Movie Review: Block Z

Image courtesy of Instagram: starcinema

Movie Review by Atty. Ferdinand S. Topacio

BLOCK Z (2020, ABS-CBN Films)

Starring: Julia Barretto, Joshua Garcia, Maris Racal, McCoy De Leon, Ian Veneracion, Myrtle Sarrosa, Yves Flores

Written by: Mixkaela Villalon

Directed by: Mikhail Red

BLOCK ZZZZZ…

Everything with Block Z was mostly done right: gorgeous cast, excellent acting, engaging cinematography, snappy editing, tight pacing, competent direction. To be sure, the writing was spotty, but not that much. So why did all these ingredients result in a sum much lesser than its parts?

This movie’s misfortune is that it dwells on a subject that has been worked to death in cinema: zombies. Just recently, the South Korean made Train To Busan (2016) made waves both here and abroad, and quickly became the gold standard for Asian zombie movie. Then there were several seasons of the acclaimed HBO series The Walking Dead. Not to be forgotten is Brad Pitt’s 2013 World War Z, the title of which Block Z is an unabashed rip-off. In the face of all those, plus dozens of others during the last decade, what novelty could Block Z provide?

The plot is easy to follow. Julia Barretto plays Princess Joy, or PJ, a senior medical student emotionally estranged from her father Mario (Ian Veneracion), a band member, whom she blames for not being present when her mother suffers a fatal stroke. The movie begins with PJ being brought by Mario to medical school. There, we are introduced to the rest of the main cast: Erika (Maris Racal), her best friend; Lucas (Joshua Garcia), a school jock and PJ’s persistent suitor; Myles (McCoy de Leon) who has a secret love for Erika; Gelo (Yves Flores), the well-to-do school council president; Vanessa (Myrtle Sarrosa), Gelo’s socmed-savvy vice-president; and Bebeth (Dimples Romana), the university’s conscientious security guard.

The action then shifts to the university hospital, where the PJ, Lucas, Erika and Myles are residents. An unknown woman (Ina Raymundo) is rushed in with an animal bite, while her small child pleads for help. The four try to stabilize her condition, but she flatlines nonetheless. Brought to the morgue, the corpse springs back to life, biting a male nurse. From then on, the contagion spreads throughout the campus. Locked in by a military-enforced quarantine, the friends – with the help of the feisty Bebeth and Mario (who coincidentally brings a victim he had bumped with his car to the same hospital) – use all their skills to try to survive the night and  make it in time to a rescue set for five o’clock the next morning.

As I have said, the young cast acquit themselves very well. Julia Barretto delivers as usual, and looks achingly pretty when she, later in the film, transforms into a Lara Croft-type zombie exterminator. Maris is a delight to watch, extremely photogenic and with acting abilities beyond her age. Joshua and McCoy are charming as the besotted young men going to great lengths to protect the objects of their affection. Special mention must be made of Myrtle Sarrosa, who made the most of a supporting role playing a student leader who disregards her own safety to help the many. Only Yves, as Gelo, a self-absorbed elitist concerned only with saving his own skin in the face of the impending annihilation of thousands, failed to make a mark in the acting department. 

Unfortunately, the movie had nothing new to offer as far as the zombie genre is concerned. All it could do for the audience was to take every trope and attempt to combine them in a new way. The attempt, however, fails in the main, due to the highly predictable script. Plot twists could be seen coming two or three scenes away. Even the placement of the jump scares could be foreseen a few seconds before they finally appear, thus robbing them of their power to scare. The social commentaries that the director shoehorned into the plot line also didn’t help the plot development, succeeding only in muddling what was supposed to be a lean and simple story arc. 

There were also noticeable plot holes. For instance, the movie finished without the origin of the viral epidemic having been sufficiently explained. Neither was the sudden disappearance of the military, who had done a horrifically efficient job earlier in the movie of mowing down every person that moved, zombie or not. And the viewer was largely kept wondering by what reason some were immune to the (for lack of a better term) zombie virus. But on the whole, had the screenwriting been imbued with more zing and freshness, these flaws could have been overlooked.

The result is a movie that suffered in comparison to the others in its class: it was not new enough, or suspenseful enough, or gory enough, to distinguish itself, so much so that halfway through, most of those in the audience were turned into zombies: catatonic, bleary-eyed and sleepy. A bad case of Block Zzzzzz….

Movie Review: Mr. and Mrs. Cruz

Image courtesy of Instagram: ryzacenon

Movie Review by Atty. Ferdinand Topacio

MR. AND MRS. CRUZ (2018, Viva Films)

Ryza Cenon, JC Santos, Yayo Aguila, Dennis Padilla, Dido Dela Paz, Lui Manansala, Bong Cabrera, Sophie Rankin

Screenplay and Direction: Sigrid Andrea Bernardo

A MATCH MADE IN HEAVEN

At first blush, “Mr. and Mrs. Cruz” may be dismissed as just one more entry in the newly-emergent (at least for the Philippines) “narrative dialogue” movie genre, perhaps so far best exemplified by last year’s “Kita Kita” and 2014’s “A Thing Called Tadhana”, both sleeper hits. Yet, MAMC makes a spirited attempt to punch beyond its weight class, and clearly succeeds, putting it a notch or two above the previous examples.

The credit must go in large part to the charisma of the two leads: Ryza Cenon acts very impressively, simply because she does not try to impress. Exhibiting admirable restraint and economy of movement and mannerism, she pulls us into her character – that of Gela, a conflicted yet vulnerable woman -- and makes us believe that we are seeing a real human being, not an actress. Stage veteran JC Santos is richly nuanced and totally real as Raffy, a jilted groom. Both explore the texture of their characters as two lost persons finding themselves by losing themselves in scenic Palawan Province.

A “caveat”: those who think that Palawan gave the actors a legitimate excuse to bare flesh would be gravely disappointed. There is no gratuitous nudity here. The sole love scene is, in fact, so tame, it barely qualifies as a love scene at all. Santos, while buff and ruggedly handsome, does not possess a Greek god type of body so fashionable among young male stars; his is a normal healthy physique that adds realism to his role. This does not, however, detract from his star quality; in fact, as I told my friend after the movie, nakakabakla. Cenon, achingly pretty, relies not on bodily exposure but on her sheer sex appeal to generate an increasing sexual tension with Santos that permeates most of the movie.

But wait, there’s more! Aside from their inherent charisma, the two protagonists play off each other with a chemistry that is nothing short of scintillating. Discomfortedly sizing each other out at first, the two in time mesh into an interaction that is totally believable because genuinely they look like they are slowly beginning to like each other as the movie progresses. This gradual enmeshing is graphically symbolized by their steady but measured physical proximity: positioned at opposite ends of the screen at the start, they gradually move closer to each other until their ultimate intimacy is capped by a literal and figurative joining of the two single beds in the room that they both accidentally share. A touch of inspired genius by the director!

The plot is nothing new: two people seeking solace separately in the same place find themselves thrown together by force of circumstances. She had just left her partner after several years of cohabitation; he was the victim of a bride who had cold feet and stood him up at their wedding. Misery loves company and all that. It was quite easy for the writer to lapse into the tried, tired and tested tropes of the usual Filipino rom-com. The audience was glad that he did not. In fact, the perceptive moviegoer will realize that there were many instances where the writer pointedly thumbed his nose at film clichés.

The dialogue was wise and witty, delightful and charming. Full of puns and play, redolent with allusions to pop culture and literature, it ran the gamut from the sublime to the ridiculous. Yet, for a movie where the story was sustained almost solely by dialogue, there were few flat moments. And then again, those were easy to gloss over due to the charm of the leads. Verily, MAMC has one of the most intelligent lines I have ever heard in a local movie in a long time. And while the ending is atypical of Filipino movies, the script purposely left a subtle glimmer of hope for the protagonists, something for the viewer to ruminate and perhaps, speculate on. A sequel or two perhaps, ala the “Before Trilogy” (Before Sunrise, Before Sunset, Before Midnight)?

