Last week, the Metro Manila Development Authority headed by Francis Tolentino has announced the entries for this year’s Metro Manila Film Festival. And as expected, MMFF staples such as Vice Ganda, Robin Padilla, Vic Sotto, Kris Aquino, and Aiai delas Alas all have entries this year.
Once the festival home of films such as Himala, Burlesk Queen, Karnal, Itanong Mo Sa Buwan, Magic Temple, and Dekada ’70, there has been a paradigm shift in terms of the criteria on how films are chosen the past decade. Commercial appeal has been the primary agenda now and box office as a main factor on which entries will make it.
And while this has elicited a lot of criticisms, particularly the idea of prioritizing box office over “quality” films, the MMFF has still treated us with some notable films quality films over the years. This coming year, entries from Gil Portes, Antoinette Jadaone, Jose Javier Reyes, and Dan Villegas have been chosen while those of Erik Matti’s and Jeffrey Jeturian were in the waitlist categories.
Before I reveal my picks of the ten best MMFF films of the last ten years (New Wave section excluded), here are five that came close from being included:
“Ulam” from Shake, Rattle, and Roll XV (director: Jerrold Tarog, 2014) – Ulam made good use of every minute we’ve seen on screen to show the horrors and tension of a marital relationship.
“Katas ng Saudi” (director: Jose Javier Reyes, 2007) – Probably the most memorable OFW movies in local cinema depict those of a mother leaving their children behind. Here’s from a father’s perspective of coming home and realizing it isn’t what he expected.
“Pagpag” (director: Frasco Mortiz, 2013) – It’s horror by the numbers, but it tackles such a Filipino ritual one can’t help but to give in to its scares.
“Manila Kingpin: The Asiong Salonga Story” (director: Daryl dela Cruz, 2011) – It got its reputation as the one that started the action comeback, but its behind the scenes director mishap got in the way for the film to move from being good to being great.
“One More Try” (director: Ruel Bayani, 2012) – Rip-off or not, the film brags of solid performances from its four leads, particularly that of its lead actress Angel Locsin.
And as for the top 10:
10. “Parola” from Shake, Rattle, and Roll 13 (director: Jerrold Tarog, 2011) – Parola is the perfect throwback to the early heydays of the Shake, Rattle, and Roll franchise, only with better production and technical achievements. Its scares mixes that of the old and the new, giving the type of scares that the audience will definitely bite.
09. “English Only Please” (director: Dan Villegas, 2014) – It’s easy to dismiss English Only Please from the get go, it’s not from the manufactured Star Cinema factory of kilig, not does it star a tandem that has a solid following. But it has proven that it doesn’t need any of those. It gives the same kilig and “feels” without the need to fall trap to the usual rom-com clichés.
08. “Blue Moon” (director: Joel Lamangan, 2005) – During the last few years when Regal Films was still obsessed with this big star-studded ensembles in family dramas comes Lamangan directing a Palanca-winning screenplay about three generation of family members with the patriarch searching for his one true love. The film is mostly fluff hiding in between the big war backdrop, but its attempt is earnest one can’t help but fall in love with it.
07. “Lihim ng San Joaquin” (director: Richard Somes, 2005) – When Shake, Rattle, and Roll made a comeback in the mid-Aughts, a lot expected to feel the throwback of the early 90s horror franchise. Instead, we got that ridiculous “Poso” episode and an uneven “Aquarium” one. Then comes “Lihim ng San Joaquin”, about a young , newlywed couple transferring to a rural town. This one will keep you on the edge of your seat with its silence.
06. “Kubot: The Aswang Chronicles” (director: Erik Matti, 2014) – Sure, the MMFF has been a commercial venue for the whole family to enjoy, but with Kubot, the follow up to 2012’s Tiktik, Erik Matti proved that a sequel isn’t an alibi to come up with a lackluster addition to a franchise (which most MMFF franchises are guilty of doing). While it doesn’t necessarily have to beat its predecessor, it doesn’t have to be a downgrade as well.
05. “Boy Golden: Shoot to Kill” (director: Chito Rono, 2013) – The best thing about Boy Golden is that it doesn’t want to prove anything. It doesn’t take itself seriously and just wants to have fun. And boy was it a fun movie-watching experience mixing camp and action we haven’t seen in a long time.
