Archive for the ‘benjamin alves’ Tag

Top Local Movies of 2013   3 comments

Last year, I opened my list by saying that 2012 was an enjoyable year in local cinema. Turns out, I was speaking way too soon because 2013 turned out to be an even better one. To say it is great is probably a hyperbole, but at the same time, I say it with much conviction (and even an understatement). The medium of cinema has never been more exciting and adventurous in the past few years than what the 2013 batch has offered. That goes without saying that it didn’t have its share of misfires and mess, but then again, this year is too strong to focus on that. Three titles you wouldn’t see on the list, however, are Lav Diaz’ Norte, Hangganan ng Kasaysayan, Alvin Yapan’s Mga Anino ng Kahapon, and Sigrid Andrea Bernardo’s Ang Huling Chacha ni Anita, because I was foolish enough to miss them during their run. With that said, here are my 15 picks for the best in 2013 local cinema:

15. Tuhog

15. TUHOG (Veronica Velasco)

Maindie is one of those terms that sounded so forced you don’t want to hear it ever again, but this Veronica Velasco film of three intertwined stories connected by an unfortunate incident gives it a free pass to be used just this time. Each of the three sub-stories provided interesting characters and back stories that any of them could have been further fleshed out to a whole film. But then again, maybe that’s one of the film’s asset? The movie also boasts of a fitting soundtrack to its story, and the end result is one of 2013’s most fresh mainstream or in this case, maindie, offerings.

14 Otso

14. OTSO (Elwood Perez)

Otso is director Elwood Perez’ first film in ten years, and in this case, it is really worth the wait. I think that doesn’t apply on waiting for Elwood’s comeback only, but for the film as well. Otso started in scenes that were still in multicolor, but it just sets up for an even better film once it turns black and white. I don’t think I’ve necessarily picked up everything that the film wants to show, but it’s part of its appeal. It lures you to its world where the crazy and the wicked happens, and you’re simply hooked.

13. Babagwa

13. BABAGWA (Jason Paul Laxamana)

One of the two Audience choice winners at last year’s Cinemalaya, it’s easy to see why a lot fell in love with this film. Its humor is one that appeals to everyone. But digging deeper, I think it speaks a lot to the curious and inquisitive nature of ourselves. In here, we see two people fleshing out two different personas of each, and we, as the audience, are the witness to all of it. It’s such an engaging scenario that by the time the slow reveal at the end happens, you probably have an idea of what’s about to happen yet you still want to see it happen. It also boasts of an inspired screenplay and one that speaks of the current times.

12. Boy Golden

12. BOY GOLDEN SHOOT TO KILL: The Arturo Porcuna Story (Chito Rono)

I’ve been quite dismissive of this MMFF entry just because it’s Jorge Estregan with a leading lady almost half his age yet again, but I guess surprises do come when you least expect it. Not only does this film serve as a perfect throwback to the yesteryears of enjoyable action flicks, we’re also served with its topnotch technical achievements. The twists and turns of thew characters here, plus that out of nowhere scenes that provided the camp makes it a good reminder that every now and then, never judge a movie by its horribly made poster.

11. Kabisera

11. KABISERA (Alfonso Torre III)

Yes I’m not here for that Breaking Bad comparisons simply because they are two different films that happened to have some similarities. it happens, but I don’t see any “copying” between these two. In Borgy Torre’s directorial debut, Kabisera shows us how one family man’s dreams happen and its good and bad repercussions not only to him but to the people around him. Anchored with a commanding performance by Joel Torre (one of his two this year) and a really great supporting ensemble, Kabisera is really thrilling as it can get.

10. Quick Change

10. QUICK CHANGE (Eduardo Roy Jr.)

Eduardo Roy Jr.’s follow up has a dark humorous tone in it that is simply irresistible. Just like how the characters in the film get totally pumped over having those “shots” that lead character Dorina provides to them, we are really drawn and addicted to what happens. It gives us a peak into this world which not many of us are particularly adept about, and it does a great job in doing so. That of course, and lead actor Mimi Juareza’s haunting turn in it.

09. Bukas Na Lang Sapagkat Gabi Na

09. BUKAS NA LANG SAPAGKAT GABI NA (Jet Leyco)

One of the common themes I noticed among the Cinema One Originals entries this year is that the films are more experimental in nature. Jet Leyco’s Bukas Na Lang Sapagkat Gabi Na provides a mysterious atmosphere that makes you more interested as the film goes on. It is weird and eerie and that’s what make it work. The film, in its own nature, has a great grasp of what it wants to show in a really inspired manner (the handheld camera effect, black and white parts, gunshot sounds), and it  makes the whole viewing more enjoyable. It’s one film I think I’ll enjoy more in repeat viewings.

