Archive for the ‘eugene domingo’ Tag
I really thought I’d be skipping this year, but better late than never! For the third year in my blog (see here 2012 and 2013 winners) From MMFF entries to Cinemalaya ones, and from Lav Diaz to Andoy Ranay (probably the only time you’ll see them in the same sentence), I’ve finally come up with a list of my own awards choices. This year, barbers, violators, janitors, and coffin makers are on the forefront as we search for tadhana and sparks. After eight months and lots of waiting in between, I present my picks for the best of local cinema in 2014.
KUBOT: THE ASWANG CHRONICLES 2
SHAKE, RATTLE, AND ROLL 15
FENG SHUI 2
KUBOT: THE ASWANG CHRONICLES 2
“BAHALA NA” (Tak Back and You’re Dead)
“KAKAIBABE” (Diary ng Panget)
“SIGLE LANG NANG SIGE” (Hari ng Tondo)
KUBOT: THE ASWANG CHRONICLES 2
SHAKE, RATTLE, AND ROLL 15
KUBOT: THE ASWANG CHRONICLES 2
MULA SA KUNG ANO ANG NOON
KUBOT: THER ASWANG CHRONICLES 2
ESPRIT DE CORPS
NADINE LUSTRE (Diary ng Panget)
KARENINA HANIEL (Mula sa Kung Ano Ang Noon)
COLEEN GARCIA (#Y)
SANDINO MARTIN (Esprit de Corps)
MATT DACLAN (Soap Opera)
RAFA SIGUION-REYNA (Hari ng Tondo)
GIANCARLO ABRAHAN (Dagitab)
ANTOINETTE JADAONE (That Thing Called Tadhana)
SIGRID ANDREA BERNARDO (Lorna)
ANDY BAIS (Violator)
MIGGS CUADERNO (Children’s Show)
MARTIN DEL ROSARIO (Dagitab)
SYLVIA SANCHEZ (The Trial)
MARIA ISABEL LOPEZ (Lorna)
GLADYS REYES (Barber’s Tales)
ALLEN DIZON (Magkakabaung)
ARNOLD REYES (Kasal)
JOHN LLOYD CRUZ (The Trial)
EUGENE DOMINGO (Barber’s Tales)
ANGELICA PANGANIBAN (That Thing Called Tadhana)
SHAMAINE BUENCAMINO (Lorna)
JUN LANA (Barber’s Tales)
ANTOINETTE JADAONE (That Thing Called Tadhana)
LAV DIAZ (Mula sa Kung Ano Ang Noon)
THAT THING CALLED TADHANA
MULA SA KUNG ANO ANG NOON
That was it! As a recap, here are the winners for the 2014 Tit for Tat Local Film Awards:
PICTURE: Barber’s Tales
DIRECTOR: Jun Lana, Barber’s Tales
LEAD ACTOR: Allen Dizon, Magkakabaung
LEAD ACTRESS: Eugene Domingo, Barber’s Tales
SUPPORTING ACTOR: Andy Bais, Violator
SUPPORTING ACTRESS: Sylvia Sanchez, The Trial
SCREENPLAY: Giancarlo Abrahan, Dagitab
MALE BREAKTHROUGH PERFORMANCE: Sandino Martin, Esprit de Corps
FEMALE BREAKTHROUGH PERFORMANCE: Nadine Lustre, Diary ng Panget
ART DIRECTION: Barber’s Tales
CINEMATOGRAPHY: Mula sa Kung Ano Ang Noon
COSTUME DESIGN: Lorna
EDITING: Barber’s Tales
HAIRSTYLING AND MAKE UP: The Gifted
ORIGINAL SCORE: Mariquina
ORIGINAL SONG: Bahala Na (Talk Back and You’re Dead)
VISUAL EFFECTS: Kubot: The Aswang Chronicles 2
FIRST FEATURE: Eduardo Dayao, Violator
See you again next year! What are your favorites from 2014?
If you want, you can follow me on Twitter and let’s talk about it more: @nikowl
The glory days of local Philippine awards night have been over, and right now, there are only two remaining interesting citation giving bodies: the Young Critics Circle and the Manunuri (and my own Titties awards of course lol). That said, the YCC already gave their citation last April while the Manunuri will be handling out their awards tomorrow. And in line with that, I’ll be going on a limb and try to predict who’ll end up with those huge silver trophies tomorrow in all 12 categories.