Palawan Province, the film’s setting, is the third character in this film. In this, a comparison to “Siargao” cannot be avoided: that film failed notwithstanding the beauty of its location, because it placed location first, and narrative second; it looked more like a travelogue than a drama. In contrast, in this movie, Palawan was, in the eyes of the movie’s lensman, a breathing, living thing, providing not only backdrop (as is typical in most films), but also symbolism, atmosphere, and the occasional emotional underscoring, enhancing the action and dialogue, and not merely giving the actors a stage on which to act. Kudos to the director for another stroke of brilliance.

If there are two actors who should be given more breaks in the future, it should be Cenon and Santos. Simply put, these two show a refreshing and novel take on young adult roles that are heads and shoulders above the SOS (Same Old S**t) we get with the old reliables. After the movie ends, one actually wishes that those two would meet again and actually get married, and raise the perfect family; a marriage made in heaven.

Movie Review: Can’t Help Falling In Love

Image courtesy of Instagram: starcinema

Movie Review by Atty.  Ferdinand S. Topacio

ABS-CBN Films (2017)

Starring: Kathryn Bernardo, Daniel Padilla, Matteo Guidicelli, Cherry Pie Picache, Lito Pimentel, Lotlot De Leon, Dennis Padilla, Kristel Fulgar

Written by Carmi Raymundo and Kristine Gabriel

Directed by Mae Cruz-Alviar

CAN’T HELP FALLING ASLEEP…

Imagine every rom-com trope: love at first sight, a would-be bride having doubts in tying the knot; a potentially fatal disease; a wealthy but controlling fiancé; a poor boy with a heart of gold; and a good girl trying to better her humble family’s lot. Put it in a blender, put on “puree”, and there you have the plot for “Can’t Help Falling In Love”, the latest offering from the formidable KathNiel tandem.

The plot is totally so-so, as in middling, and as in “same old, same old”. Kathryn Bernardo plays Gabriela, a young woman of simple stock betrothed to Matteo Guidicelli’s character Jason, a young, wealthy Filipino lawyer reviewing for the New York bar. During a mass wedding officiated by the mayor of an undefined town, where Gabriela was part of the wedding entourage of a friend, Daniel Padilla’s Dos (short for Jose Ibarra Gonzales), who is the mayor’s friend, sees Gabriela (called Gab for short) and is instantly attracted. In the ensuing party for her newlywed friend, Dos and Gabriela providentially meet again. After having one too many drinks with the mayor’s clique, Dos and Gabriela, in a drunken moment of madness, sign a wedding contract partly in jest.

The movie then goes on fast forward. Jason and Gabriela, through internet audio-video link, finalize plans for their wedding. In preparation, Gab is required by the wedding planner to produce a “CENOMAR” or “Certificate of No Marriage”. In complying, Gab is aghast to find out that what she thought was a sham marriage, was in fact registered by one of the mayor’s staffer.

Never mind that in real life, that “marriage" would have been void from the start due to lack of a marriage license. This is a Filipino movie after all, where a healthy dose of suspension of disbelief is in order. To Gab, the marriage to Dos being legal, it had to be annulled if the wedding to Jason is to push through. Panic-stricken, she turns to Dos for help. At first reluctant and displaying that devil-may-care attitude that Daniel Padilla does so well (being the only thing he does well), Dos’ heart melts as he sees Gab looking so desperate. They consult a caricature of a lawyer, who gives them the grounds for annulment. They try each one out one by one: impotence on the part of Dos, insanity on the part of Gab, lesbianism again on the part of Gab: each one is scripted farcically and leads to some mayhem. In the end, the only recourse left is to look for a witness to say that the marriage was never intended to be real, which proves difficult because the mayor and all those present in the mock wedding have died in a car crash shortly after. All except one. It is the search for that sole witness that leads to the movie’s catharsis.

As intimated above, the movie is trite, banal and formulaic, with writing so stilted it was more likely to provoke smiles than sympathy in the dramatic scenes. The story arc is such a continuous déjà vu that anyone who had any familiarity with Filipino films can see a plot twist coming a mile away. It is a disappointing throwback to simplistic rom-coms that I thought films like “Always Be My Maybe” and “English Only Please” have irretrievably left behind. This movie is nothing but an episode of “Maala-Ala Mo Kaya” stretched to feature proportions, which appears to be all that its director strove to achieve.

It was not all bad, of course. The movie is gorgeously photographed, and the musical scoring is spot-on, always complementary, never over-powering, consistently thematic. Bernardo is also a gem, her simple morena loveliness illuminating the screen; verily, to use a cliché, the camera loves her. She has also improved by leaps and bounds in acting since I last saw her in “Pagpag” in 2013 (although her fans will surely bash me for saying that her archrival Nadine Lustre can still act circles around her). The way she subtly yet deftly conveys her ambivalence about her impending marriage through taut non-verbal expressions is the movie’s highlight. Truly, the kid can become a really good actress if she puts her mind to it. Without doubt, this is Kathryn’s movie.

Sadly, her partner Daniel has not kept pace. Still displaying all the acting mannerisms at the start of his career, Padilla cannot internalize any character. He is still Daniel Padilla playing Daniel Padilla. While such style may be good for another movie or two, if he fails to improve his acting skills, he will find himself overtaken by his contemporaries like Inigo Pascual, who has inherited much of his daddy’s acting chops; or even James Reid, who shows vast thespic improvement in every picture he makes. Daniel must remember that James Dean is an icon not only because of bad boy good looks, but Dean demonstrated he could act up a storm since his first starring role in “East Of Eden” (1955).

The supporting cast also failed to support. Almost all of them, veterans though they may be, look like they were sleepwalking through the movie. And poor, hapless Matteo, a competent actor, was nothing but a plot device, spending more time with Bernardo on a computer screen than in person. A notable exception is newbie Kristel Fulgar, who made every minute of her small role count.

It is movies such as this one that are partly the reason why the Philippine film industry is in the doldrums. Pandering strictly to hardcore KathNiel fans -- which is admittedly a lucrative business decision – it famously insults the average viewer’s intelligence by not even trying to transcend its target audience.

In the final analysis, unless you are a rabid KathNiel follower, “Can’t Help Falling In Love” can’t help but make you fall asleep. Only a double helping of espresso, and Bernardo’s occasional flashes of acting brilliance, made it endurable for me. Elvis must be turning in his grave.

Movie Review: Northern Lights: A Journey to Love

Image courtesy of www.wikipedia.com

Main Cast:  Piolo Pascual. Yen Santos, Raikko Mateo

Director: Dondon S. Santos

Released by: Regal Films, Spring Films and Star Cinema

MTRCB Rating: PG

Each family has a story to tell.  “Northern Lights: A Journey to Love ”  is a simple story about family relationships, of love, struggles and compassion.  

Charlie Sr. (Piolo) lives a free-spirited, bachelor life as a Filipino immigrant in Alaska. His life takes a turn when he is suddenly charged to care for his estranged, young son from the Philippines, Charlie Jr (Raikko), whom he left after a major clash with the boy’s mother, Joyce (Maricar Reyes) when she was still pregnant with him.   

Shot both in New Zealand and Alaska, the movie is a visual feast showcasing the snow mountains and the mystical and world famous Northern Lights. This is a plus as not any local movie gets to be shot in Alaska owing to the physical limitations present.  

When Charlie Jr. arrives in Alaska, father and son bond and struggle to renew the lost years between them. Angel (Yen Santos) gets into the picture when she went to the country for her school training - and unbeknownst to her family - to look for her long-lost mother there, too.

The plot could have been leveled up ‘though for more depth and interest to the viewers. The physical make-up of the icy environment  further adds to the coldness and weariness of the story as a whole. Some good conflict can be squeezed out even from the simplest of stories. Takes creativity and execution.

Yen Santos does better in comedy scenes with Piolo but is anemic in her drama scenes, specifically that of her cringe-worthy dramatic encounter with her mother (Glydel Mercado). It would have made a difference, too, had the director exhausted a bit to bring out more in Glydel who is known for her acting spunk.  

Likewise with the adorable Raikko Mateo. Wonder why director Dondon failed to squeeze out the child’s acting mettle as he had shown when he was much younger and became television’s darling in “Honesto”.