08. Purok 7

08. PUROK 7 (Carlo Obispo)

A portrait of an optimistic girl living in small rural town was vividly depicted in Carlo Obispo’s debut feature Purok 7. As we follow the story of 14 year old Diana and her younger brother, we were given an escape, thanks to the eye catching scenery of the country side. But more than that, we witnessed and felt the agony of two kids who have long wanted to be a part of something and be a part of a family. The simplicity of it all is what makes this whole thing fresh, endearing, and leaves a lasting impression.

07. Transit

07. TRANSIT (Hannah Espia)

As the overall winner of last year’s Cinemalaya New Breed category, Hannah Espia’s debut effort Transit is an achievement on so many levels. Not only does its display of technical achievements noteworthy, but its storytelling was also seamlessly interwoven. It’s not everyday that we see this kind of potential on a first time full feature, but for this particular effort, Espia manages to hit the right buttons. And as a bonus, it even ended up as the country’s Oscar Foreign Language Film submission.

06. Blue Bustamante

06. BLUE BUSTAMANTE  (Miko Lovelo)

OFW movies have been done to death already during the past decade, but first time director Miko Livelo puts a new spin on it in his Cinema One Originals entry Blue Bustamante. The expected dramatic scenes were instead replaced with an earned sentimentality that just wins you over. As main protagonist George, Joem Bascon was such a delight to watch as he finds a replacement work in Japan that will not only bring in the money but an even closer bond to his son and family who are miles apart. It’s definitely one of the most fun times I had at the movies for 2013.

05. Debosyon

05. DEBOSYON (Alvin Yapan)

Hypnotizing right from the start, this tale of one’s faith and acceptance  – may it be because of love or commitment or just one’s mere existence – is one that lingers even after the credits roll.  The film, which also is aided by minimal dialogues but really magnificent visuals, takes its viewers to some breathless imagery. The movie rested solely on its two lead’s but they did more than what they were asked for. Plus, the last 20 minutes of this film is still one of the bests I’ve see for this year.

04. Iskalawags

04. ISKALAWAGS (Keith Deligero)

Like OFW films, coming of age films have been done to death now, but Keith Deligero’s refreshing approach in the Cinema One entry Iskalwags puts a more inspired approach to it. It’s not hard to fall for the film as it certainly evokes an environment that is light and not totally sentimental. It sparks a certain touch of youth and playfulness that is rarely captured this well on screen. The voice over also adds a more interesting spin, and it features an ensemble whose innocence translates in a totally natural manner.

03. On the Job

03. ON THE JOB (Erik Matti)

Probably one of the most buzzed films of the year, this picture depicts a setting of a dirty and very complex government; one which needed more than just a person who has an optimistic view to eradicate it and start anew.  It is through this core notion where these characters live and breathe, as Erik Matti gives us a more than satisfying crime action thriller that is gripping and at at the same time, really, really timely. It’s one of the rare movie experiences that makes you even sadder as you come out of the theaters because of how easy one can reflect and connect it to what’s really going on.

02. Sana Dati

02. SANA DATI (Jerrold Tarog)

The cinema has given us lots of love stories. Most of them with happy endings, while some were flat out tragedies.  In Jerrold Tarog’s closing effort to his camera trilogy, he uses the notion of whether to stay stagnant or to let go as a path to understand how love really works. In the case of Lovi Poe’s Andrea, it’s a hard task, especially when you’re ready to move on yet a reminder of the past shows up hours before you’re ready to take the jump. Sana Dati is one of the best stories about love I’ve seen in a long time. And there’s no other way to end the film that with Up Dharma Down’s Indak.

01. Badil

01. BADIL (Chito Rono)

At one point, it doesn’t even seem that this would make it at the Sineng Pambansa festival last August. But thankfully, it did. Chito Rono’s entry which focuses in a small Samar town on the eve of election day is as arresting as one can get. Like On the Job, it’s a depiction of what’s wrong in a society, but this one is less technically polished but of the same, if not even more, intensity. It’s a film that has a lot of long continuous shots, probably making the whole experience more captivating. It also has a good ensemble with a very intense Jhong Hilario leading the ship.  Badil was an entry in the All Master’s Edition of the Sineng Pambansa, and with his controlled and almost restrained direction, Rono definitely lives up to the challenge.

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9th Cinemalaya Film Festival Review: Part 3   6 comments

Okay guys, here’s part three of the my coverage of the 9th Cinemalaya Independent Film Festival. For those who missed the previous ones, Part 1 consists of Gil Portes’ Liars, Mikhail Red’s Rekorder,  Carlo Obispo’s Purok 7, and Jeffrey Jeturian’s Ekstra.  Part 2 has Adolf Alix’s Porno, Alvin Yapan’s Debosyon, and Leo Abaya’s Instant Mommy. Here’s four movies from this year’s batch:

SANA DATI
Director: Jerrold Tarog
Cast: Lovi Poe, Paulo Avelino, Benjamin Alves, TJ Trinidad
Competition: Director’s Showcase

The film is a love story about a woman whose wedding is thrown away when a mysterious person arrives and reminds her of the man she really loves.