Ang Kuwento ni Mabuti
Norte Hangganan ng Kasaysayan
On the Job
Riddles of my Homecoming
With how huge Norte was last year, I think it will be an easy win for this Cannes Un Certain regard entry to receive the top prize for tomorrow’s ceremony. Besides, it’s not as if Lav Diaz has been over-rewarded here before (his films only won twice, for 2001’s Batang Westside and 2004’s Ebolusyon ng Isang Pamilyang Pilipino). To add more confidence in its side, it’s also the top nominated film for this year, and you’d notice the trend that it is indeed one of their most loved films this year. That said though, if they want to spread the wealth, I can see the other top nomination receiver, Dukit, getting the most coveted award instead.
Prediction: Norte, Hangganan ng Kasaysayan
Whammy Alcazaren, “Islands”
Adolf Alix Jr.. “Porno”
Mes de Guzman, “Ang Kuwento ni Mabuti”
Lav Diaz, “Norte Hangganan ng Kasaysayan”
Hannah Espia, “Transit”
Peque Gallaga, Lore Reyes, “Sonata”
Jeffrey Jeturian, “Ekstra”
Armando Lao, “Dukit”
Arnel Mardoquio, “Riddles of My Homecoming”
Erik Matti, “On the Job”
Chito Rono, “Badil”
Alvin Yapan, “Mga Anino ng Kahapon”
Choosing in a field of twelve is already a difficult task to do, though I guess I have to remove those previous winners already: Adolf Alix, Mes de Guzman, Lav Diaz, Peque Gallaga, Jeffrey Jeturian, Arnel Mardoquio, Chito Rono, and Alvin Yapan. Then you also have Urian winners Armando Lao and Whammy Alcazaren (despite in other categories). That leaves us with veteran director Erik Matti and Hannah Espia. I have a hunch that Espia has more chance in Editing for Transit (and I’m predicting her there), so I guess I’ll be going with Erik Matti. I mean he’s overdue for an Urian right? Plus, On the Job is a very flashy directorial work that I can see the Manunuri going for. If not him though, I expect a second win for Lav Diaz because really, it’s quite a shame that he has only won here only once yet.
Prediction: Erik Matti, “On the Job”
Alternate: Lav Diaz, “Norte Hangganan ng Kasaysayan”
Mark Gil, “Philippino Story”
Jhong Hilario, “Badil”
Mimi Juareza, “Quick Change”
Sid Lucero, “Norte Hangganan ng Kasaysayan”
Alex Medina, “Babagwa”
Ping Medina, “Transit”
Joel Torre, “On the Job”
Speaking of repeat winners, this surprisingly short line up (remember the 15 nominee group last year?) I think is between two past champs: 2001 champ for Batang Westside Joel Torre and 2010 champ for Muli, Sid Lucero. Lucero has the longer role and one that is very demanding as well that I won’t be surprised if the voters fall in love with such. That said, Torre’s 2013 is some sort of a career best comeback that let him lead not only one, but two brave performances of the last year (the other was for Borgy Torres’ Kabisera). Having that advantage would make me predict him for the win. Outside of those two though, I guess I’d go with Alex Medina as the other feasible winner. The Urian has a history of proclaiming the hot young handsome actor in this category (see Christopher de Leon in 1978, Philip Salvador in 1979, Richard Gomez in 1991, Aga Muhlach in 1995, Jason Abalos in 2007, Sid Lucero in 2010, Paulo Avelino in 2011, and Jericho Rosales last year) and Alex Medina fits that bill. But I’m still going with Joel Torre on this one.
Prediction: Joel Torre, “On the Job”
Alternate: Sid Lucero, “Norte Hangganan ng Kasaysayan”
Nora Aunor, “Ang Kuwento ni Mabuti”
Angeli Bayani, “Norte Hangganan ng Kasaysayan”
Rustica Carpio, “Ano Ang Kulay ng Mga Nakalimutang Pangarap?”