For the most part, perhaps it was only Tirso Cruz and Sandy Andolong as Piolo’s parents who do not disappoint. They are your regular grandparents who act normally as loving and doting to Charlie Jr. every chance they get which overwhelms the heart without trying.

Piolo on the other hand is neither dull and convincing as a playboy Charlie. Fortunately at times, his to die for good looks alone can make up for the acting mediocrity that is not new to him. Worth some good mentions, too, are Jerald Napoles’s and K Brosa’s effortless performance as Piolo’s close friends.

On the technical side, the flawed editing is quite obvious, too. Character development is quite amiss, especially on romance between Charlie and Angel. There was no real courtship to speak of in the beginning to justify the seriousness of their tears that suddenly culminate in their bed scenes together.

And wait till you see the confusion in the final scene. It is supposed to be a major spectacle with the full video screen of the Northern Lights as backdrop to boot, but unfortunately again - acting, execution and editing.

Yet, despite the flaws, there is something to like in the movie - the fortitude of a family as a unit despite the distance and circumstances. It shows both the human vulnerability and strength of heart as displayed by the dying Joyce (Maricar Reyes) when she chose for the two Charlie’s in her life - both her precious one and the man she wronged – to live together for the rest of their lives.

Northern Lights: A Journey to Love is now showing in cinemas.

Movie Review: My Ex and Whys

Image courtesy of www.starcinema.abs-cbn.com

Main Cast: Liza Soberano and Enrique Gil
Director: Cathy Garcia Molina
MTRCB Rating: PG
Released by: Star Cinema

Judging from its trailer, one would have a feeling that “My Ex and Whys “ would just be one of those ‘formulaic’ romantic love stories yet again by its director Garcia Molina whose past movies were the usual ‘pakilig’ stories, starred in by the country’s popular love teams - for impact and commercial box-office success. Interestingly, many were happy to be proven wrong. The movie’s trailer didn’t give it justice.

The film is a story about trust and second chances. Cali Ferrer (Liza Soberano) is a call center agent slash popular blogger with a huge following. Her blog, “The Bakit List “ looks like it was borne out of a failed relationship with Gio Martinez (Enrique Gil), her ex-boyfriend who broke her heart so bad. Her personal situation in the home front is in it, too, when her family suffered after her father abandoned them for another woman.

That and everything in between make Cali distrust (read: hate) all men with a passion. She vents her ire on her blog, often asking questions through her endless ‘why’s’. Needless to say, that’s what her blog is all about.

Online, Gio is a “DahilList” boy who reaches out to Cali and defends himself and questions her for lumping all them men with her bitterness. He tries to prove to her that he is not what she labels him and is deserving of a second chance. But the unforgiving, deeply pained and man-hater Cali closes the door on him. Their twitter fights go viral – until something happens that changes the whole gamut of their emotions.

The movie is a bit fast-paced, well-written with witty lines and a good comedy that delivers. It is laden with so many characters providing support and laughs for the lead stars and the viewers, respectively. Ryan Bang as Cali and Gio’s best friend is a riot, keeping the audience in stitches each time he opens his mouth to deliver his ‘pasabog’.

Many can relate with the story of trust issues. When Cali wants to challenge Gio’s resolve as a changed man by setting him up to trap him and prove to netizens how fake Gio is, completely unmindful of the huge consequences that they may entail, when her very own mother (Ara Mina) at some point loses herself and turns a blind eye on her philandering husband, when Gio’s all-male family gives him all their support, including love and approval for their skirt-chasing father (Joey Marquez).

Give it to the writer who knows how to discriminate between a good and bad script, between what really entertains and educates, to what is just for shallow laughs that insults. May we request them ‘though to do away with “chasing the traffic to make it to the airport” drama scene? It had seen better days, please make it rest.

As for the two lead stars: for all that she has to face and do in the movie – Liza delivers with aplomb. With or without her perfectly-chiseled face, whether she is in cool or tattered outfits, the young actress has shown what she is made of – depth. Ditto with Enrique who continues to level up and not just capitalize on his looks by doing “pa-cute” acting.

Certainly, Cali and Gio have learned about relationships the hard and painful way. How they were able to iron out their wrinkled relationship is certainly worth watching.

All told, may this be a good start for Star Cinema to evolve and rethink and to truly value their viewers by giving them what they truly deserve.

Bottom line: “ My Ex and Whys “ is about love and second chances. Most of all, trust – either you suffer for lack of it, or love because it can get better.

 
Also in the movie are Arlene Muhlach, Cai Cortez, Jeffrey Tam, Joross Gamboa, Dominique Roque and Hyubs Azarcon.

Movie Review: Extra Service

Image courtesy of www.starcinema.abs-cbn.com

Main Cast:  Arci Munoz, Coleen Garcia, Jessy Mendiola

Director: Chris Martinez

MTRCB Rating: PG

Released by: Star Cinema

" Massage therapists by day and sexy secret agents by night " is the description given to the characters of Arci, Coleen and Jessy who play ex-convicts  Aw, Em and Gee in a sexy comedy movie Extra Service.

After they were granted parole, the burglars Au, Em and Gie work as masseuses in a spa salon but are soon tasked by an organization to retrieve valuable state-owned pearls also known as Perlas ng Silangan that were stolen by a syndicate.

Frankly, the movie is full of crap. Being a sexy comedy movie doesn’t mean it has to be rubbish. Its comedy is painful to watch, so decades ago that even kids will have no reason to appreciate it. Watching it is akin to being dumbed down with one’s permission – to say the least.

For all the trio’s death-defying stunts in pursuit of their mission, they are paid crumbs and it seems okay. The fight scenes are downright funny you’d think they are meant for the laughs because… well, it’s comedy.  

On the first few minutes of the movie’s screen time, one would cringe repeatedly, then have mixed reactions after. It will deeply bother you whether to leave and walk away so as to shorten your ordeal - yet it behooves you to stay because you have to for some reason… like this review.  

No film maker is ever guilt-free of cutting corners for bigger profit – that is okay. But to completely shortchange your audience by selling them something rubbish is like murder of the intellect.  

It would seem that the three sexy and beautiful stars are just there for the come on, ditto with the hunk actors for their abs, to accessorize a badly-written movie whose plot and storyline are seriously flawed.  

Except for the fight scenes, there is nothing really funny in this  movie. If at all, the spa male customers provided the laughs, way funnier than the actors. What is there to expect then? Expect to be loaded with cringe moments - that’s for sure - whether you like it or not.

Indeed, what an AwEmGee!

Extra Service also stars Carmi Martin, Tessie Tomas, Ejay Falcon, Vin Abrenica, Janus Del Prado, Enzo Pineda.

Movie Review: Ang Babae Sa Septic Tank 2: Forever is Not Enough

Image courtesy of www.wikipedia.com

Cast: Eugene Domingo, Kean Cipriano, Jericho Rosales, Joel Torre, Cai Cortez, Khalil Ramos

Director: Marlon Rivera

Rating: PG

Released by: Quantum Films

" Ang Babae Sa Septic Tank 2: Forever Is Not Enough "  is a sequel to " Ang  Babae Sa Septic Tank, " a 2011 satire film that tackled alleged misrepresentation by some local filmmakers participating in international film festivals. This time, the sequel satirizes the mainstream film industry.

The movie is a comedy laden with gravy-thick sarcasm meant to disturb and ruffle some feathers of industry bigwigs/producers behind the so-called formulaic and commercial movies that proliferate the industry for long. For this movie, it is the romance-comedy type aka ’romcom ’ that takes the hot seat.

Eugene Domingo plays a fictionalized version of herself, a quirky and demanding actress who is set to do a comeback movie. She is so excited that she invites her director Rainier (Kean) and his team (Cai and Khalil) to a surprisingly lavish welcome. Unknowingly, they are in for a bigger shock.  

As the hours go by, Eugene (politely), dishes out to them, in small portions, how she wants her movie to turn out, so outrageous are her ideas making her director cringe at every point, as the audience roars with laughter.  