04. “Punerarya” from Shake, Rattle and Roll 12 (director: Jerrold Tarog, 2010) – Hands down, this is one of the best episodes ever in the whole SRR franchise. Jerrold Tarog’s first output stars Carla Abellana as a private tutor to two kids from the neighbor’s funeral parlor. And as secrets were slowly revealed, the tension just escalates further. This one doesn’t get old and is a must watch.
03. “RPG Metanoia” (director: Luis Suarez, 2010) – Not for lack of trying, the MMFF has welcomed local animation in the festival. Twice, even (the first one was 2008’s “Dayo sa Mundo ng Elemento”). RPG can brag about being the first Pinoy 3D animated film, but more than that achievement, its dedication in tackling a theme highlighting the rich Philippine culture is admirable.
02. “Kasal, Kasali, Kasalo” (director: Jose Javier Reyes, 2006) – On the outside, Kasal’s biggest achievement is how it managed to be a crowd-pleasing film, yet one that critics will positively respond as well. Digging deeper, it’s really not difficult to fall in love with this film. It touches the topic of a traditional Pinoy family whose value for marriage and relationship is as valuable to the whole family, maybe even more so, than to the actual couple. Obviously, the great ensemble elevated the already strong material further.
01. “Thy Womb” (director: Brillante Mendoza, 2012) – It’s silly when you think about it, that the best film of the festival of the last decade, was just a replacement choice of that year. Shot in the farthest village of Tawi-Tawi, “Thy Womb” wasn’t just the story of a midwife attempt to provide her husband a child, but it also opened us to a culture we aren’t particularly familiar with. I believe this is one of the films that will go down as the best in the history of the festival. Plus, it gave us Nora Aunor’s comeback performance.
So as much as we rant and complain about the MMFF every year, chances are there are one or two entries that will really be worth of our money. This year has the potential to deliver as well.
You can tweet me if you want to talk about this list: @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.
In the last three decades, Christmas time in the Philippines is not complete without the celebration of the Metro Manila Film Festival. The history of this festival might have been very shaky at best, but this one produced some of the best films our country ever produced ranging from Ishmael Bernal’s Himala and Eddie Romero’s Ganito Kami Noon Paano Kayo Ngayon. Other notable films include Marilou Diaz Abaya’s Jose Rizal, Jose Javier Reyes’s May Minamahal, and last year’s entry Brillante Mendoza’s Thy Womb. With that said, the last decade of the festival has focused mostly on commercially viable films with the same actors, producers, and even stories to watch every single year. Now on it’s 39th year, here’s the first half of my reviews for the MMFF entries of this year’s batch.
MY LITTLE BOSSINGS Director: Marlon Rivera
Cast: Vic Sotto, Kris Aquino, Ryzza Mae Dizon, Bimby Aquino Yap, Aiza Seguerra
For his eleventh consecutive year in the film fest, Vic Sotto takes off his superhero costume and lays down all the swords and the magic as he now portrays Torky, who lives alone now after his wife died four months into their marriage. Working as a bookeeping accountant to a wealthy single mother Barbara (Kris Aquino), all he wanted was to travel around the world and leave where he’s at. Tides change when Barbara’s life was put into danger as her stepsister puts the blame on her on a pyramid scam and she relied on Torky to take care of her son, spoiled kid Justin (Bimby Aquino Yap).