Eugene Domingo, “Instant Mommy”
Cherie Gil, “Sonata”
Agot Isidro, “Mga Anino ng Kahapon”
Teri Malvar, “Ang Huling Chacha ni Anita”
Vilma Santos, “Ekstra”
Lorna Tolentino, “Burgos”
Vivian Velez, “Bendor”
Definitely the most talked about and interesting category of the night (I won’t even be surprised if this one is handed out after Best Picture because it’s the Philippines after all), but this one revives the Nora-Vilma rivalry in a big way. Currently though, Vilma is all time Urian champ here with 8 wins, but Nora is closely behind her with 7 wins. If Vilma wins, she’d inch farther with 9, but if Nora wins, they’d both be tied at 8. Do you think they’ll just give them a tie and call it a day? I think there’s a probable chance of that happening. After all, it will please everyone and the mileage will really be huge. And despite the two being nominated alongside with each other during the 80s and early 90s, this possibility is unprecedented yet. In the event that happens, everyone leaves happy. However, they can also do a cop out and instead reward the eight other women here. I think the biggest possible spoiler is Angeli Bayani whose 2013 is definitely a career best for her. Making waves at almost all film festivals here, an Urian Best Actress is a nice cap off to her 2013 achievement. And that’s who I’m predicting to win here. If not her, then I expect Vilma to receive her ninth win here. Nora just had her spotlight last year, I’m sure they won’t hesitate shifting the momentum to Vilma this year.
Prediction: Angeli Bayani, “Norte Hangganan ng Kasaysayan”
Alternate: Vilma Santos, “Ekstra”
BEST SUPPORTING ACTOR
Art Acuna, “Kabisera”
Archie Alemania, “Norte Hangganan ng Kasaysayan”
Carlo Aquino, “Porno”
John Arcilla, “Metro Manila”
Victor Basa, “Lauriana”
Joey Marquez, “On the Job”
Cesar Montano, “Ang Alamat ni China Doll”
Bor Ocampo, “Dukit”
Junjun Quintana, “A Philippino Story”
Yul Servo, “Porno”
As for the supporting actors, unless Art Acuna pulls off a threepeat (which I doubt happens but I won’t be surprised if he actually does), I think it will be a battle of the two overdue Porno guys (that sounded wrong no? lol). Both Urian-less Yul Servo and Carlo Aquino are the ones I’m confident about in this category. Carlo Aquino is now on his sixth bid for a win while Yul Servo is on his fifth. You can really just toss a coin with this one, but I guess I’m going with the latter – no reasons why.
Prediction: Yul Servo, “Porno”
Alternate: Carlo Aquino, “Porno”
BEST SUPPORTING ACTRESS
Angel Aquino, “Porno”
Angel Aquino, “Ang Huling Chacha ni Anita”
Jasmine Curtis, “Transit”
Ruby Ruiz, “Ekstra”
Michelle Smith, “Angustia”
Raquel Villavicencio, “Dukit”
Call it the “Johnny Delgado Rule”. When it comes to Urian, compete against yourself in one category and you’d end up winning the trophy. It was in 1980 when Johnny Delgado competed against himself for for Brutal and Kakabakaba Ka Ba? and he ended up with a Supporting Actor win for the latter. Then in 1986, Jaclyn Jose was nominated twice for Best Actress: Private Show and Takaw Tukso, also winning for the latter. Fast forward to last year in this same category where Alessandra de Rossi was nominated for both Mater Dolorosa and Santa Nina, and she finally clinched her first Urian for the former. As a matter of fact, this statistic is so strong that it only faltered once (Nora Aunor who was nominated for both Bulaklak sa City Jail and ‘Merika only to lose to a threepeat Vilma Santos win for Sister Stella L.) Why am I writing about this though? It’s because I think this rule will apply again to twice nominated Angel Aquino. I had her both as a prediction and alternate and I’ll just wait which one sticks. Like de Rossi last year, Aquino hasn’t won an Urian yet, and I’m choosing Porno by a hair since they seem to like the overall film better and that it’s her flashier and more “physically demanding” work.