Regular moviegoers can very well relate what the movie is trying to drive at.  Subtly, one would learn a thing or two and know how to discern.  While Eugene presents each scene, scenes of past romcom movies come into viewer’s mind. Audience have a blast.

At every turn, Eugene, with so much passion, gives her take how a romance comedy movie should be executed, emphasizing all the details and fundamentals to exploit it. The choice who between Jericho Rosales and Joel Torre will make a helluva leading man, with all the romantic scenes playing in her mind, are sure to bring the house down.

While there maybe truth to the claim that this sequel seems inferior from the award-winning part one, it thus becomes an advantage for a viewer who will be watching it for the first time, and there are lots of them. Labeling the local movie industry as dead, dying or terminally ill will be futile if we don’t address it.

Keep in mind the quote that for a bad thing to triumph is for good people to do nothing.

Therefore, it is correct to say that " Ang Babae Sa Septic Tank 2: Forever Is Not Enough" is definitely and undeniably worth your every peso. And for that, we all benefit.

Other stars in the movie are Agot Isidro, Chris Martinez, Khalil Ramos, Chris Martinez.

Please watch it and the rest of the MMFF 2016 entries. Your patronage of  quality movies is a major boost, a much-needed shot in the arm for our movie industry that is so wanting.

Movie Review: Kabisera

Image courtesy of Facebook: Kabisera Film - MMFF 2016

Movie Review by Atty. Ferdinand Topacio

KABISERA (Silver Story Entertainment and Fire Starters Productions, 2016)

Nora Aunor, Ricky Davao, JC De Vera, Jason Abalos, Victor Neri, Ces Quesada, RJ Agustin, Perla Bautista, Ronwaldo Martin, Kiko Matos, Alex San Agustin, Menggie Cobarrubias, Karl Medina, Coleen Perez, Rhen Escano

Directed by Arturo San Agustin and Real Florido

I have been a Noranian since grade school, which is the 70’s. And I strongly believe that Ms. Nora Aunor is a national treasure whose body of work is non pareil in local cinema. So imagine my bewilderment as to why she is in a trainwreck of a movie like Kabisera.

The movie has lofty aspirations, to be sure. It is supposed to be a domestic drama which deals with a mother’s strength of character in keeping her family together after the death of the patriarch, and coetaneously a film that will incite rage against extrajudicial killings and serve as an indictment of the country’s flawed justice system. But the operative phrase here is “supposed to be” since, on all counts, the movie is an abject failure.

La Aunor plays Mercedes de Dios (Mercy of God, get it?) opposite Ricky Davao’s Tonying, a too-good-to-be-true, always smiling barangay captain who is available to his constituents 24/7 and does not take a peso from public officials for political favors. A typical middle class family in a small town, they have several children of various ages and stages of schooling. The first act of the movie painstakingly – and excruciatingly slowly – illustrates how the married couple are bringing up their children upon strict middle class values, which emphasize the importance of education, honesty, good manners and respect for the family and the elders.

For all his saintliness, someone wants Tonying dead. The first attempt – a grenade hurled at his car – results in nothing more than a few scratches. The second – an out-and-out ambush with automatic weapons – leaves him with some bullet wounds, but his cheerful nature remains unaffected. Undaunted, his killers engineer a home invasion by three heavily-armed men who shoot him in the neck, this time succeeding. Why anyone wants to kill him remains unresolved until the end of the film.

The De Dios family is shocked since, while they feel that they are the victims, media soon reports that Tonying and his eldest son Andy (JC De Vera) are prime suspects in a bloody bank heist. As Andy goes into hiding and Tonying is buried, the province’s cigar-chomping Vice-Governor (Tonying’s political godfather) pledges on his grave that he will help Mercy find justice. This help takes the form of a sash-wearing Chairman of a human rights commission named Natalia (sounds familiar?) played by Ces Quesada and a human rights lawyer (Victor Neri). They investigate the crime scene weeks after the killing and belaboring the obvious, conclude that Tonying’s killing was a rub-out.

And so it goes that, in succession, Andy is persuaded to surrender; a court trial ensues wherein Andy is defended from charges of robbery with multiple homicide; and suit is filed against the policemen who killed Tonying.

But, oh, this film is supposed to have a political commentary, so the following is demonstrated, also in succession: trials in the Philippines take too long; the truth can get mired in technicalities; it is futile to sue powerful people; and it is easy to find false witnesses.

Which is all well and good, except that a 45-minute episode of Atty. Sison’s Ipaglalaban Ko does a much better job in one-third of the time. This movie, clocking in at a little less than two hours, plods under the weight of its own length. It would have been acceptable if the movie were fast-paced, but it moves at a snail’s pace, so much so that even the supposedly tense scenes come out flat.

The acting is nothing to write home about, either. Aside from Aunor, who is her usual excellent self, the rest of the young cast turn in performances that may charitably be described as “serviceable”, except for old hands Perla Bautista and Menggie Cobarrubias, of course, who are expectedly very good. Neri’s emotionless face in playing a lawyer could get him disbarred if he were a real one, while Quesada – quite the opposite – is a ham (no allusion intended on her girth). Note, however, must be made of De Vera’s reading of the emotionally tortured firstborn: his take on the complex emotions of being saddled with the responsibility of being the putative family patriarch yet unable to help much because he, too, is accused of a grave crime, very deft. Rhen Escano, as Andy’s jowabels Ella, also acted well, aside from being positively scrumptious. Yet their joint efforts are not enough to salvage this confused work. I am certain that the script tried to set up the cast for some significant ensemble acting, but regrettably, the abilities of the rest of the cast were not up to it.

Aside from these, the plot has holes big enough to allow a ten-seater dinner table to go through. Aside from the motive for Tonying’s murder remaining unexplained, informed moviegoers will wonder why a multiple murder suspect like Andy is allowed to stay at home when no bail was shown to have been granted; why a state witness is let alone to wander around town so he can be accosted by the mother of the accused; and why a defense counsel appears in court in attire which in real life will get him cited for contempt.

In sum, Kabisera is a throwback to 80’s moviemaking, with lackadaisical pacing, stilted dialogue and a lack of focus, banking instead on melodrama to win its audience over. In a festival that aims to elevate the level of local filmmaking, it sticks out like a sore thumb. It is hoped that it does not singlehandedly “extrajudically” kill the enthusiasm for the reforms started in this year’s Metro Manila Film Festival.

Movie Review: Saving Sally

Image courtesy of Facebook: Saving Sally

SAVING SALLY (Rocketsheep Studios, 2016)

Starring: Rhian Ramos, Enzo Marcos, TJ Trinidad

Directed by: Avid Liongoren

Movie Review by: Atty. Ferdinand Topacio

Who killed John Kennedy? What was the fate of Amelia Earhart? Did aliens visit Earth during prehistoric times?

These are among the many unsolved mysteries in the world. And after seeing “Saving Sally”, I must add another one: why isn’t Rhian Ramos as celebrated an actress and star as, say, Bea Alonzo and Sarah Geronimo?

In this utterly charming mixed media (live action cum animation) by young director Avid Liongoren, Ramos, as the title character, proves not only that she can dish out the acting chops as well as the rest of the A-listers, but that she, too, can light up the screen and dominate it. In fact, any red-blooded male who watches this movie and fails to fall in love with Rhian is either brain dead or in a state of catatonia.

The story is simple, if a bit skewed: bullied boy meets girl who comes to his defense; they become friends; he falls for her but she has “friendzoned” him; she falls for a much older man who is not serious with her; after she splits up with her erstwhile beau, he belatedly tells her his feelings, and – so as not to give any spoilers – they let time tell the tale for them. It is the way the tale is told, though, that makes Saving Sally such a refreshing and enchanting cinematic experience.

Ramos is, of course, Sally; Enzo Marcos is Marty. They are high school classmates who share a passion for the visual arts. After Sally avenges Marty against the school bully, they become fast friends. The novelty in the movie lies in the characterizations: Sally is a genius with mechanical gizmos: automatic flat irons, handheld power dishwashers, personal drone assistants, with the added quirk that in the midst of all that scientific virtuosity, her world is decidedly old-school: no mobile phones or computers or internet. Marty is a wiz kid in illustration, who self-publishes his comic books containing science fiction stories. Timid by nature, he expresses his affections for Sally and his view of the outside through drawings: one wall in his room is filled with drawings of Sally in various settings, which he quickly hides by overlaying it with other drawings whenever she comes to visit.

