Review of MOANA 2: A Wayfinder's Work

November 29, 2024

Since Moana (Auliʻi Cravalho) had been made into a wayfinder, she made it her mission to find people from other islands around them in order to unite them. One night, her father Tui (Temuera Morrison), chief of Motonui Island, bestowed on her the title of "Tautai" or "connector of the entire sea." The previous Tautai, Vasa (Gerald Ramsey), appeared to her in a vision and told her to find the lost island of Motufetu, or else her people will disappear in the future. 

Motufetu was an ancient island marked by two peaks, where the channels of the ocean came together, connecting the people of the entire sea. A power-hungry god Namo caused the island to disappear because he believed separating the people of the ocean would make him stronger. Moana assembled her crew for her quest -- the creative builder Loto (Rose Matafeo), the artist storyteller Moni (Hualālai Chung) and master farmer Kele (David Fane).

This was just the background on Moana's character, which dealt with myths that tied in with their people's reality. Of course, our favorite demi-god Maui (Dwayne Johnson) was also there, to settle his own beef against Namo. It is inevitable that the paths of Maui and Moana and her crew will eventually cross. Both of them would get entangled first with Namo's henchwoman Matangi (Awhimai Fraser), whose pets just happened to be bats.    

The vocal performances of Auli'i Cravalho and Dwayne Johnson remain topnotch with their boundless energy and comedic timing.  However, Moana's "Beyond" and Maui's "Do I Get a Chee Hoo?" (by Abigail Barlow and Emily Bear) in this film fail to live up to the catchiness of "How Far I'll Go" or "You're Welcome" (both by Lin Manuel Miranda) from the first film. I do not think any song in this new soundtrack will be nominated for an Oscar. 

The Polynesian-themed artwork, from Maui's tattoos and Moni's posters, still looked great. The animation of various forms of water movement, from splashing to crashing down, was impressive. However, the main story and the new characters were not very memorable. I read that this sequel was initially planned to be streamed as a limited series on Disney+. No wonder it had the feel of Disney's old direct-to-VHS sequels which no-one recalls now. 5/10 

Review of HELLO LOVE AGAIN: Canadian Confrontation

November 28, 2024

It is 2024, five years after Joy (Kathryn Bernardo) left Ethan (Alden Richards) in Hong Kong to seek a better future for herself in Canada. One day, Joy was at the airport in Calgary to pick up her friend Uno (Kevin Kreider). Then, surprise surprise, Ethan and best friend Jhim (Joross Gamboa) had just arrived and were also just going out of the airport.  This meeting was quite cold, as it turned out, Ethan was now Joy's ex. 

From there, director Cathy Garcia-Sampana went back and forth in time to tell the back story of an earlier visit of Ethan to Canada in 2020, and how it led in a breakup so bad that that bitter feelings of Joy against Ethan persisted so strongly up to the present.  For her, Joy is no more, and she now went by the name of Marie. She was now a caretaker at a nursing home and working on a nursing degree.

Like another film shown earlier this year, "Maple Leaf Dreams," this film was also an introduction for the Filipino audience about immigration to Canada. You'd be hearing various acronyms used in the process, like LMIA (Labour Market Impact Assessment), PR (Permanent Resident), or HCA (Health Care Assistant), peppered in their dialogue.  Stereotypical scenes of cleaning toilets and bullying by fellow Pinoys were predictably present.

The terrible impact of the COVID-19 on struggling immigrants in Canada was also integrated into the story. Their situation was already difficult as it is, accepting any sort of work, even those way beneath their education and abilities.  No matter how menial the job or cramped the living quarters, they patiently swallowed their pride for all the disgusting tasks and low-blow insults everyday, just to get by financially. We've seen scenes like this before as well. 

The formula of the first film "Hello Love, Goodbye" was pretty much followed here. Only Joross Gamboa is back as Jhim, while their other old gangmates show up in Zoom cameos. In their place, there are new set of wacky Canadian-based friends played by Valerie Concepcion, Ruby Rodriguez and Jennica Garcia (whose character Baby would have a big crush on Ethan). Like before, Joy also cared for a woman with dementia, Martha (Wendy Froberg).

This film relied heavily on the acting and chemistry of its lead stars Kathryn Bernardo and Alden Richards to propel it beyond its familiar premise, and the two certainly delivered. For me, the story teetered when Marie made one sudden, reckless, and unrealistic decision very much against her character at that point in time.  It took all of Bernardo's star power to pull the film through after that, and based on the phenomenal box office, she succeeded. 6/10 

VMX: Mini-Reviews of UNGOL, KABITAN, MARYANG PALAD

November 27, 2024

UNGOL

Director: Bobby Bonifacio Jr.

