Archive for the ‘enchong dee’ Tag
So yesterday I did a marathon of all Sinag Maynila entries. Sinag Maynila is a project close to me since I worked on it in its initial year up until the announcement/selection for this batch (before I left my previous work). I was really interested with the movies this year particularly because I already have a clue with these entries, so to see them translated in the big screen is what made me excited. Anyway, here are short thoughts on the 2016 batch.
- TPO (Joselito Altarejos)
Probably the best in this bunch, Altarejos managed to capture in less than 80 minutes the pain, the process, the aftermath of domestic violence and how this goes beyond the victim and the abuser. Characters weren’t one-dimensional and the use of long shots made the situation linger. If anything, TPO shows how people cope up with this illness and how it’s reflective of our society.
- Expressway (Ato Bautista)
Everything in Expressway is flamboyant from its full opening credits to its choreographer stunts. One can make a case that it has a tendency to go style over substance for a paper thin story that’s predictable and excessive, but it was a joyride to see Alvin Anson and Aljur Abrenica navigate through it – the former to get a leading role like this, the latter to totally embrace the batshit character he’s portraying (even if in some scenes, he went full retard). Oh, and for some reason, setting the film during Christmas season somehow added to its appeal.
- MRS. (Adolf Alix)
MRS. is a character study for its lead Virignia (what a comeback for the always dependable Elizabeth Oropesa) as she deals with everything happening around her – her older sister wanting to sell the lot of her house, her loyal house helper who’s getting married, her daughter who has joined a cult, her missing child. She’s living in a house situated on a fault line thus her house has cracks and looks old which probably signifies where she is in her life right now. The film contains really powerful moments, and I acknowledge the intent more than I appreciate it. That said, Alix continues to bring out the best in his actors.
- Dyamper (Mes de Guzman)
What’s exciting about Dyamper is director Mes de Guzman’s humor obviously present in it. When following about the lives of these so-called “dyampers”, the movie is at its peak. The back story of Alchris Galura’s character however, while not cringe-worthy and him totally selling it, felt a bit disjointed than the “dyamper” storyline. It’s not actually bad, but I think there’s a lack of smooth transition between these two parts that’s a tad jarring.
- Lila (Gino M. Santos)
Philbert Dy summed it best when he said that “Lila feels like a script that Regal rejected.” For what it’s worth, the film was stylishly done and everyone involved seemed so committed with it. That said, not only is the lead character one of the more clueless leads in recent horror film memory, but probably one of the slowest readers… ever? Like if I discovered someone’s thin diary, you bet on it I’m done with it by the second hour, notes and all. Heh.
Since the Gabi ng Parangal happens tonight, I’ll offer my personal choices on this batch’s winners. Picture and Directing obviously goes to TPO and Joselito Altarejos. Actor I give to Aljur Abrenica (give or take his really over the top scenes, but playing that annoying young character seems right up his alley). Actress is obviously Elizabeth Oropesa (no contest!). Screenplay and Editing go to TPO, Cinematography is Dyamper, Production Design is MRS, and Score goes to Expressway. Lila probably gets best outfits for Enchong Dee.
While we’re at it, I still invite you to watch all five films from this year’s Sinag Maynila. And (heh), avail the Sinag Maynila ePLUS Festival Kit Card because trust me, it’ll save you a lot of money (I think a movie is at Php280 each if I’m not mistaken). Until next year! #SinagMaynila2016
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 (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 (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 (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 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 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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 (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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Skylight Films, the indie army of Star Cinema, does their own celebration of the film outfit’s 20th year by coming up with a comedy that plays with intertwined fates of three strangers. Written and directed by Veronica Velasco, and starred by Eugene Domingo, Leo Martinez, Enchong Dee, and Jake Cuenca, Tuhog is a take on the connection of me, you, and everyone else you know.
Due to a highway bus accident, three strangers Tonio (Leo Martinez), Caloy (Enchong Dee), and Fiesta (Eugene Domingo) are literally connected by a piece of steel bar; unfortunately for them, the small hospital where they were directed has only two operating rooms, and before the decision can be made, we get a glimpse of their own lives prior to the said incident. There, we see Tonio, a retired family man, whose aim is to put up a bakery. Fiesta is a cranky female bus conductor who’s being haunted by her past, while Caloy is a typical college student whose world revolves with the notion of finally having her long distant girlfriend deflowered.
On the outside, it’s easy to dismiss the definition of the film’s title from the main conflict that the film presented. If you’re a fan of Grey’s Anatomy, you’ll have a clear idea of what I’m referring to in the Season 2 episode Into You Like a Train. However, it goes deeper than that. We were then presented that even before the accident, there were already instances where the three characters have intertwined in the past. And I think that’s where the movie clearly succeeds – that there were already some puzzle pieces even before the picture was made.