As if that weren’t unconventional enough, they inhabit a dimly-lit, surreally cartoonish, chromatically-altered world populated by animated “monsters” of grotesque proportions.

And so it is against the backdrop of this computer-generated realm that the live-action story is played out, and how!

Ramos is exceptional both in beauty and acting ability. Although not a heavy drama vehicle by any stretch, she tackles her role with aplomb, acting naturally but with great nuance and, when called for, depth and prudent use of affective memory. She is not only intelligent but has a cerebral approach to acting that trumps many of her contemporaries. She also delivers her lines well, obviously comfortable with English, wherein ninety percent of the dialogue is written. Her subtle nonchalance, with a deeply-rooted melancholy showing in her eyes during close shots (of which the movie is replete) -- the reason for which is hinted at several times during the movie – propels the film all throughout, leaving no doubt as to who the star is.

Marcos also acquits himself well, but his tendency to mumble and garble some of his English lines is a distraction. Nonetheless, the chemistry between him and Ramos is undeniable, and makes the love story seething just below the surface plausible and believable. His attack on the jealous/regretful unrequited lover role as he meets Sally’s boyfriend (Trinidad), which leads up to his shuttling love letters between the two, is a real acting gem, poignantly amusing yet absolutely convincing.

I read somewhere that the animation in the movie was made on a shoestring using off-the-shelf equipment If true, then the animators deserve a standing ovation! The CGI was outstanding. It painted in big and bold relief an alternate Expressionist universe of sharp angles and outlandish magnitudes reminiscent of the jarring visuals in Robert Wiene’s The Cabinet of Dr. Caligari, a cinematic classic. This is nowhere more evident than in placing the house of Sally on top of an exaggeratedly high and pointed hill, symbolizing the fact that being with Sally is a forbidding prospect. All of these imageries provide the perfect environment for the narrative to unfold, conveying or enhancing what cannot be said through conventional filmmaking.

Special mention must be made of the abundant clever play on words. The protagonists meet at a place called Tuk Mall; they wait for their rides in front of Ka Wawa’s Store and Beh Botica; the “location” of the principal action is made inside Sandara Park. Indeed, due to the rich visuals, the abundance of symbolism, and the aforementioned puns, it will take more than one watching to fully appreciate the effort that has gone into the making of the film.

Lurking just behind the façade of such lighthearted fare is the serious issue of child abuse and battered children which, as mentioned, was hinted at continuously, and aptly – if abbreviatedly – resolved near the end of the movie.

In all, I am happy to say that not only is Saving Sally a welcome change from the “same old same old” that has caused our movie industry to stay immobile in the quagmire of mediocrity for decades, but it has broken new ground in Philippine cinema. It is also hoped that it breaks new ground for Ms. Ramos as well. It would be good for our moviemakers to look beyond the “usual suspects”, so to speak, and cast equally capable actresses like Ramos in future projects.

Watch and enjoy Saving Sally then, knowing that it is a film worthy of a festival, and that the current festival may well be the start of another renaissance of our moribund movie industry.

Movie Review: Working Beks

Image courtesy of Facebook: Working Beks

Main Cast: Edgar Allan Guzman, John Lapus, TJ Trinidad

Director: Chris Martinez

Rating: R13

Released by : Viva Films

The movie is about five gay men from different backgrounds whose lives are peppered with struggles as they face the world trying to survive and make each day count.   

Champ Reyno (Edgar Allan Guzman) is an actor who gets involved in a viral sex video that scandalized his career and family. Gorgeous (John Lapuz) is an over the top family breadwinner, who deprives himself and only lives to provide for his huge family.

Tommy (TJ Trinidad) is a marketing executive who experiences gender discrimination at work and is sidelined for promotion. Jet (Prince Stefan) is a  call center agent with active sex life with multiple partners, becomes so paranoid he could have contacted the deadly HIV.

Mandy (Joey Paras) tries with all his might to counter his gay tendencies a few hours into his wedding.  

The conflicts shown in ’ Working Beks’  are real and matter-of-course. Issues like discrimination in and out of the workplace, as well as HIV issues are every gay’s major predicament. The movie tries to address these issues but stops - leaving everything hanging.

As expected, humor is there, spread in each of the character’s episodes but the treatment of the core issues falls short to have an agreeable finish. Everything appears to be a smorgasbord, offering a variety of stories that never develop and conclude.    

If at all, the only one that stands out is that of Champ Reyno’s character whose story truly depicts how harsh it is to be a closet gay in the midst of a cruel and pretentious world he is in. Bela Padilla’s acting nails it, as expected. On the other hand, Mandy’s story is overstretched, yet still fails to engage the viewer why he does what he does, to get into a marriage with a partner very willing to love him hook, line and sinker.

Acting-wise, TJ Trinidad levels up as a family loving and career-driven gay executive.  But his story would have been more appreciated had the circumstances in his non-traditional family been allowed to unfold. Throughout his story, the viewer eagerly waits for that one reveal – but nada.  As such, the acting effort and the inspiration all went for naught.

Same goes for Gorgeous and Jet whose narratives would have impacted big if only. Gorgeous’ quiet demeanor in her daily struggle is quite intriguing, yet it is not given proper perspective. Jet’s great fear of HIV and coming out with secret lover Champ would have added a very good flavor, but sadly.

All told, what goes on in the minds of every viewer after watching the film are questions that need answers to their whys’, what’s, who’s. Indeed, the half baked film fails to grow on you and not allowed to conclude beautifully making the experience half, if not truly wanting.

Other stars in the movie are Bela Padilla, Jeric Raval, Leo Martinez, Marlon Rivera, Rez Cortez. Now in cinemas near you.

Movie Review: The Unmarried Wife

Image courtesy of Instagram: starcinema

Main Cast:  Angelica Panganiban, Dingdong Dantes, Paulo Avelino

Director: Maryo J. De Los Reyes

MTRCB Rating: R 13

Released by : Star Cinema

After their beautiful wedding, Anne (Angelica Panganiban) and Geoff (Dingdong Dantes) are the picture of a happy couple in a loving and committed relationship ... until everything begins to crumble.

" The Unmarried Wife " is easily an Angel Panganiban movie, who portrays a career driven woman, while keeping a balance to maintain a happy home for her husband and son.  Turns out, her best isn’t good enough.  

Anne’s  idealism is put to a test when she finds out that Geoff has been cheating on her. But she chooses to turn a blind eye in the beginning, not wanting to compromise her reputation,  work and family.  

Anne’s situation gets more complicated as she gets drowned by the  demands from the workplace made even worse when she begins to entertain the romantic advances of Bryan (Paulo Avelino), who unbeknownst to her has domestic issues as well.  

The narratives in the film revolve around these conflicts, with some of the  scenes and dialogs already seen and uttered before in other movies with similar plots.  Yet there’s no denying that the lead actors in the movie are enough to pique the moviegoers’ interest in the film.

To be fair, Angelica did well, a testament to her multiple awards and citations from her earlier movies, notably – Santa Santita,  One More Try and That Thing Called Tadhana, among others.  However, " The Unmarried Wife " falls short in some aspects.  

The movie is unnecessarily long – all of two hours and ten minutes, often on redundant and lengthy dialogs. You just get bored and tired hearing the word  "sorry" uttered so many times within minutes apart.   

Yes, it is dragging at times, more so when you expect much from Dingdong’s performance yet you leave the cinema wanting more from him. Similarly,  Paulo isn’t any different either. His attack on his character as Anne’s obsessive lover borders on one that has a mental problem, his eyes and moves say it all. However, Denise Laurel and Maricar Reyes’ performances, albeit in cameo roles, impacted more.  

Thankfully, the musical score and Juris’ ’ Someday’ help save the day. Likewise, the support characters - Anne’s close friends and her company team providing the laughs and entertainment.  

