematic brilliance within this narrative remains tragically unrealized, overshadowed by the shortcomings of its execution. A critical reassessment of Arimba's approach, coupled with a commitment to assembling a team of seasoned professionals, is imperative if future endeavors are to fulfill the promise inherent in his innovative ideas.