Prediction: Angel Aquino, “Porno”
Alternate: Angel Aquino, “Ang Huling Chacha ni Anita”
Now as for the rest of the categories…
Prediction: Lav Diaz, Rody Vera, “Norte Hangganan ng Kasaysayan”
Alternate: Michicko Yamamoto, Erik Matti, “On the Job“
Prediction: Adolf Alix, “Porno”
Alternate: Richard Somes, “On the Job”
Prediction: Rene Manda, “Norte Hangganan ng Kasaysayan”
Alternate: Albert Banzon, “Porno”
Prediction: Gauss Obenza, “Riddles of my Homecoming”
Alternate: Perry Dizon, “Norte Hangganan ng Kasaysayan”
Prediction: Benjamin Tolentino, Hannah Espia, “Transit”
Alternate: Jay Halili, “On the Job”
Prediction: Armando Lao, “Dukit”
Alternate: Arnel Barbarona, “Riddles of My Homecoming”
Prediction: Jazz in Love (Baby Ruth Villarama)
Alternate: Nanay Mameng (Adjani Arumpac)
Prediction: Onang (JE Tiglao)
Alternate: May Dinadala (Giancarlo Abrahan)
Let’s wait how these predictions will turn out tomorrow when the Manunuri holds the 37th Gawad Urian Awards to be hosted by Piolo Pascual and Bianca Gonzalez. The special will also be shown on Cinema One multiple times this month.
You can also follow me on Twitter: @nikowl
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.
You can also follow me on Twitter: @nikowl
Hi! here’s the second part of my Metro Manila Film Festival reviews. The first part which you can read here includes Marlon Rivera’s My Little Bossings, Frasco Mortiz’ Pagpag Siyam na Buhay, Wenn Deramas’ Girl Boy Bakla Tomboy, and Chito Rono’s Boy Golden. Here’s the other four films of this year’s batch:
KIMMY DORA: ANG KIYEMENG PREQUEL
Director: Chris Martinez
Cast: Eugene Domingo (x2), Sam Milby, Ariel Ureta, Angel Aquino, Joel Torre
A prequel of this prominent movie twins, this shows how newly grad Kimmy GoDongHae and then theater actress Dora GoDngHae trained under their father’s wing only to later save the company itself.
The Kimmy Dora film experiments this time, as it’s under the guidance of Chris Martinez since original director Joyce Bernal was unavailable due to a commitment to another MMFF entry. On one hand, it’s an interesting move to inject something fresh about the series after that so-so second film. On another, it gives some sort of a stale feeling to the franchise already. Sure it’s nice to see a throwback references to the first movie, and all the cameos were cute. This (at least) tried to embrace a story, but while they give a clear explanation of the turn out of the events, this futuristic approach seems so left out and ahead of its time from the first two films. I was pleasantly surprised seeing Joel Torre and Angel Aquino for the nth time here (I think their pairing is one of my favorite 2013 discoveries), though they weren’t given much to do. Speaking of nothing much to do, Sam Milby was pretty much in a thankless role as well, though with all the amount of kicks and punches he gave here, he and KC Concepcion should be given an action project soon. The roles of Kimmy and Dora will definitely go down in history as Eugene Domingo’s career defining role, and I think she’s really great in it. It’s just that this time she has more inferior work to do. I like the intricate production design and costume design of the film; they’re really lavish, but then again it always brings me back to “Wait this happened before the first movie right?” Don’t get me wrong, this one still provided the laughs , and Eugene Domingo is still a hoot (I think I can watch her doing nothing for hours), but at times you question of this is still necessary. I think I like this better than that horror sequel.
PEDRO CALUNGSOD: BATANG MARTIR
Director: Francis Villacorta
Cast: Rocco Nacino, Christian Vasquez, Ryan Eigenmann, Jestoni Alarcon, Victor Basa
Biopic on Pedro Calungsod, the second Filipino canonised by the Catholic Church. The film shows how he assisted Fr. Diego San Vitores in Marianas Islands in introducing Christianity there.
Oh boy this is as straightforward as it gets. We follow their journey back from the Jesuit house in Cavite until they reach the Marianas Islands. From then, we see Rocco Nacino’s bad wig, then Father Vitores’ leading an example of a selfless act, followed by some Chamorro natives killing one of the volunteers, then Pedro getting hallucinations seeing his father. Lather rinse repeat for about five times, and there you have your movie. This is by no means an attack on Saint Pedro Calungsod or for his contributions, but the film is so repetitive that I won’t take it against you if you zone off by the half of the film. You can see Rocco Nacino’s dedication to the role, but not even him can save it. Nor does Christian Vasquez’ one note written role. Not the fault of both actors as they were given stagnant things to do. I’m sure the intent was to show how selfless and giving Pedro was, but then again, it does not necessarily translate that it was what the movie achieved. It’s either you feel bad for yourself that you’re not as nice as him or you appreciate Father Vitores more since he did the bigger sacrifices in the movie. And it’s never a good thing if you leave the movie house thinking that the lead character, coincidentally the title of the movie, played second fiddle to the supporting character.