The matter of marital infidelity and betrayal is serious business. It’s easy to think you will step out of the door once your spouse cheats on you, but when confronted with the reality of divorce or dissolving your marriage, the stakes are really high…more so in our double standard culture.  

Overcoming the devastation of betrayal is never easy, it isn’t. But it can be worked on. In fact, many a couple have decided to stay married after surviving the many storms in their marriage.

Has the film properly addressed the issue of infidelity? Find out for yourself.  

The Unmarried Wife also stars Dimples Romana, Irma Adlawan, Justin Cuyugan, Martin Escudero, Pamu Pamorada, now showing in cinemas.

Movie Review: The Escort

Image courtesy of Instagram: leovdominguez

Cast: Christopher de Leon, Lovi Poe, Derek Ramsay
Director: Enzo Williams
MTRCB Rating: R-13
Released by: Regal Entertainment Inc.

How do you put a price on a woman’s virginity? How does society see a woman who values her virginity in this day and age? To what extent will  she succumb to give it all up?

The film " The Escort " shows how Yassi (Lovi Poe) single handedly faces the conflicting issues in her life while trying to stand up to preserve herself in the process.

Cyrus (Derek Ramsay) maintains an escort service agency that caters to an elite clientele. He meets pretty waitress Yassi and invites/lures her to work as a receptionist in his company with a much bigger paycheck as a come on.

" The Escort " gives the viewers a peek at an industry that is not openly  talked about, how escort girls deal with unimaginable difficulties from all sorts of clients in exchange for the big bucks and luxury at their disposal.

Director Enzo Williams, award-winning filmmaker known for his controversial film, Bonifacio: Ang Unang Pangulo, offers The Escort, a film with a fresh and interesting plot that has not been tackled before.

Days of working for the escort agency has exposed Yassi to the unsavory side of the business which she has managed to embrace if only for the money to feed and send her siblings to school. This is amid the pressure put on her by Cyrus to ’level up’ and join the other girls and meet clients out.  

Lovi fits her role to a T, her stunning presence is matched by her calm demeanor amid exchange of meaty dialogues between her and the two men who strongly desire her, her boss Cyrus and the widower and powerful businessman Gary Montenilla (Christopher de Leon).

The movie is also an eye-opener, relevant to the present, in this generation where only a handful care about values, where materialism matters more than anything.

Apart from the story, the movie has a good cast, Derek and Christopher are incredible bargainers who pursue to win Lovi’s heart. Its beautiful cinematography and music, notably those shots of Derek and Lovi in their steamy bed scenes, all done with taste, careful not to offend. Derek’s gentleman approach towards his partner is quite commendable.

Christopher’s character as Gary, a recently widowed businessman who is instantly smitten by Yassi and his strong resolve to have her at all cost is quite unconventional. His wheeler dealer reputation he uses to his advantage to get what he wants. His role is just as exciting and he could have been given more screen time.

All the other cast delivered no less, Dimples Romana, as an aging escort provided the funny punchlines. Jean Garcia as a two-timing mayor’s wife is a brave one here who is in for a surprise. The only miscast probably would be Rommel Padilla who is not convincing enough as a tough, corrupt, ex-convict mayor.

All told, The Escort may yet be Regal’s most relevant movie this year. If only the film outfit will be consistent in giving the movie going public well-thought out movies like this, then probably, they have a chance to regain their lost glory.

Other stars in the movie are Albie Casino, Jackie Lou Blanco, John James Uy. Catch it in cinemas. 

Movie Review: Bakit Lahat ng Gwapo May Boyfriend?

Image courtesy of Instagram: viva_films

Main Cast : Anne Curtis, Paolo Ballesteros, Dennis Trillo

Director: Jun Robles Lana

MTRCB Rating: PG

Released by: Viva Entertainment, Inc

This is supposed to be a story of a desperate and angry woman Kyllie (Anne Curtis), a wedding planner whose ex-boyfriends  turned out to be gays. She thus claims that her traumatic experiences with them make her an expert at gender judgment also known as ’ gaydar’. Her friend, Benj (Paolo Ballesteros) urges her to use her gaydar skills on Diego (Dennis Trillo) who is his childhood crush.

The comedy movie’s attempt to be funny at the first half is futile, nada. Understandably so, the direction and the movie’s screenplay leave much to be desired. The story presents so many unrealistic scenes to the point of being shallow, OA and ridiculous. The scenes, dialogs and terms used are so old you’d think you’re watching an 80’s movie (read backlush, badinggerzy, etc). Ditto, perhaps good editing shouldn’t have been sacrificed so that the scenes and flow of the story don’t become confusing.   

Diego’s very busy fiancée Fiona (Yam Concepcion) hardly attends to their wedding preparations. The succeeding scenes to cover up for her absence through Kyllie, are hardly believable and downright foolish. In a sense, it is making the viewer accept everything hook, line and sinker, which is very unfortunate. The lapses cannot be justified just because it is a comedy movie, it’s just not acceptable.

Paolo is definitely a credible performer with good register on the screen to boot, but his Benj’s lovable gay character is weakened when he seems to abhor (suspected) gay men who choose to be discreet. What gives?

The film depicts gays as subjects to make fun of and ostracise, stereotyping them for what they are not, generally. The expression on Kyllie’s face every time she sizes up her subject for the tell-tale signs is one with hate and malice. Ironically, she happily works for an ex who has traumatized her.

Fortunately, the movie is able to make some sense towards the last quarter especially when Kyllie finally reveals her strong sentiments and emotions to Diego who in turn proves to her how wrong and misplaced her judgment of him is.  

In the end, being gay is a decision, acceptance. No hard and fast rule in coming out. It’s your life, you rule.   

Also starring in the movie are Michael de Mesa, Alma Concepcion, Angie Castrence, Cedrick Juan, Donnalyn Bartolome, Joross Gamboa, Lou Veloso, Patrick Ysmael, Prince Stefan, Sinon Loresca, Will Devaughn, Yam Concepcion, Yayo Aguila. Now showing in theaters.

Movie Review: The Third Party

Image courtesy of Instagram: starcinema

Director: Jason Paul Laxamana
MTRCB Rating: R13
Released by: Star Cinema

For the first time, a gay-themed movie tackles gay relationship in a different light, more humane, with no unnecessary hysterics and over drama that often seek to exploit their unique relationship.

Andi (Angel Locsin) and Max (Sam Milby) were college sweethearts who eventually broke up when Max decided to pursue medical studies abroad. Lost and heartbroken, Andi gets on with her life doing events while leveling up as an aspiring fashion designer.

Years after, Andi excitedly reconnects with Max, now a doctor, who introduces her to a fellow doctor, Christian (Zanjo Marudo), Max’s boyfriend. Andi was crashed and devastated. The Third Party revolves around these characters and the travails and humor in the lives of a freshly-minted gay couple.

Max and Christian live together as a couple, looking like ordinary man-woman who have deep love and respect for each other. But their resolve gets tested when they unwittingly invite Andi into their lives, forming an odd set-up like never before.

The arrangement, ’though indeed awkward, is made light in the way director Jason Paul Laxamana presented it. The scenes, as casual as the ones at the dining room and as delicate as those in the bedroom, are presented tastefully, careful not to offend the senses. There are tons of laughter and humor without necessarily negating the essence of the story and what it hopes to achieve.

The scenes are cute and downright funny, enough to excite the audience while roar with laughter at the same time. In particular, that scene of Andi and Christian having a good time at a karaoke bar was a riot. How Andi gets into Christian and Max’s lives and the utter confusion (and chaos) that follow will definitely keep the viewers in stitches.

Alongside the humor and funny antics, the characters have their share of emotional outbursts, too, as they deal with the complexities of their situation and family issues.

In terms of acting, the three lead stars did not disappoint. Without a doubt - Angel, Sam and Zanjo proved their mettle in this movie. Drama actress Angel pulled in a pleasant surprise as a natural in comedy. Zanjo is slowly but surely evolving into a versatile young actor. As the controlling gay Christian, he calls the shots, even to the sensitive decisions that his indecisive partner Max cannot handle.