The film is actually a feel good one in terms of emphasizing the role of the family and while it did not offer anything new, it was engaging and at times, really funny. There were some inspired approaches used in the film such as that of the Ili Ili montage in the first half hour of the movie involving mother Barbara and son Justin. I guess one of the movie’s most valuable asset is the chemistry: Aiza Seguerra and Vic Sotto has one, Kris Aquino and Vic Sotto has one, Ryzza Mae Dizon and Bimby Aquino Yap has one. Vic Sotto’s schtick (and his looks) really never gets old. He might have been doing the same act for years now both in TV and film, but he has that charisma that appeals to the movie goers. I like it more when Kris Aquino pokes fun at herself (confession: I love her in Sisterakas last year), so when she keeps doing all these drama scenes here opposite a very campy Jaclyn Jose shows her awkward kunot noo theatrics. Aiza Seguerra’s doing more mother roles now no? I think it actually suits her as she gives an affecting mother figure here. But then again, the stars of the show are the kids. Ryzza Mae Dizon is really a natural. She’s such a blast to watch as she’s not conscious in front of the cameras. On the other hand, Bimby Aquino Yap has been mostly relegated to scenes where he does the “reaction face” (think of the person reacting after the punchline was thrown in gag shows), but the kid has the charm that’s lovely to watch. He does not look awkward and it seems like he’s enjoying this acting stint. If anything, I think this film perfectly encapsulates the usual feel good family movie of the earlier MMFF days, and it’s this season that fits the vibe of the film the most.
PAGPAG Director: Frasco Mortiz
Cast: Daniel Padilla, Kathryn Bernardo, Paulo Avelino, Shaina Magdayao, Clarence Delgado
The film tackles the different superstitious beliefs that one should not do after visiting a wake, with Death knocking at your doors if you fail to do so. When a group of five teens accidentally visits a wake that a funeral wake service group prepared for, things start to get eerie for both camps.
Another mainstay genre at the MMFF is that of the horror one. I don’t know why people love to scare themselves on Christmas day, though “scaring” them is quite a task since most of the horror films failed to deliver. Pagpag is an interesting one. When the film starts to be get predictable, the writers still inject something twisted or new in order to balance it. And for the most part, it actually works. The superstition niche is one that never gets old, and we’re given a rich serving of that in the movie. The Final Destination deaths were actually hit or miss with some really interesting deaths and some senseless lazy ones. The movie also opens with an interesting short story explaining the concept of pagpag. If anything, I guess the final act went on too long and it just.doesn’t.die.down. And of course in the middle of scaring us all, there’s the obligatory kilig scenes, since this stars the top love team for Christ’s sake. But that’s countered with the great visuals offered by the movie. The editing, production design, and cinematography were really great. I love the colors palette used, and the crisp editing was put into good use in the death scenes. Overall, I felt this one is a very competent film style wise, and whether you’ll actually be scared is up to you. But it’s one of the better ones did the past few years.
GIRL BOY BAKLA TOMBOY Director: Wenn Deramas
Cast: Vice Ganda (x4), Maricel Soriano, Joey Marquez, Ruffa Gutierrez, Kiray Celis
Quadruplets representing each possible gender preference reunite, and it’s not as warm and loving as one actually thinks it is.
Disclaimer: I actually enjoy most Vice Ganda movies. Maybe I share the same humor with him, but when he starts to do his schtick, I really end up cracking. I laugh with him while watching Showtime and Gandang Gabi Vice, and I laugh a lot in his past films. However, this one is really tiring and overkill. I give him props though for playing all these four characters, as I find it a really daunting task, but it’s just too much for me. He made the mannerisms work somehow by sticking one quality per character, but I did not buy the boy and girl part at all. There’s a reason I guess why bakla is the narrator and center of the film, as it is his most natural. His tomboy used this lower voice which he held on until the end. Of course, there are still some hilarious parts. Bakla’s scene in the near end is one for the books and it’s really funny, but everything else feels so dated and tired. And I won’t even begin with the black face character of Kiray Celis and how many endless jokes were done about it (though I guess it’s sadder that the audience bought it a lot and we’re hilariously dying at it). Meh. I’m indifferent on this one, but I expect it to be this batch’s top grosser.
BOY GOLDEN Director: Chito Rono
Cast: ER Ejercito, KC Concepcion, Eddie Garcia, John Estrada, Gloria Sevilla
Based on the Arturo Porcuna story, ER Ejercito plays the title role of Boy Golden as he partners with dancer Marla Dee (KC Concepcion) in taking revenge against the biggest mafia in town.