Writers: Wiro Michael Ladera, Bobby Bonifacio Jr. 

Gin (Stephanie Raz) was a blind woman who rented out her bedroom to lovers who wanted to use it for a short-time lovenest, while she listened to their moans of sexual ecstasy outside. One day, there were two strangers, Leo (Chad Solano) and Ola (Audrey Avila), who rented her room.  Gin confessed to her best friend Abet (Ghion Espinosa), that she was mesmerized by Leo's moans, the quality of which she had never heard before. 

Because of the auditory nature of the provocative title, director Bobby Bonifacio really made the sound effects the main star of this movie. He even made his lead character Gin blind, so that she could only be seduced by a man's voice and yes, moans. The main premise was interesting, but the final act was disappointingly formulaic in the VMX sense. Good performances turned in by Stephanie Raz and Ghion Espinosa in the lead roles. 4/10. 

KABITAN

Director: Sigrid Polon

Writer: Quiel dela Cruz, Sigrid Polon

The doors of the condo units of Alice (Athena Red) and Mika (Alessandra Cruz) were facing each other. Alice was the mistress of Michael (Chester Grecia). Mika was the mistress of Van (Juan Paolo Calma). One night, both women were feeling neglected by their respective partners. They went drinking at the same bar, met each other and became friends. Not long after, they became more than just friends. 

For a movie with such a simple and predictable premise of kept women, director Sigrid Polon decided to tell her story in a ploddingly slow manner. Her two leading ladies may have beauty of face, but unfortunately, their acting was leaden and uninspired. Alessandra Cruz, in particular, practically only had one nebulous expression on her face throughout the film, even during the epilogue that happens three months in the future. 1/10

MARYANG PALAD

Director: Rodante Y. Pajemna, Jr. 

Writer: Rodante Y. Pajemna, Jr.

Among seamen, Marya (Sahara Bernales) was famous and expensive for the massage prowess of her palms. One night, she went up the ship M/V Alejandrea where Lando (Vince Rillon) and his cousin Allan (Mark Dionisio) worked. It turned out that Lando already had a crush on her back then in their teens in the province, when she still went by her real name, Rhea. Believing in "first love never dies," Lando decides to court Marya now. 

Unlike her previous sullen and drab roles, Sahara Bernales was smiling beautifully here, looking radiant from her very first scene when she boarded ship. More than that, Bernales gives what it probably her best performance in a VMX film, with her relaxed, natural and confident portrayal of Marya. As his usual, Vince Rillon gives another raw yet nuanced portrayal of the lovestruck Lando. Their chemistry together here was off the charts. 6/10

Review of CONCLAVE: Secrets in Sistine Sequestration

November 26, 2024

The Pope had passed away, so Dean Thomas Cardinal Lawrence (Ralph Fiennes) convened all his fellow Cardinals at the Vatican to vote for a new Pope. The prominent contenders were: Bellini (Stanley Tucci) from the US, Tedesco (Sergio Castellitto) from Italy, Adayemi (Lucien Msamati) from Nigeria, and Trembley (John Lithgow) from Canada. The newest unknown Cardinal there was Benitez (Carlos Diehz) from Mexico serving in Islamic Kabul.   

As a Catholic, I had always been intrigued with what went on behind the closed doors of the Sistine Chapel where the conclave of the College of Cardinals was held to choose the new Pope. Everything is draped in extreme secrecy until we see the color of the smoke coming out of its chimney after each vote.  Now we have this film to get an insiders view into the proceedings. It is said that this film had followed all the Papal funeral rites to the letter.

Notwithstanding that this election was happening in the hallowed halls of the Vatican, it was still a political activity among men, so there will be sides to choose from. Here, it was also a face-off of liberals (who were pushing all their woke advocacies) and the traditionalists (who wanted none of those). Catholics in the audience will also find themselves rooting for their own sides -- that was how effectively Peter Straughan wrote the arguments in his script.

The ensemble of actors assembled for this project was impressive. Consistently on-point character actors Ralph Fiennes, Stanley Tucci and John Lithgow need no further validation about the excellence of their performances. As ultra right-wing Tedesco, Italian actor Sergio Castellitto makes a big splash in his first English-language feature. Isabella Rosselini's Sister Agnes was able to address the conclave, but I am not sure if nuns can really do that.