Director: Eliza Cornejo
Cast: Sef Cadayona, Yassi Pressman, Mayton Eugenio, Alma Concepcion
Inspired from the music of the great late Francis Magalona, the movie shows the romance that transpired between rich girl Elsa and poor boy Lando in the midst of their hip hop dance crew contest rehearsals.
This concept of a hiphop dance film probably looked good on paper, but everything about this movie isn’t. Intent can only get you so far. I feel bad for everyone involved in it because I don’t think this is what they intend to produce, but this film is just not ready to be seen yet. Okay so where do we begin? Let’s start with the story where all the possible drama cliches are inserted in it. A love story between a rich girl and poor boy? Check. A history check that the poor boy was actually rich before but fate led them to their current state? Check. The rich girl is under the supervision of her strict aunt who does everything to contradict her niece? Check. And there are lots more as the movie progresses. Sadly, the film can’t depend on its technical accomplishments as the transition of the scenes just fades in and out. The dance numbers weren’t even shown in whole due to bad camera angles which only usually shows the upper part of the body. And the worst offender is the sound. There are literally scenes with no sound while there are some scenes where the dubbing screwed it all as you hear both the dubbed and the actual lines of the actors. It’s really painful to watch it on a technical standpoint and the less said about it, the better. The acting isn’t even commendable as well since they were all acting on a different platform. If not amateurish (which most of them were), you have Alma Concepcion whose sheer dedication should be commended, and while Sef Cadayona and Yassi Pressman share some sort of chemistry, it’s not even enough to save even a tenth of the movie. The discography of Francis Magalona is the only bright spot in this otherwise mess of a film, but I feel more sorry because it seems that it was rushed just to make it in the festival. Continuous polishing could have fixed at least the technical issues, and I think they’d even get a longer release period had it not been a part of the MMFF.
Director: Joyce Bernal
Cast: Robin Padilla, Mylene Dizon, Michael de Mesa, Pen Medina, Bela Padilla
Loosely based on the life of Panfilo Lacson, then prominent senator Gabriel Alcaraz leaves the country and turns to be a fugitive when he was accused as a part of a big political pandemonium.
And to cap it off is Joyce Bernal’s entry in this year’s film fest. It’s the reason why she had to drop off Kimmy Dora ang Kiyemeng Prequel, and it’s actually a good trade. Time and again, the movie has to remind us all that it is a fictional one despite being loosely based on a politician, but I don’t get why the movie keeps on giving us winks every now and then such as a female president, some shout outs to current national issues etc only to remind us again that yes, it’s not a close adaptation. But other than that, it’s a pretty solid and well done effort. Production of the film is top notch here. Cinematography, sound, and stunts all factored in to come up with a really thrilling output. Instead of using some old fashioned tricks when it comes to pulling action scenes, Bernal decides to give it a refreshed spin, and it shows. I also like Ketchup Eusebio’s character’s throwback to the infamous Michael Fajatin viral reporting video in one of his earlier scenes. I guess if there’s another qualm about it is that of the uneven turn of events especially with the countdown clock showing every now and then. It was fairly quick in the earlier parts only to get longer as the movie enters its second half. We’re also treated to some commendable acting here especially that of Robin Padilla’s. His stature as an action star figure in the country will never get old, and I like that he showed restraint by not going all on his usual mannerisms here. Both Michael de Mesa and Pen Medina share a chemistry with Padilla that worked well in the film whether as a sidekick or an arch rival. Bela Padilla was also a surprise here, though I can’t remember if this is the first I’ve sen of her in the movies. She exudes a natural charismatic vibe that fits in the movie. I guess in the end, the film’s biggest achievement is that it proved we are still capable of coming up with solid popcorn action thrillers, probably in the veins of Taken or Prisoners, without always going back to the 60s or 70.
There you have it! What are your favorites from this year’s batch? Mine’s Boy Golden and 10,000 Hours by a mile. This year, the action flicks delivered and they both deserve to be seen more.