Director Jason Paul Laxamana’s indie background is seen in his prudent approach into the lives of gays, their relationships and family.  It is heartwarming how crucial the family’s role is in the midst of the characters’ major conflicts. Andi’s odd relationship with her mom (Cherrypie Picache), along with their emotional confrontation quite illustrate the fact.

The movie’s screenplay likewise deserves credit for its originality and modern, crisp dialogues that give it more credibility. Indeed, words have power.

In the end, how the protagonists will deal with their issues and the truth in between bring excitement as the story takes a few surprising turns. Therefore, be prepared to be (pleasantly) shocked.

Also starring in the movie are Beauty Gonzalez, Matet de Leon, Al Tantay, Alma Moreno, Carla Martinez, Chung Sa Jung, Maris Racal, Odette Khan, Trina Legaspi. The Third Party is showing simultaneously in cinemas nationwide. Catch it!

Movie Review: My Rebound Girl

Image courtesy of www.movies.pinoyph.net

Alex Gonzaga, Joseph Marco

Director: Emmanuel dela Cruz

MTRCB Rating: PG

Released by: Regal Entertainment Inc.

The love story centers on Rocky’s (Alex) misfortune in her relationships - that of being a consistent rebound girl by her exes. She soon gets tired of her predicament and decides to set rules for herself so as not to be trapped again in such a situation.  

Rocky and her friends are setting up their coffee shop business and everyone takes pains in the nitty-gritty details to make it a close to perfect venture.Trying to find that perfect coffee blend takes a major turn in the story. 

In comes Rich, a coffee farm grower who wants to salvage their family farm from being sold by his mother. He strikes a deal with Rocky’s group to be its coffee supplier and partner at the same time. 

Both Rocky and Rich have just been through their breakups from their respective exes and despite provocation, they try to avoid falling for each other. However, it proves to be easier said than done, as they soon begin to show interest towards each other.

Deliberate or not, it is easy to note that Rocky’s character seems not far-fetched from Alex Gonzaga’s real image and persona. For the most part of the movie, Rocky keeps shouting and making faces, and shouting and making faces again - it’s a challenge to enjoy and be entertained by this movie. Save for the concluding part, there is hardly any scene that Alex’s character is sober. Indeed, there’s a big difference between being cute and being annoying.  

Compounding it even more is her bossy character towards her business partners. Rocky seems to have the last say in everything, from the coffee blend to the coffee shop’s paint and interior - everything has to conform to her taste. Now who wants a business partner like that?

My Rebound Girl as per its press release says the movie will inspire people to not give up on love so easily despite the odds. Rich and Rocky are supposed to have fallen for each other but it’s hardly felt as the movie fails to capture that ’romance ’. Making it worse is when his ex, Sophia wants him back and he immediately succumbs to her spell, totally forgetting his commitment to Rocky. What inspiration can be had from that?

The movie is a bore, in fact, most scenes are filled with lengthy and irrelevant scenarios that you struggle not to fall asleep while watching.

Expectedly, Marco’s well-defined abs got its exposure in the movie, but it can only go so far. It cannot salvage the character that is lacking in his performance. For one, he is ill-focused and so self –conscious. It takes more than the physical to get things right – and that’s a no brainer.

Had the movie been carefully well-thought-out, the viewers would have been treated to a fresh-faced and unconventional love team, a breather from the ones we are constantly fed and conditioned to like. Unfortunately, Joseph Marco and Alex Gonzaga just don’t have the chemistry to pull it off.

 If at all, the beautiful, refreshing shots at a coffee farm in Benguet prove to be the movie’s redemption.   

"My Rebound Girl " also stars Martin Escudero, Mitoy Yonting, Alora Sasam, Nathalie Hart, Pinky Amador, Racquel Villavicencio, Anna Vicente, Carl Guevara, Helga Krapf, Lawrence Yap. Now showing in cinemas

Movie Review: I America

Image courtesy of Instagram: belapadilla

Main Cast: Bela Padilla

Director: Ivan Andrew Payawal

MTRCB Rating: R-16

I America is a story about the life of half-American Erica Berry (Bela Padilla), a complicated woman born to an ex- prostitute mother (Elizabeth Oropesa) and an American father. Erica represents the struggles of thousands of abandoned half-American children in Olongapo left for good by their fathers. In Erica’s case, she has strongly resolved to find him and her own identity - hook, line and sinker.

The drama comedy film begins with Erica, a part-time model, doing a VTR (video tape recorder) for a tv commercial she is auditioning for in Manila. Thereafter, she boards a bus going home to Olongapo City to a loving woman who is not her mother but a family she calls her own.

Despite her hatred for her biological mother, Erica’s close circle of half-American friends give her much comfort and stability, with one common goal and treating each other like fraternity sisters.

No doubt, Bela played her character well, showing her ease with comedy, too. Erica elicited some laughs every time she converses in English with great difficulty. In other scenes though, director Payawal could have maximized her performance and the story’s potential had his narrative been more convincing and committed. As it turned out, the movie looks disorganized and half-baked, with a smorgasbord of issues going on, thus missing the vital points that it wants to put across.

Cinematographer Carlo Mendoza using a handheld camera shot some of the scenes quite beautifully, but there are several parts, too, that will make the viewer dizzy, obviously due to the unsteady handling of the equipment making  them appear blurred. Wonder why this huge lapse was overlooked. 

Some of the movie’s scenes struggle to be relevant including some jokes that are too old, corny and painfully redundant. Ditto with several dramatic scenes that are overkill, notably the brawl between Erica and her jealous black sister which are devoid of reason to be justified. There were cringe-worthy reactions, too, especially when Erica learns that her prostitute sister gets pregnant by the man she (Erica) mistakenly thought to be her savior.

Elizabeth Oropesa remains to be an acting giant, definitely credible as an aged, foul-mouthed ex-prostitute who abandoned her daughter early on. Only actors of La Oropesa’s caliber can deliver such crassness and vulgarity with aplomb. Among her memorable scenes are her showdowns with Erica, when she confronts her about her real father and Oropesa responds like a loose cannon, her mouth loaded with filth and obscenities that can only come from a hard core flesh trader.  

Overall, I America’s objective is commendable, but disappoints on many points, resulting to an overblown but underwhelming product. Thankfully, the good  choice of actors, Bela Padilla and Elizabeth Oropesa, will at least help save the day.

The movie now showing in cinemas, has other stars - Joe Vargas, Julz Savard, Kate Bautista, Lui Manansala, Matt Evans, Raflesia Bravo, Rhyzza Kafilas, Rob Rownd, Sheena Ramos and Thou Reyes.

Movie Review: Barcelona: A Love Untold

Image courtesy of www.mb.com

Main Cast: Daniel Padilla, Kathryn Bernardo

Director: Olivia M. Lamasan

MTRCB Rating: PG

Released By: Star Cinema

Shooting a film out of the country is getting to be the in thing for local filmmakers these days.  Aldub’s  Imagine You and Me was shot in Italy, Jadine’s This Time in Japan, and now, Kathniel has Barcelona, Spain in its latest starrer.

Barcelona: A Love Untold, is the comeback movie of Daniel Padilla and Kathryn Bernardo to the big screen and their first under director Olivia Lamasan.

The movie  attempts to  ’recreate ’ Daniel and Kathryn in a love story  sans the usual sweet and innocent roles,  supposedly to show how much the 5-year old love team has evolved through the years.

In the movie, Ely (Daniel) is a student in Barcelona pursuing further studies in Architecture while engaged in three (3) jobs as a tour guide, waiter and photographer to support himself and provide for his family back home. He lives with his aunt (Aiko Melendez) and her son Tonying (Joshua Garcia ) while estranged with his wealthy biological mother (Isabel Lopez) who also lives in Barcelona.

Ely meets the troubled Mia who goes to Spain to escape some personal issues in the Philippines that had antagonized her relationship with her strict father (Ricky Davao). Unfortunately, she would be faced with more trouble in Barcelona. Coming from a privileged background, Mia is at a loss and can’t cope as an OFW doing menial jobs and hard labor. About to surrender to her fate, Ely helps and guides her in a big way.