Director Edward Berger ("All Quiet on the Western Front") had a sure handle on telling this complex story based on Robert Harris' 2016 novel, as secrets sprout out on after the other, affecting the votes at every thrilling turn, although that final twist was a bit too bizarre. Berger and cinematographer Stephane Fontaine also took time capturing silent beautiful images of random cardinals, nuns and locations from various angles, enhancing artistic cachet. 8/10.   

 

Review of WICKED: A Witch Wakens

November 25, 2024

After her face-off with Dorothy and posse, the Wicked Witch of the West died. Glinda the Good Witch (Ariana Grande) went to celebrate with the residents of Munchkinland. Before she left, a curious Munchkin asked Glinda if it was true that the Wicked Witch had once been her friend. Glinda told them the sad life story of Elphaba (Cynthia Erivo), a girl born with green skin -- a curse that caused her to be shunned by her parents and bullied by her peers. 

"Wicked" was adapted from the 2003 Tony Award-wining stage musical by by Stephen Schwartz (music and lyrics) and Winnie Holzman (book), which in turn had been adapted from the 1995 novel "Wicked: The Life and Times of the Wicked Witch of the West," written by Gregory Maguire.  With Idina Menzel and Kristin Chenowitz as the original leads, this show had since achieved iconic status, hence the massive anticipation for this film adaptation. 

I had already watched the musical two times before -- the first one in Sydney in 2009, and the second one in Manila in 2014. While I enjoyed the show both times, only the most popular songs really stuck with me. Before I watched this film, I have to admit that I do not recall every detail of the story, particularly about their teachers Dr. Dillamond (voice of Peter Dinklage) and Madame Morrible (Michelle Yeoh). I do not think I'll forget them anymore after this.

This film is already 160 minutes long, yet it only covered Act I of the musical. "Defying Gravity" was the show-stopper number before the show's intermission -- fit right in as the film's grand climax. More time had been devoted to developing the dynamics between Elphaba and Glinda, very vital in the story. Also expanded were the roles of Elphaba's wheelchair-bound sister Nessarose (Marissa Bode) and lovestruck Munchkin Boq (Ethan Slater). 

Ever since her casting was announced, we totally see Ariana Grande as Galinda, and she certainly did not disappoint. Grande's Galinda snobbish, privileged rich girl with lines like "The asparagus is steaming," yet she remains cute and likable even when her sincerity is in question. Fan-art poster attitude aside, Cynthia Erivo knocked the role of conflicted Elphaba out of the park, in both singing and acting-wise. Oscar nominations are in the cards for them.

Similarly, Oscar nominations are expected for the technical aspects of this film, led by the inspired direction of Jon M. Chu, who grasped the ambitious scale of this production by the horns and succeeding, despite some issues with pace.  Nods in production design, costume design, hair and makeup, visual effects and sound are in the bag -- as exemplified in complex numbers like "Dancing Through Life," "Popular" and, of course, "Defying Gravity." 9/10. 

QCinema 2024: Review of PHANTOSMIA: Smelling the Stench

November 10, 2024

On the remote island of Pulo, there was a penal colony overseen by Major Ramon Lukas (Paul Jake Paule). Not even 500 meters outside its rear gate, Narda (Hazel Orencio) had set up a store and restaurant which she ran together with her simpleton son Setong (Arjay Babon). She had a daughter Reyna (Janine Gutierrez) whom she adopted from a friend impregnated by an American. Soon, the unscrupulous Narda also sold Reyna as well.

Master Sergeant Hilarion Zabala (Ronnie Lazaro) had been a scout ranger and champion marksman all his life. One day, after witnessing a massacred village, he began to smell a very bad odor in his nose, even without anything causing it. This offensive odor soon also negatively affected his appetite. Dr. Valle (Lhorvie Nuevo), the patient counselor at the Army Hospital, diagnosed his condition as an olfactory hallucination, or phantosmia.

This latest film by slow-cinema auteur Lav Diaz is 246 minutes long, rather compact for his standard. His signature style is all there -- shot in black and white to avoid the distractions of color, very prolonged tracking shots of people walking in or out of a scene, scenes of fires burning in pitch darkness. The connection between the two disparate stories of Reyna and Zabala was clear and logical, even as their first scene together was only in the last hour.

Like his previous films, there was also a touch of the mystical in this one. In this case, it was the Haring Musang, the elusive king of the civet cats for which hunters gather yearly to hunt down. One of his devotees was the quirky poet Marlo (Dong Abay). He went to Pulo during hunting season, not to hunt, but to gain inspiration for his epic poem to the Haring Musang. Abay stole his every scene with his out-of-place outfits and passionate poetry recitations. 