Veronica Velasco really knows how to connect the story to the audience and vice versa. I like how each of the backstories were tackled, though it’s safe to say that Caloy’s story was the weakest of the three. Not because it was the lightest, but because it’s the one that comes close (but definitely didn’t) from being a filler. The most interesting one is hands down the first one with Tonio. It’s stories like his that personally strikes the most interest for me because it’s a scenario that others can possibly see themselves at. Fiesta’s segment is the perfect middle story; it might not be the most original story, but it is successful in what it presented, and the crowd I was with definitely ate all of it up. If anything, the only thing I wasn’t particularly fond of was the resolution part as it tends to become preachy, and it seems sort of out of place to what the build up did.
I’ll dedicate a paragraph of my review to say this, because I want them to get the much deserved props, but the visuals in here is really fresh and well thought. The opening credits is one of the best I’ve seen in local cinema for a long time, and it is talents like such that convinces me that we need more avenue to expose them because the talent is clearly there.
With three different stories to tackle, a large ensemble is needed, and for the most part, I think all of them were okay. I don’t remember anything that strikes as an odd man out. Eugene Domingo was her typical charismatic self, and while most people know her for her comedic skills, her dramatic ones were equally good too. Enchong Dee is the definition of a boy next door and this role plays right up his alley. My favorite though is Leo Martinez, as one who is still in denial of his current state and simply aims for his dream to push through, you’d feel for him and what he’s going through. Martinez together with his barkada in the film (Bodjie Pascua, Jon Achaval, Menggie Cobarrubias) is one of the most enjoyable portrayal of friendship I’ve seen.
Tuhog is a very competent and inspired take on life’s many possibilities and how fate can possibly bring us to see that. It’s one that can make you ask questions about yourself despite not getting the answers instantly.
As an opening salvo to Star Cinema’s 20th anniversary celebration, they certainly opened it with a bang by coming up with a family drama that combined some of the most popular actor and actresses of this generation. Helmed by ultimate box office director Cathy Garcia Molina and starred by Toni Gonzaga, Angel Locsin, Bea Alonzo, Shaina Magdayao, and Enchong Dee, Four Sisters and a Wedding tackles family issues in both comedic and dramatic fashion.
After announcing that the youngest (and the only male) Salazar sibling, Ceejay (Enchong Dee) is getting married, his four other sisters Teddie (Toni Gonzaga), who works in Spain, Bobbie (Bea Alonzo), working now in New York, Alex (Angel Locsin) a production assistant for indie films, and Gabbie (Shaina Magdayao) teacher and the one in charge to live with their mother, come up with a master plan to halt the said occasion.
On one hand, it’s actually refreshing to see a Star Cinema family film that is not a straight up drama (think of Tanging Yaman or Sa’yo Lamang) and not a straight up comedy as well (think of Tanging Ina or Tanging Pamilya). It lends more freedom for the director and the writer to flex where the vision of the film wants to go. Some of these concepts were highlighted in the film such as the complex relationship of sisters Alex and Bobbie, or the competitive nature of oldest sibling Teddie juxtaposed with the complacent and content stature of youngest sister Gabbie. Then you’d have the voiceless feeling of the only thorn among the roses, Ceejay. This is where the major strength of the movie kicks in.
I’d also note that it’s refreshing to see a product placement that does not bother me the same way that usual local films do. Rebisco biscuits product placements were scattered all throughout the movie, but it’s not as forced as it was carefully inserted in films and does not scream blatant product insertion, to me at least.
With that said though, the comedic themes were less inspired, as compared to the dramatic ones. As for one, the main premise of the film is ridiculous itself, but the approach could have been much tighter, so as not to make it look lamer when compared to the themes on the paragraph above this. I also noticed lack of full characterization especially in the characters of Alex and Gabbie. While Teddie and Bobbie’s stories went full circle, the other two sisters are just going around in circles. It’s probably a case of editing issues, but I would have wanted to learn more of them too, or at least, give them the spotlight every now and then.