There are so many issues to untangle in this movie. Apart from Ely’s falling out with his mother, for example, he struggles to get over a relationship gone bad with a girl named Celine, who interestingly or oddly, looks a lot like Mia. This plot makes a turning point as it inches and weaves its way into the story.

The movie suffers from an overload of drama, too much unnecessary tears that it creates some kind of a ’disconnect ’.  There are so many issues going on in the characters’ lives that are confusing to the viewer, showing one dramatic scene after another without really justifying how they came about. It seems that they are interwoven with each other, sorely lacking in nuances - like a piece of this and that, here and there, without real substantial justification.

There is a heavy confrontation scene in the movie between Aiko and her son that was a bit off. After all the shouting and verbal assaults thrown at each other, mother and son suddenly kiss and make up immediately after Ely’s very quick lecture. How awkward can that get?     

The film ’though is truthful in its portrayal of Ely and Mia as OFW’s or overseas Filipino workers. Their hard toil in a foreign land, living with and embracing an unfamiliar culture, while coping with personal issues, legal constraints, financial problems and the challenge of dealing with (sometimes insensitive) family back home.   

Ely and Mia’s romance gives the film the much-needed breather… and excitement for the fans, too. Barcelona is a perfect place for the couple amid the changing lights and colors at Magic Fountain of Montjuc and their walks along the streets surrounding the world famous temple, Sagrada Familia.

But despite some flaws, director Lamasan succeeds in bringing out the improved actor in Daniel Padilla. Compared to Kathryn, Daniel delivered more in this film. His eyes and movements say it, revealing maturity and experience. Kathryn’s acting on the other hand struggles but lacks depth, it has yet to reach that "leading lady" level. But who knows, it might not be for long. Perhaps, a stronger commitment to her craft will nail the difference. Ditto if Kathryn knows how to make use of her naturally beautiful face - then that will be a big plus.

The movie’s highlight is saved for last for the fans to smile and savor for all its worth.

Barcelona: A Love Untold also stars Ana Abad-Santos, Ana Capri, Cris Villanueva, Joey Marquez, Liza Diño, Melizza Jimenez, Patrick Sugui, now showing in cinemas.

Movie Review: Camp Sawi

Cast : Andi Eigenmann, Bela Padilla, Arci Munoz, Sam Milby, Yassi Pressman, Kim Molina

Director: Irene Villamor

MTRCB Rating: PG

Released By: Viva Entertainment Inc

After watching the movie’s trailer, one might not expect anything new in this movie, or at the very least, something to get excited about. Owing to the bevy of sexy bodies and pretty faces for its stars, one would think that they are just the movie’s come on which will be mixed with a formulaic plot.

But as it is said, the test of the pudding is in the eating. Nothing can be closer to the truth. Unexpectedly, the movie presents a story that is fresh and unique. It  has a winning plot, a very engaging story. Credit to Bela Padilla and her longtime boyfriend Neil Arce who created it. 

CAMP SAWI is a story of five different women who are in great pain from their broken relationships. They find themselves inside a camp – a refuge for the brokenhearted - that will make them heal from their hurtful past. 

The movie’s setting is at the beautiful and charming Bantayan Island in Cebu where the camp is located. There, the five women, detached from their world, are given ways to help them cope as they struggle to recover from their traumatic heartaches. Initially adamant to mingle with their camp mates, the girls soon find strength in each other.  

"Camp Sawi" is a visual feast, if only for its picturesque setting that complements its stars - five of today’s hottest and sexiest young actresses. Matched with a breathtaking cinematography, the treatment of the story is quite commendable. The movie doesn’t scream, it doesn’t struggle to impress, the story just flows naturally.

Director Irene has successfully made each character memorable. Both Brigitte (Bela Padilla) and Gwen (Arci Munoz) who were dumped by their exes complement each other’s quirkiness. There is riot when they are together, notably that drunken scene in the beach that really left a mark and the audience in stitches. 

Arci is undoubtedly a natural comedian, with Yassi and Kim catching up – no dull moment as they slowly recover and give justice to their colorful characters. Clarisse’s (Andi Eigenmann) dramatic story of loving the wrong man lends itself very relatable to viewers. The tragic story of Joan (Kim Molina) with her fiancé leaves her rejecting herself even more, along with Jessica’s (Yassi Pressman) hair-raising anecdote of her boyfriend. All told, the characters’ diverse stories are no different from everybody else’s that anyone can easily identify with. 

The girls’ bonding moments feel like you are just with your girlfriends unabashedly sharing each other’s angst while on a drinking spree – at times serious, other times downright hilarious. Louie (Sam Milby) makes for a cool camp master giving genuine attention and  guidance to the depressed girls in his camp, while carefully polite with their humorous advances. 

"Camp Sawi" definitely entertains, a must watch, especially for the heartbroken and weary souls out there who need to unburden. As it is, moving on may not be the same for everyone, and that a heartache, no matter how crippling, is there for a purpose. 

Don’t miss the movie - now showing in cinemas. 

Also in the cast are AJ Muhlach, Alex Vincent Medina, Bret Jackson, Bubbles Paraiso, Cholo Barreto, Dennis Trillo, Issa Pressman, Janna Roque, Jasmine Hollingworth, Jerald Napoles, RJ Padilla, Sarah Brakensiek, Tonton Gutierrez.

Movie Review: That Thing Called Tanga Na

Main Cast: Billy Crawford, Angeline Quinto, Eric Quizon, Kean Cipriano, Martin Escudero

Director: Joel Lamangan

MTRCB Rating: PG

Released By: Regal Entertainment Inc.

Gays in the Philippines are said to comprise about 10% of the country’s population. Far from their status of decades ago when they used to be frowned at, gays or ‘bekis’ of today enjoy far greater freedom and acceptance in the community. Most of them are creative, financially independent and lead colorful lives - yet in reality, they are often wanting of real love.

“That Thing Called Tanga Na” is a movie about love and friendship among gays. Four gay men and a woman comprise this group of friends who are engaged in various professions. The movie revolves around their heartbreaks on finding true love.

A regular viewer may have a fairly good expectation of this movie owing to the fact that director Joel Lamangan was at the helm. Unfortunately, to be in for a major letdown is totally unexpected.

First of all, one will get lost with such a big number of characters, with everyone actively involved in each others’ lives – including its every twist and turn. It would have been ideal had the characters been allowed to develop for better appreciation.

Among others, the flow of the story is flawed. With such a cast, each scene becomes a confusion of the many issues of each character. Names and situations are lumped up in each fast-paced dialogue making it hard for the viewer to catch up what was actually happening, thus missing the point in the process. There are just so many things going on – literally.

Another thing, it is a struggle to appreciate a movie whose screenplay leaves much to be desired – ie, old, overused gay jokes that had seen better days, in short corny and ridiculous. In street language, ‘bumenta na’.  And I bet you, there are a lot of those. Top that with loud and OA acting, and you get the picture.

Ron or papa Tiu (Eric Quizon) plays a rich gay businessman, separated from wife, and is lover to a two-timing Albie. Fashion designer Sissy (Kean Cipriano) suffers a similar fate, along with his girl Friday, Shirley (Angeline Quinto) who has a ‘gifted’ cheating partner, too. It’s only closeted gay Baldo (Billy Crawford), who marries his one true love in an unlikely scenario and salon owner Georgette (Martin Escudero) who seem to be the only characters whose love issues are not as absurd.

Furthermore, the film could have been treated with a fresher take on some gay issues that the public are not familiar with. Unfortunately, it is bombarded with scenes and dialogues that are glaringly old. It doesn’t project gays in a favorable manner the way the movie presented them. Those gay-loving young men who will do anything in exchange for a big bonanza from their rich benefactors, isn’t that as old as the hills?    

Perhaps, the only saving grace of the movie are the happy testimonies of celebrity gay couples who have struggled to be accepted for their love and won it in the end.

Others in the movie are Albie Casino, Ken Alfonso, Lawrence Yap, Luke Conde, Nikki Valdez, Gerard Napoles, Paolo Gumabao, Shine Kuk and Vangie Labalan. Now showing in cinemas.