Color me surprised, but boy is this my favorite so far. I’m surprised because I don’t even have any idea what the film will be about, but this is an enjoyable as one can get. It has camp!!! I mean how can you not love it when there’s a white face character named Boy Putla. There’s Boy Putla, there’s an endless Elvis references, there’s Gloria Sevilla pulling her underarm hair while talking to Roi Vinzons. There’s even a Valentina motel with an unguarded big yellow python crawling on the tree near its entrance. I guess the lack of hype over this one is what wins me over. Manila Kingpin was good for the most part, and I like the black and white approach used. I’m simply not here for overdone El Presidente. But I think this one manages camp and action smoothly that it’s an enjoyable watch. I enjoyed the twists and turns in the story, and the fight scenes were for the most part, well done. As always though, my main problem with an ER Ejercito film is ER Ejercito himself. He’s really just awkward and it was painful to see him jumping off the roofs with his bulging belly in tow. But then he gets saved by the wonderful ensemble as KC Concepcion enjoying her role as Marla Dee, Eddie Garcia in an Eddie Garcia performance, and John Estrada, Jhong Hilario, Baron Geisler, and Tonton Gutierrez delivering as well. I guess the person most responsible here is director Chito Rono. He made this thing more interesting with the shots, and the production design and costumes here are top notch. He could have trimmed 10-15 minutes here as it’s quite long, but I’m living for the camp of this film. Whether it’s intentional or not, I don’t know, but I enjoyed it a lot.
There you have it. What where your favorites this year? You can click here to see the second batch of MMFF reviews which includes Chris Martinez’ Kimmy Dora ang Kiyemeng Prequel, Francis Villacorta’s Pedro Calungsod, Eliza Cornejo’s Kaleidoscope World, and Joyce Bernal’s 10,000 Hours. Happy post Christmas day everyone, and happy MMFF season! 🙂
Welcome to the latter part of the year! It’s July now, and while it’s more known as the official start of the rainy season (here in the Philippines at least), it is compensated by the country’s favorite poll. July is the official “100 Sexiest Women” month by FHM, as we await on who will be unveiled as the country’s finest, as voted by the fans.
This poll which started way back in 2000 has definitely gone a long way already. In its first few years, it’s filled with Hollywood actresses dominating the list, as compared to now where they are struggling to even make the list. Among those who made the list are Oscar winners Halle Berry (topping in 2003), Nicole Kidman, Charlize Theron, Gwyneth Paltrow, Reese Witherspoon, Kate Winslet, Penelope Cruz, Hilary Swank, and Natalie Portman.
News personalities like Rhea Santos, Vicky Morales, Cheri Mercado, and Pia Guanio also had their share of moments in this annual list, and even the likes of Kris Aquino (in 2001), Sharon Cuneta (in 2002), and Ruffa Gutierrez (both in 2000 and 2002) have been included here. Singers Britney Spears, Christina Aguilera, Mandy Moore, Natalie Imbruglia and Andrea Corr have been mainstays during the early years as well.
With the release of the 14th issue this year, 1400 spots have been gone to 300+ women who have, in one way or another, made mark as part of FHM Philippines history. Let’s first give a spotlight to sixteen impressive mainstays who frequent this list for a long time already.
THE TEN TIMER CLUB
Six women have been in the list for a decade already. Starstruck first batch alumnae Katrina Halili, Jennylyn Mercado, and Cristine Reyes all have stayed in the chart since their debut way back in 2004. Between the three of them, they all share three #1 titles, 20 Top 10 spots, and eight covers. Pretty impressive eh? More impressive than that though are hosts Toni Gonzaga and Iya Villania who maintained in the charts as well in the same time frame as the three previous women with no FHM covers to boot. Among the prominent female group Viva Hot Babes, it is the petite Maui Taylor who had the most number of appearances with ten starting from 2002 up until this year, only skipping 2008 and 2012.
THE MIGHTY ELEVEN
Next up are five women with something in common: all have been in the FHM Sexiest Women poll for eleven years now. Let’s start with the only FHM cover girl in the bunch, Angel Locsin. With four covers under her belt, Angel has already made her own FHM record. She’s the only ever in the history of the poll who have been in the Top 10 ever since her debut in 2004 (when she debuted at #10) up until her eleventh year this 2013 where in she was third placer. Really impressive eh? Alongside her though in this group are ABS-CBN stars Bea Alonzo, KC Concepcion, and Kristine Hermosa (none of them who graced the covers… yet) and Asia’s Songbird Regine Velasquez who has four Top 10 placements (with her #8 spot in 2010 as her most recent).