As the conclusion to his Camera Trilogy, director Jerrold Tarog intimately showcases how love can make a person strong yet vulnerable, how some instances push us to move forward despite wanting to be stagnant, and ultimately teaches us to let go. I’m captivated with how the story unfolds – one does not need a personal experience to feel Andrea’s (Lovi Poe) jitters on her wedding day, but you can clearly identify what she’s going through. It’s difficult to move to another stage of your life when you still attach yourself to the previous one and it’s even more difficult to unlatch yourself from it because you do not know where and how to begin. When Dennis (Paulo Avelino) enters the picture and made his presence be known to her, it makes her confront the lingering feelings that she still has. Probably my favourite scene is when Andrea was on the rails and just closed her eyes and probably gives her the peace of mind she wanted even just for a few moments. Aside from the strong writing and directing, the film benefits from having a great ensemble of actors. Lovi Poe is definitely one of the best actresses of her generation and this is just another addition to her list of memorable performances. Paulo Avelino resembles the “mysterious” person effectively – his curiosity leads you to think what his intentions really are. Both Benjamin Alves and TJ Trinidad were effective too, as well as the whole ensemble of actors who played as family members and friends in the movie. Tarog mentioned that he tried to pitch the movie several times since he conceptualized it seven years ago, and that this was the only time when he felt it was ready. And he surely knows what he is doing. Oh, and plus points for the Up Dharma Down song in the end.

Rating: 5/5

THE DIPLOMAT HOTEL
Director: Christopher Ad Castillo
Cast: Gretchen Barretto, Art Acuna, Mon Confiado, Nico Antonio
Competition: New Breed

Victoria Lansang (Gretchen Barretto) is a popular news reporter who has been requested to mediate a hostage crisis. And in front of a national television audience, something horribly goes wrong.

I really do not know what to make of The Diplomat Hotel. I must admit that it’s one of the more exciting films I have for this year, since the hotel itself is a popular horror destination which is known for its ghosts and other spiritual sightings. I acknowledge that the film wants to go on a different direction – it’s more of a psychological thriller and the ghosts that you probably expect to see are not literal ghosts but the ones people have within. I guess that made the film flat for me. When you have a prominent ghost location, it sets the mood for something that will build up the tension and fear; instead, all those fears came from the characters themselves and it leaves no attachment to the viewers. I can’t pinpoint what is wrong with the film (since I don’t think that WRONG is even the correct word to use for this), but I feel that it was a missed opportunity to highlight something better. The characters weren’t fleshed out interestingly, and as they scare themselves to death already, you won’t care a bit. If anything though, you can see that they tried – the Baguio shots were crisp, the “tour” inside the hotel was also good, and the ensemble is living up for their roles. Mon Confiado’s physically transformed look and Art Acuna were always dependable. As for Gretchen Barretto, you know she’s clearly trying and while certain deliveries still caught me off guard and resulted to some laughs, I see the effort. I guess that’s how I’ll sum the movie: the end result was bleh, but I acknowledge the effort.

Rating: 1.5/5

QUICK CHANGE
Director: Eduardo Roy Jr.
Cast: Mimi Juarenza, Jun-Jun Quintana, Miggs Cuaderno, Francine Garcia
Competition: New Breed

Life of Dorina, a middle-aged transsexual looking for his niche amidst the complexities of the world he is in. This is a story of suffering, acceptance, and hope.

Quick Change is one of the lesser known entries in this year’s filmfest: it does not have big stars in its cast, it does not have the most audience friendly story; however, it’s also one of this year’s biggest surprises. The film follows the life of Dorina, as he offers cheaper collagen injections to transsexuals and young women who want to have bigger breasts or more noticeable cheekbones. He’s particularly known in their community because of that business. Alongside his young nephew whom he calls Kuya, this is how Dorina lives his daily life. Oh, and he has a boyfriend who’s cheating on him with another transsexual. I like how Dorina’s personal predicament is ironic with what he’s doing for a living. Think of how Dr. Gregory House is someone who cures for a living but can’t cure his own. It’s also an interesting look on how this whole business works: who are the usual customers, what are their motives in doing so, and what are its implications to all of them. There is a scene in the near end where we see someone who looks like a frozen mannequin already due to countless injections but then goes on saying “Iturok niyo lang ng iturok, kahit ano. Basta gusto ko ang feeling ng karayom sa mukha ko” and that leads you to an idea that somewhere along the way, it will catch up to all of them. Dorina is a well written complex character supported with a fearless award worthy performance by Mimi Juarenza. It is safe (no pun intended) to say that it is this year’s “little film that could.”