Ronnie Lazaro is very much at home in the Lav Diaz milieu, effortlessly portraying this man who never realized he was traumatized by his past until he smelled its stench within himself. Not sure that hanky covering the nose was any help, but it was effective as a visual symbol. Hazel Orencio went strong to play heartless businesswoman Narda. Major Lukas is Paul Jake Paule's longest role in a Lav Diaz film, and he went all out perverse, corrupt and violent. 

Seeing a glamorous mainstream movie star Janine Gutierrez playing an abused character is jarring, and made her Reyna lot more pitiful. Toni Go played Zabala's daughter Aling who help her father despite being abandoned in the past. Her jump rope scene was cute and funny. Lhorvie Nuevo played the doctor (MD and PhD!) who came up with a radical management approach to put the traumatized man back into potentially traumatic situations. 

Lav Diaz tells about the insidious effects of violence when this was done in the line of duty -- in Zabala's case, as a scout ranger against rebels, or as a policeman against activists. Zabala was old-school, a stickler for rules, and he believed what he was doing was the right thing. It was his own mind who made him recognize how damaged a man he was. Unfortunately, he also realized that violence may only rely on more violence to achieve liberation. 8/10

QCinema 2024: Opening Film: Review of DIRECTORS FACTORY PHILIPPINES: Drama in Dapitan

November 9, 2024 

The QCinema International Film Festival is already on its 12th year this year. With "The Gaze" as its theme, it wants audiences to look at the human experience from different points of view, all captured and expressed through the medium of film. Running from November 8 to 17 at cinemas in Gateway, Trinoma, Shangri-la Plaza, and Powerplant Mall, this current edition has 55 full-length films and 22 short films, classified into 11 sections. 

In contrast with previous inceptions, the opening film this year is not a feature-length film. The organizers have decided to showcase a collection of four short films released under the collective title of "Directors Factory Philippines." The Directors Factory is an initiative of the Cannes Directors Fortnight that began in Taiwan in 2013, working with a chosen partner country to mentor 8 promising directors with their dream projects. 

The Philippines was chosen to be the partner country last November 2023. Four young Filipino filmmakers were chosen and partnered with fellow young filmmakers from other Asian countries (Malaysia, India, Cambodia, Singapore) to collaborate on writing and directing their short films, all set in Dapitan City. Their works had their world premiere at the Cannes Directors’ Fortnight last May 2024, and now they just had their Philippine premiere.

"Cold Cut" was by Don Josephus Raphael Eblahan (Philippines) and Siyou Tan (Singapore). Joy (Claire Recososa Guantero) was falling in line to audition for a talent show being held in their neighborhood. However, she kept seeing a mysterious guy she knew as the Butcher (Noriel Tome Obnimaga) seemingly stalking her. This was the most abstract of the four shorts, as the viewer can give it whatever meaning. Personally, not to my liking. 4/10.

"Silig," by Arvin Belarmino (Philippines) and Lomorpich Rithy a.k.a. YoKi (Cambodia), is easily the easiest to connect with emotionally. Mamang (Sylvia Sanchez) was dying of cancer, so she asked her friend Sabina (Angel Aquino) to help her plan her cremation. It had two acclaimed actresses in the leads roles, and they knock the ball out of the park with their charming, bittersweet portrayals of two friends facing the inevitability of death. 8/10. 

"Nightbirds." by Maria Estela Paiso (Philippines) and Ashiok Vish (India), stood out because it had animated images of birds integrated with the live images. Ivy (Pokwang) was frustrated that her husband Rody (Arsenio Dagyawan) was losing money at cockfighting. A bird god known as the Tigmamanukan (Bob Jbeili) came down in human form to give Ivy her wings. The message of female empowerment was somewhere in there, but not too clear. 6/10.

"Walay Balay," by Eve Baswel (Philippines) and Gogularaajan Rajendran (Malaysia), had outstanding cinematography by Pao Orendain and music by Bullet Dumas. Yahaira (Shaina Magdayao) and her mother Norayda (Ruby Ruiz) had been displaced out of their homes by the Marawi conflict. Very arthouse in its look and storytelling style, the whole film felt cold and distant. The faces of Magdayao and Ruiz convey their characters' restrained anguish.  6/10

Review of WE LIVE IN TIME: Challenging Choices

November 6, 2024

Tobias Durand (Andrew Garfield) went to the store to buy a pen to sign divorce papers, but was struck by a car on his way back. The driver of the car was Almut Brühl (Florence Pugh), an acclaimed Michelin-rated chef. The two of them hit it off right away and they soon lived with each other. They had to contend a difficult problem before they had their daughter Ella (Grace Delaney), but this was going to haunt them back again later.