A DOZEN VISITS
Now next in line are those who have been in the charts for a dozen times already. What’s more impressive about these four women is that they all achieved this feat in simultaneous years. Let’s divide them in pairs and start with two past FHM cover girls. Maureen Larrazabal is one of those who can proudly say that she’s one of the original FHM Sexiest Women gals, as she started her stint in 2000. Two covers and 11 more appearances, and she ended her reign in 2011. On the other hand, original FHM darling Diana Zubiri is still going strong in the polls with her appearance #12 in this year’s list. She might not have coveted the top spot, but she was 2003’s Philippines’ Finest just behind global champ Halle Berry. As for the other two women in the list, let’s just say that they definitely belong to FHM’s best frustrations, as both didn’t give the magazine a chance to headline them, yet that didn’t stop both Anne Curtis and Heart Evangelista to slay these charts since their debut in 2002 up until now. With fifteen women down, do you have any idea on who tops our list?
THE ULTIMATE CHAMP
And the longest staying woman in this list is none other than Rufa Mae Quinto. Peachy has made the list every single time since its beginning way back in 2000. With three covers under her belt, what’s shocking about this is that she wasn’t able to reach the Top 10 in all fourteen years, as her closest was #11 back in 2004. Since she showed no signs of stopping, maybe she can finally enter the coveted group in the succeeding years.
Now I know you want to know who made this year’s list, so as per tradition, here’s the top 20 in pictures (and in code names):
As for the rest of the poll, I’d let you find out that by yourself by grabbing a copy of the FHM July issue with Alodia Gosiengfiao on the magazine cover and Roxee B (that’s Roxanne Barcelo for you, folks) on the Top 100 cover. Just to give you a clue, you’ll be seeing Jessy Mendiola, Andi Eigenmann, and Jodi Sta. Maria in the list but not the names of Sarah Geronimo, Iwa Moto, and Jasmine Curtis Smith in it.
Now celebrating its 20th year as the country’s premiere film outfit, Star Cinema has been delivering a lot of the most memorable movies during the past two decades. The latter half of its 20-year production, though, mostly has been more on coming up with box office hits, as it now fills up all ten of the ten highest grossing films in the country. With that said, here are five reminders that every now and then, Star Cinema is still able to deliver quality potential films instead of the usual moneymaking ventures.
05. DREAMBOY (2005)
DIRECTOR: Gilber Perez CAST: Piolo Pascual, Bea Alonzo PLOT: Hopeless romatic Cyd (Bea Alonzo) met three versions of the same man (Piolo Pascual), until she was in for a rude awakening. WHY IS IT UNDERRATED: It was 2005, and television is slowly taking over the cinema as the basis of celebrity popularity. With artista search happening left and right, the people weren’t particularly interested with the approach that the film did. It was brave for Star Cinema to pull off something like this during the peak of cutesy loveteams (and Piolo-Bea is an experiment pairing to say the least), and while it was not seen as total success during its time, I appreciate the risk they did with it.
04. MY AMNESIA GIRL (2010)
DIRECTOR: Cathy Garcia-Molina CAST: John Lloyd Cruz, Toni Gonzaga PLOT: When Apollo (John Lloyd Cruz) thinks that the answer to his great love is ex-girlfriend Irene (Toni Gonzaga), he finds her back only to find out she is now suffering from amnesia (or so we think). WHY IS IT UNDERRATED: Sure it was the biggest hit of 2010, and John Lloyd and Toni were robbed of Box Office King and Queen titles during that year, but let’s take some few steps back and reminisce that during the release of the first trailer, everyone already dismissed it as a 50 First Dates rip-off. And boy they were wrong. While box office receipts were always mentioned, the out of the box approach of the film (especially during the first 40 minutes of the film) is a fresh take on Star Cinema love story standards.