You can follow me on Twitter: @nikowl
Hi everyone! The 9th Cinemalaya Film Festival is still on going so in case you still want to watch this year’s entries, you can do yourself a favor by going to CCP, Greenbelt 3, Trinoma, or Alabang Town Center. So far, there’s some really good stuff from what I have seen. Anyway, I will now share with you the second batch of my reviews. Yesterday, I already tackled Gil Portes’ Liars, Mikhail Red’s Rekorder, Carlo Obispo’s Purok 7, and Jeffrey Jeturian’s Ekstra which you can access here. Now I’ll add three more reviews in the list:
Cast: Angel Aquino, Carlo Aquino, Yul Servo, Rosanna Roces
Competition: Director’s Showcase
An assassin, a porn dubber, and a transgender. Three souls, on explicit illusion: to find the ultimate joy in their lives. A safe haven, where passion and love means enlightenment and the soul is the ultimate arbiter of the truth.
Coming off from Kalayaan from last year’s Cinemalaya, it’s somewhat of a hard task to see what Porno will bring to the table. The trailer doesn’t give a clue on what this is about, though the title does give one. There’s actually a lot to like about Porno. For one, Alix’s style has continues to evolve over the years, and this one is yet a new addition on the list. Then you also have the riveting performances of the cast with everyone delivering an array of performances from Angel Aquino’s physically transformed role, up to Carlo Aquino’s bold one and the sensual chemistry of Yul Servo and Rosanna Roces. Alix’s production design is also a stand out here, particularly the one in the earlier motel scenes. The heart shaped mirror with the shining curtains and the blue lights set the mood in the beginning of the film. I like how it’s contemplative that the porn in the film goes far deeper than the erotica of the human body, especially in Angel Aquino’s storyline, but this is probably a case of me acknowledging the film’s merits than loving it.
Director: Leo Abaya
Cast: Eugene Domingo, Yuki Matsuzaki, Luis Alandy, Rico J. Puno
Competition: New Breed
In order to solve a personal predicament, Bechayda (Eugene Domingo), a wardrobe assistant in TV commercials pretends to be pregnant.
Instant Mommy has a really good story in it. Bechayda’s predicament when she pretended to be pregnant was a highlight in this film. However, in order to get to the good story, you’d have to go through weaker ones first. That’s what pulls the film from achieving what it actually intends to do. It suffers from a lot of tonal inconsistencies and you’d get confused with where they want to bring the story. While there are certainly humorous scenes in the film (with the birth giving scene a top highlight), the uneven writing makes it difficult to identify where the film wants to stick. At times, it’s a glimpse of what happens in advertising agency, then it shifts to Bechay’s problem, then it shifts to loyalty issues between her and her Japanese boyfriend. I’m also probably nitpicking here, but there are very visible goofs within the film (with the taxi direction standing out a lot). If anything, watch out for Eugene Domingo who gives a very humanizing performance here that perfectly balances comedy and drama, but even she can’t save this one.
Director: Alvin Yapan
Cast: Paulo Avelino, Mara Lopez, Ramona Raneses, Roy Dominguiano
Competition: New Breed
Mando (Paulo Avelino), a Bikolano devotee of Ina, Virgie ng Penafrancia, injures himself in the middle of the forest. A mysterious woman, Saleng (Mara Lopez), found and nursed him back to death. They soon fell in love. But when Mando invites her to come with her to the plains, Saleng refuses. She holds a secret that will devastate Mando’s love for her.
If there’s one word that I’d describe the film, it’s hypnotizing. I like how straight forward the film is: we just follow the film and watch Mando at the beginning with what he’s doing, until he meets Saleng and how he was smitten by her, and what the implications of this to both him and her were. The movie rests solely on the shoulders of Paulo Avelino and Mara Lopez, but they sure did one hell of a job in doing so. So far, Avelino is 2/2 when it comes to his performances from Yapan’s direction, and I’m looking forward to more collaborations. Mara Lopez is an inspired casting choice as she was perfectly suited for Saleng’s character. The movie also boasts of really impressive technical achievements with the captivating cinematography and visual effects. I always have a penchant for directors who include big crowd scenes (such as the Nazareno feast in Brillante Mendoza’s Tirador), and Alvin Yapan does the same feat here in the near end with the Ina, Virgie ng Penafrancia. Supported by the haunting musical score of Teresa Barrozo, the juxtaposition of the feast and the final scene is one that speaks volumes about the faith and acceptance we have of a certain thing – may it be love or commitment or just one’s mere existence. It’s definitely one of the best so far from this year’s batch.
There you have it! I am to release the third batch on Friday. And as always, you can follow me on Twitter: @nikowl
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.