But of course, I know what you’re here for. You want to know who’s the best among all the actresses in this film. Okay so I’ll try to break it down for you. Toni Gonzaga is my favorite in the film. I already saw how she goes back and forth with comedy and drama still back from My Amnesia Girl, but this vehicle lets her sashay from one genre to the other instantly. She knacks you off with her comedic timing, and she knocks you as well when it comes to her more dramatic ones. I think the reason why I like her most is because I still think that the film leans more on comedy, and she’s the best in show in terms of that aspect. Bea Alonzo, on the other hand, is the reliable dramatic actress that delivers, and she benefits from playing a character that was complexly written, and she pays that off by giving it justice. Her moment during the family’s confrontation (albeit too long and overdone) is really effective and one of the film’s highlights. And I know I have already said this in my past reviews of her previous films, but hers is a face that the camera really loves. Angel Locsin might not have the most moments, but she certainly makes the best of what she has to do. It is not the type of acting that screams awards, but the way she switch emotions in seconds is a testament of how much growth she has achieved already. What I particularly like about her performance is that she’s not getting all the forefront in terms of scenes, and she usually is relegated to reacting in most of them, but she plays the same intensity to all of them. One might consider Gonzaga’s character as bordering on cartoonish, and Alonzo’s as too TV type, but Locsin’s is the most human in my opinion. More characterization from the writers would have made her character more impactful though.
The rest of the actors were also necessary but given mostly smaller to almost thankless roles (Shaina Magdayao’s Gabbie comes to mind), but they were all serviceable. Coney Reyes was inspired casting though as the family matriarch, while Carmi Martin was a hilarious scene stealer and gets the best character entrance in the film.
All in all, the main flaw that I see in this film is that despite being half comedy and half drama, the stories they used in order to cater both are not in the same vein. We see inspired storytelling in the dramatic parts of the movie, while the comedic ones were usually rehashed and less inspired. But since they’re promoting it more as a comedy, it could have used much better material in that context. That said, it’s an enjoyable film that is saved by the cast’s chemistry and one that caters to most members of well… the family.
Hey everyone! We’re still continuing the yearend lists over here at Tit for Tat. Aside from that, we’re also doing the recap of the movie performances in local cinema the past year. The past two days, we gave the focus to the supporting actresses and supporting actors. It’s time to move now to the leading categories. For this day, we’d give the spotlight to the men and tackle the Best Actor category. Like what I said, these are possible choices from all the award giving bodies this year from mainstream to indie and those that can cross-over in between. Let’s begin!
LEADERS OF THE PACK
Probably the strongest contender in this category for this year is acting legend Eddie Garcia as he adds another memorable turn for his role as the old gay man living with his dog in Bwakaw. His competition this year might skew to much younger actors though as there have been lots of good awards-bait performances this year such as the likes of Dingdong Dantes‘ MMFF winning performance in One More Try, Coco Martin‘s indie comeback as the father who found the remains of his daughter in Santa Nina, Jericho Rosales as the single parent whose son gone missing in Alagwa, and JM de Guzman as the mussel diver in the title role Intoy Syokoy ng Kalye Marino.
As for the other lead roles in contention, award giving bodies might also throw a bone to Arnold Reyes as the loyal driver who was caught in the middle in his Congressman employer in the Tribeca hit Graeland, awards staple John Lloyd Cruz might get some nominations as well for his performance opposite Bea Alonzo in The Mistress or for his movie with Angel Locsin, Unofficially Yours. Scene stealing Archie Alemania should hear his name be read especially at the Comedy Best Actor of the Golden Screen Awards for his role in Cinema One Original entry Slumber Party. And in a surprising turn of events, we’d have a battle of two heroes this year in the Best Actor category: Alfred Vargas as Andres Bonifacio in Richard Somes’ Supremo and ER Ejercito as Emilio Aguinaldo in the MMFF entry El Presidente.
Cinemalaya movies also produced a lot of worthy Best Actor turns such as the winning performance of Kristoffer King in Oros, Pen Medina in Kamera Obskura, Dominic Roco‘s Gibson in Ang Nawawala, and Thai actor playing lone soldier Ananda Everingham in Kalayaan. Casting issues (from Cinemalaya) aside, Allan Paule‘s fantastic turn in Emerson Reyes’s MNL 143 can possibly reap nominations as well.
THE REST OF THE RACE
Other lead actor contenders that might are still in the race are Dennis Trillo in the title role of Ang Katiwala, Cinema One Originals Best Actor winner Alex Medina in Palitan, newbie actor Gerry Adeva as the title role in Mamay Umeng, Allen Dizon in Joel Lamangan’s drama Migrante, and the most intelligent and uptight of the three gay friends Markki Stroem in Slumber Party. Among mainstream movies, one can also consider Derek Ramsey in A Secret Affair, Aga Muhlach in Of All The Things, Piolo Pascual in Every Breath U Take, Enchong Dee in The Strangers, and Vice Ganda in either This Guy’s in Love With U Mare or Sisterakas.