03. FOREVER AND A DAY (2011)
DIRECTOR: Cathy Garcia-Molina CAST: Sam Milby, KC Concepcion PLOT: Strangers Eugene (Sam Milby) and Raffy (KC Concepcion) met in the lovely place of Bukidnon for different reasons. He wants a break from work; she wants to prove something to herself. Once they start to get to know each other, true secrets were revealed about Raffy. WHY IS IT UNDERRATED: By this time, Cathy Garcia Molina is already the perennial box office director that she is now, and everyone expects that she will deliver the same combination that makes all of her previous hits box office success. While this is the mere exception from the group, it’s an exception that gives her room to try other approach when handling stories, and one that’s rare to see in mainstream filmmaking.
02. NASAAN KA MAN (2005)
DIRECTOR: Cholo Laurel CAST: Claudine Barretto, Jericho Rosales, Dietehr Ocampo PLOT: Set in the haunted and mystical city of Baguio, it tells the story of three adopted children (Rosales, Barretto, and Ocampo) who grew up under two spinster sisters (Hilda Koronel, Gloria Diaz). Life has been pretty good to all of them until Pandora’s box of their family secrets were unveiled. WHY IS IT UNDERRATED: UP graduate Cholo Laurel’s first foray into mainstream directing seemed to be a double edged sword. On one hand, this was a great debut for someone of his caliber. To be given this chance was definitely overwhelming for him. After all, its powerful storytelling (written by Ricky Lee himself), together with his direction, is a combination that made this one of the best films that year. It sucks that this did not perform too much commercially, as it was a good risk that should have paid off.
01. RPG METANOIA (2010)
DIRECTOR: Luis Suarez CAST: Zaijan Jaranilla, Vhong Navarro, Aga Muhlach, Eugene Domingo PLOT: When a virus from online games started to affect society, it will be up to this generation of computer game-loving kids to save the day. WHY IS IT UNDERRATED: Animated film fans in the country are definitely many, and this is actually more than qualified to be the first local animated 3D film we have ever produced. That alone would have made this an “event” not to miss. Add the fact that it was a part of the annual Metro Manila Film Festival, and Star Cinema behind it, and I’m still not sure why it just didn’t reach its audience. Their loss, I guess, since it’s one of 2010’s best films.
Now entering their 20th year of producing and distributing local films, I hope that Star Cinema will still give focus to quality filmmaking even only every now and then. They used to do this more often, and it’s quite saddening how it has fallen way way below now. But with Erik Matti’s On the Job as one of their features this year, there’s still hope I guess.
I’ve always been a fan of Cathy Garcia Molina’s work and that’s enough initiative for me to push my ass up and watch this film.
If you saw the trailers for this film, I think you already know what will happen, and you’ll probably think of surprising twists that’ll probably make this movie somewhat interesting , but I’ll save you the agony of thinking and say it already, it is as predictable as it gets. Nothing that will make your jaw drop.
The biggest surprise you’ll probably have is that despite everything (all the predictabiliy et al.), the movie is surprisingly good. I mean not Oscar level good, but for what it’s worth, it stayed beyond what the material asked, and did not attempt to be something extraordinary. The best part? It worked.
Much credit goes to director Cathy Garcia-Molina. Her scenes were actually very pleasing to the eye. The zip line scenes and the hamster ball, in particular, were my favorites in the earlier part of the movie. No wigs, no rain scenes, and no cameo appearances in this movie as well. Though I noticed a new pattern with the way she directs her last two films: she makes the most out of it in the earlier parts of the film by putting all the “fun” scenes in there (Imagine the John Lloyd-Toni flashback romance in My Amnesia Girl). This time though, it’s the wonderful scenery and activities in Cagayan including the breathtaking shot of the crystal clear waterfalls.
KC Concepcion gave a very controlled performance here, probably her best to date. You can see her struggle on the first few scenes in the movie but halfway, she finally found the right footing, and she took off from then on. Sam Milby is consistent, and though his Tagalog isn’t pitch perfect, it didn’t affect the outcome of his performance. Supporting characters were limited but effective, and is it just me or Dante Rivero is Star Cinema’s favorite supporting actor? He’s the go-to-guy in all of their movies, though his presence is undeniably felt.
All in all, it was a good film. Its weakness is that it can be forgettable. I don’t think this is the type of movie that will be remembered years, and decades from now. But it is very relatable, especially to those who fell in love, and got left (by any means).