Over the years, there had been plenty of films that tackled a romantic relationship which was affected by a difficult and terminal disease. One of the most popular movies in the 1970s was "Love Story," also one of the highest-grossing films of all time adjusted for inflation. Despite its lead stars, this new one, directed by John Crowley, director of Oscar Best Picture nominee "Brooklyn" (2015), may likely not reach pop culture icon status like the former. 

"We Live in Time" is different because it told its love story in a non-linear manner. It shows episodic highlights of their relationship in a seemingly random order. While this may be an interesting concept on paper, the build-up of the story to its inevitable conclusion felt diminished. The pace is slow, with only one scene with heightened emotion.  If not for the talent and charisma of its lead stars, Crowley risked losing some of his viewers midway.  

Andrew Garfield played the goofy salesman Tobias, who had a generally positive outlook in life. He had a great sense of humor, not even averse to running to a store across the bridge only dressed in bathrobe. Once the two of them were living together, Tobias is more of a reactive character to what was happening to Almut. He let his wife make important decisions about her body and life even if he thought otherwise, and supported her all the way. 

Florence Pugh played the plucky chef Almut, who, like her rare Germanic name implied, had a "noble spirit." She chose the treatment option that will still allow her to have a child, at great risk for her own recovery. She chose to pursue one last stab at glory in her career, unbeknownst to her family, despite her deteriorating health. Pugh's method-acting highlight was that moving scene when Tobias and Ella were cutting Almut's hair for real. 7/10

VMX: Mini-Reviews of KRISTA, DONSELYA, BALIGTARAN

November 1, 2024

DONSELYA

Director: Christopher Novabos

Writer: Byron Bryant

Joaquin (Arnold Reyes) had a flat tire on a remote provincial road near the house of Benicio (Allan Paule) and Rosa (Tanya Gomez). While Benicio helped fix the tire, 50-year old Joaquin noted their beautiful 18-year old daughter Iris (Dyessa Garcia) and fell in love at first sight. Joaquin was so smitten that he was willing to pay up to P10M in order to marry her. His only condition was that Iris had to be a virgin. 

This film was notable for its well-blocked and well-photographed scenes. care of director Novabos and his cinematographer Alex Espartero. The storyline was predictable. The ending was too rushed, over-the-top, and inexplicable in the legal context, which was unfortunate. Dyessa Garcia did well in her first starring role. Arnold Reyes had a strong screen presence. Tanya Gomez stole the show with her hilarious portrayal of mommy Rosa's greed. 6/10

BALIGTARAN

Director: Aya Topacio

Writer: Quinn Carrillo

Kat (Apple Dy) was the star DJ of "The Pink Room," a club owned by Ace (Calvin Reyes). Denise (Skye Gonzaga) was Ace's friend with benefits, who was also getting attracted to Kat's looks and talent. One night, Denise defended Kat from a drunk guy who was getting fresh. When Denise asked Kat why she froze up when the guy harassed her, Kat admitted a traumatic experience that made her afraid of men. 

Director Aya Topacio made her feature film directorial debut in 2024, with "Mahal Ko and Mahal Mo,' followed by "Throuple," now this one. A clear central theme in all three of her movies was a lesbian love affair between the two lead female stars.  There is always a male character in between them, but he was just the cog that made the girls realize what they really wanted. Dy and Gonzaga portrayed their parts well, as Reyes was weak, expectedly. 3/10

KRISTA

Director: Sid T. Pascua

Writer: Quinn Carrillo

Makoy (Karl Aquino) worked as one of the men of cockpit owner Samuel (Elmo Elarmo). His wife Krista (Cess Garcia) earned extra cash selling snacks during cockfights. One day, Makoy lost a lot of money by making a huge losing bet, so he stole one of Samuel's prize fighting cocks. Fellow employee Diego (JD Aguas) witnessed this theft, and, wanting to gain favor from his boss for past misdeeds, ratted on Makoy. 

Cess Garcia did not play this title character well, likely a direction issue. Her face was constantly in a scowl, not a good look for her. She had a crying scene where she went full-on hysterical, too over-the-top. Aquino is another plus-sized leading man (after Josef Elizalde), but acting-wise he was not ready yet for this lead role. In contrast, Zsara Laxamana only had a minor role of a prostitute Mikay, but her natural acting was a stand-out. 2/10