That’s it. Last part of the acting spotlight tomorrow with everybody’s favorite category: Best Actress!
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I admit that I was pleasantly surprised to see director Lawrence Fajardo participate at this year’s Metro Manila Film Festival. I was more surprised though that the committee gave it a green light. Not that Fajardo is bad or anything, but with the current
crap crop of movies that we see every December, but it’s more of a welcome surprise to the more mainstream filmfest. His entry entitled The Strangers stars youngsters Enchong Dee, Enrique Gil, and Julia Montes together with veterans such as Cherry Pie Picache, Janice de Belen, and Jaime Fabregas.
Twins Max (Enrique Gil) and Patricia (Julia Montes) celebrated their 18th birthday. Together with the rest of the family (mother Cherrie Pie Picache, father Johnny Revilla, grandfather Jaime Fabregas) and helper Paloma (Janice de Belen), they went off to a trip in the province. On their way there, things got worse which prompted them to stay there for the night. On the other hand, Paloma narrated the story of a famous aswang named Dolfo who was taking revenge because that’s how her wife died. How these two stories connected with each other is how the rest of the movie unfolds.
I, for one, loved how the first part of the movie dealt with simply introducing the characters. It’s a brilliant way of setting the atmosphere of fear and possible familiarity with what’s about to happen. In the end, there was a twist; one that I don’t particularly think worked well since I felt that the writing got so focused on pulling off that twist that everything else just faltered. Yes, the twist was indeed unseen, but it just got lost in the middle of everything else. When you are not engaged yet to the first scenario that was presented to you, it’s hard to suddenly jump to the next one, given that the first one was just a cover up to the second one. I felt that’s the weak part of the movie that could have affected its overall outcome.
With that said, there’s a lot of good potential in the film. The lead stars were engaging and charismatic enough to pull off their roles. Enchong Dee was obviously too committed to his role, and it definitely shows here. Both Enrique Gil and Julia Montes were decent too. The veterans were given moments to shine as well, and I even thought Janice de Belen’s Paloma was a real catch (only to be topped by Janice de Belen in Shake, Rattle, and Roll). Jaime Fabregas, Cherry Pie Picache, and Johnny Revilla were also game enough despite not having the most screen times in the film.
Technical achievements were highly commendable too. The make up, sound, and specifically the visual effects were slick and polished, not to the point that they’re difficult to the eyes. They managed to maintain a visual treat that was consistent from start to end. All in all, I felt that while the twist worked, it’s not enough to leave you breathless since the rest of the story was too weak to pull that one off. But I’d give them props for even trying.
Here are the reviews of the other Metro Manila Film Festival 2012 entries:
One More Try
Shake, Rattle, and Roll 14: The Invasion
Si Agimat, si Enteng, at si Ako
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There has been a long wait for a movie that will incorporate the iconic songs of Eraserheads , and the moment has finally came when it materialized via Frasco Mortiz’s barkada movie The Reunion starring four of the most popular actors now: Enchong Dee, Xian Lim, Enrique Gil, and Kean Cipriano.
The movie talks about how four close friends realized that they’ve been living a life of failures after being the “it boys” in high school when they attended their reunion years after. Pat (Cipriano) is still a wannabe actor who wants to make it a big by auditioning on different reality and talent searches. Boggs (Gil) is a hyper sexual man who was once a basketball varsity jock. Joax (Lim) works as a valet who brings disaster one after the other while Lloyd (Dee) is afraid to move on with his life and is stuck with being a low key photoshop editor. The movie progresses as each one of them tries to correct and improve their own lives.
There’s so much potential with the material that one can’t help but expect at least a decent material when they enter the movie house. It is very much advisable to leave all those expectations once you reach the ticket booth. This movie looks like a pilot of a teen series that will be canceled mid-season. There’s nothing that hasn’t been done before that this film did not incorporate. As if that’s not good enough, there’s also nothing that they did to make it at least innovative.
Now once the film hits its drama stride, things get worse. Whether it’s failed relationships, broken legs, and predictable twists, there’s nothing that can redeem this mess of a film from being a further mess. There were also some unnecessary transitions, sitcom level flashbacks, and an E-heads revival every now and then.
The chemistry among the four leads was passable at times, but overloading us with edited images of them won’t convince us that they’ve been friends forever. The four actors work better when they are tackling their individual storylines rather than being altogether in a scene. Even the female cast leaves no desire to have chemistry at all.
Don’t get me wrong, there were some funny scenes that I can think of, but the overall feeling of this film (together with the material they used) is such a wasted effort. Eraserheads fans and loyalists deserve better than this.
Rating: 1.5 /5