Rating: 4/5

NUWEBE
Director: Joseph Israel Laban
Cast: Barbara Miguel, Jake Cuenca, Nadine Samonte, Anita Linda
Competition: New Breed

Inspired by the actual story of one of the youngest mothers in Philippine history, the film charts the story of Krista, who at the tender age of nine got pregnant from the sexual abuse of her own father.

Nuwebe benefits from having a really interesting premise and something that can speak volumes about an issue in our country considering that it was inspired from an actual story. With that said, it’s really hard to identify your place as a viewer while watching the film. I think the biggest problem of the movie is its writing. It was a big letdown from the film’s intriguing story. The dialogue was cringe worthy, and I know that I’m supposed to feel for Krista, but she left me confused and apathetic. She’s spewing lines to her mother like “Ano ako? tanga?” and “Ayoko ipalaglag ang anak ko.”, and while I give the director the benefit of the doubt that the “real” Krista did say that, it’s just too awkward to be believable. Her character was portrayed as an intelligent person in her class (as she’s the only one reciting – about the sperm and pollens of all topics), yet she admits to her mother that she did not know it was a bad thing that she and her father made a baby. By the near end, I just ended up not caring for any of the characters, Krista included. The premise has really some potential, but I don’t think it was smoothly fleshed out to totally work.

Rating: 1.5/5

Eleven down, four left to review. Last batch consisting of Hannah Espia’s Transit, Jason Paul Laxamana’s Babagwa, Emmanuel Palo’s David F, and Ces Evangelista’s Amor Y Muerte will be posted on Saturday morning.

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REVIEW: Sosy Problems   7 comments

Sossy Problems

GMA Films’ solo horse in this year’s Metro Manila Film Festival  is a female driven comedy that derives its title from the conyos and the sosyal upper class people  and their problems in life. Starring the foursome of Rhian Ramos, Heart Evangelista, Bianca King, and Solenn Heusaff, Sosy Problems is directed by Andoy Ranay.

In the movie, we were introduced to four friends: Lizzy (Rhian Ramos) is the self proclaimed leader of the group, a spoiled daughter that will pass as an heiress. Claudia (Heart Evangelista) and Margaux (Solenn Heusaff) are daughters of two rival beauty queens. Despite that, the two are best friends despite their clashing mothers. The last one to complete the group is Danielle (Bianca King) whose father is a former congressman that dealt with some issues while in position causing the demise of their power and money. In the beginning, we see a TV exec planning to do a feature on them ala Keeping Up with the Kardashians, but the main sosy problem is for them to save their hangout place which is a polo club now bought by Bernice (Mylene Dizon), a promdi social climber who married someone famous that caused her instant rich status.

The writing of the movie is a combination of overused and confused. It is overused with its recycled plots and lazy writing. A young woman tempted to keep up with her friends despite being  financially incapable? Done! A rich daughter with a mother who has the accent of other dialects for? Done! Thing is, being original is not the strongest suit of most movies nowadays, but the writing here is terribly lazy that they didn’t even bother. It was confused in the sense that the first part dealt with the concept of getting them for a reality show when the second part dealt with them fighting for the polo club.

I admit, there were probably one to two scenes, mostly involving the four leads in it such as their tea party and their rally to save the polo club, but when they’re individually on screen, they were relegated to these uninteresting characters that were been there done that. It seemed to me that the four women are having fun though, and I enjoyed Solenn Heusaff and Heart Evangelista the most. Rhian Ramos and Bianca King were okay too, though I did not buy Agot Isidro and Cherie Gil even for a second, and Mylene Dizon was a bit fun though I somewhat imagine Kris Aquino’s Sisterakas character to cross over their film. And I’m sorry but who’s giving Tim Yap the right to act? I really don’t know why he keeps on getting hired. He’s not an effin actor and is probably worse than all the other characters combined. The way he felt as if he’s the fifth sosy lady here is so annoying.

The film took what could have been an interesting concept with the sosyal and the conyo people with a more interesting take in it. Sadly, though, even the writers had no interest of going there. They went easy way out of with the generalizations and the over the top portrayals of such. With that, it’s really hard to find anything that I can recommend to you to watch this movie.

Grade: 1/5

Here are the reviews of the other Metro Manila Film Festival 2012 entries:

El Presidente
One More Try
Shake, Rattle, and Roll 14: The Invasion
Si Agimat, si Enteng, at si Ako
Sisterakas
The Strangers
Thy Womb

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