My Yearend Roundup: The BEST FILIPINO FILMS of 2024 That I Have Seen

December 23, 2024

Of the 169 Filipino films released commercially in cinemas, as entries in film festivals, or streaming in online apps in 2024, I've seen 149 of them so far. 

In April, the Puregold Cinepanalo film fest, with the festival theme of "Mga Kuwentong Panalo ng Buhay," was launched. I was able to watch 4/6 entries. In August, the Cinemalaya film festival was held in the cinemas of the Ayala Mall by the Bay. The inconvenient distance of the venue and the irregular scheduling made it difficult for me, but I was still able watch 7/10 films.

In September, the Sinag Manila filmfest was back, and I was able to watch 7/7 films. In November, the QCinema film festival was back, bigger than ever. But aside from the opening film, I was only able to see the one film I prioritized. On Christmas Day, the Metro Manila Filmfest opens again. I have now watched 8/10. 

Aside from "And So It Begins," I had not been able to catch any of major documentary films released this year, like "Alipato at Muog," "Ghosts of Kalantiaw," or "Los Sabungeros." The films in my list below are all narrative feature films.

HONORABLE MENTIONS: 

30. GG - Prime Cruz (MY REVIEW)

29. THAT KIND OF LOVE - Catherine Camarillo (MY REVIEW) 

28. MAPLE LEAF DREAMS - Benedict Mique (MY REVIEW)

27. MUJIGAE - Randolph Longjas (MY REVIEW)

26. A JOURNEY - RC de los Reyes (MY REVIEW)

25. ESPANTAHO - Chito Roño (MY REVIEW)

24. LOLO AND THE KID - Benedict Mique (MY REVIEW)

23. UN/HAPPY FOR YOU - Petersen Vargas (MY REVIEW) 

22. UNDER PARALLEL SKIES - Sigrid Andrea Bernardo (MY REVIEW) 

21. MY FUTURE YOU - Crisanto Aquino (MY REVIEW)

20. KONO BASHO - Jaime Pacena II (MY REVIEW) 

19. YOUR MOTHER'S CHILD - Jun Lana (MY REVIEW) 

18. LOVE CHILD - Jonathan Jurilla (MY REVIEW) 

17. HER LOCKET - J.E. Tiglao (MY REVIEW) 

16. TUMANDOK by Richard Jeroui Salvadico and Arlie Sweet Sumagaysay. (MY REVIEW)

15. I AM NOT BIG BIRD - Victor Villanueva (MY REVIEW) 

14. OUTSIDE - Carlo Ledesma (MY REVIEW) 

13. A LAB STORY - Carlo Obispo (MY REVIEW) 

12. SALOME - Teng Mangansakan (MY REVIEW)

11. STRANGE FREQUENCIES - Kerwin Go (MY REVIEW) 

Here are my TOP TEN: 

10. PUSHCART TALES - Sigrid Andrea Bernardo (MY REVIEW) 

Between bookend scenes of undead beings and calamitous disaster, Bernardo stitched on six episodes of melodrama dealing with a variety of family issues about infidelity, separation, LGBT, sacrifice and disease. After this, she then surprised us some more with her last minute twists that tied all the loose threads up neatly. I thought her complex script was a winner and it still managed to live up to the positivity Puregold was going for. 

9. REAL LIFE FICTION - Paul Soriano (MY REVIEW) 

This film was written and directed by Paul Soriano, whose last directorial output was the much-maligned MMFF 2022 entry "My Teacher." This time around, his latest film was a complete 180 degree turn for Soriano, in terms of richness of concept, quality of production elements, and depth of acting by its stars. "Real Life Fiction" was an abstract arthouse film. It was certainly beautiful to look at, but the story it tells is open for various interpretations.  My interpretation is a good as yours. 

8. THE KINGDOM - Mike Tuviera (MY REVIEW) 

You can clearly see the efforts of director Michael Tuviera, scriptwriter Michelle Ngu and production designer Nestor Abrogena Jr. to build this alternate reality within which our country existed in the film. They were advised by professors of history and anthropology to guide their world-building. They were meticulous in details of fashion, ornaments, tattoos, and interior decor. Direction, screenplay, production and costume design merit award consideration.

7. THE HEARING - Law Fajardo (MY REVIEW) 

Fajardo's style of storytelling immersed us in the silent world Lucas lived in, seeing people and things in his 12 year-old point of view. We see how shaky and unsettling he saw the world to be. It was very interesting to see how the deaf were being treated within our criminal justice system. Having two sign language translators interpret and relay the deaf witness's answer to every question by the lawyers  seems to be such a tedious yet necessary process to assure impartiality.

6. THE GOSPEL OF THE BEAST - Sheron R. Dayoc (MY REVIEW) 

Dayoc enveloped the whole film with blood and violence from the very first scenes at the slaughterhouse. The cinematography, editing, production design, sound and musical score here made sure that there was no let up of the tension of uncertainty and sense of danger surrounding Mateo's entire baptism of fire. By the end, we don't know what kind of future Fate has in store for this prematurely corrupted young man.

5. BALOTA - Kip Oebanda (MY REVIEW) 

Marian Rivera lends her superstar power to attract the fickle Filipino moviegoers to watch a film with an important advocacy to push. Year after year, Filipino citizens go through various elections of public officials. More frequent than not, the winners were those with the biggest bribes or the best name recall, and not the most capable nor the most honest. This film tells us to stop this ridiculous circus now, and vote seriously with only patriotism in mind. 

4. PHANSTOSMIA - Lav Diaz (MY REVIEW) 

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.

3. GREEN BONES - Zig Dulay (MY REVIEW) 

Ricky Lee and Anj Atienza told this crime story from two perspectives -- Gonzaga's first, then Dom's. Director Zig Dulay's knack for visual storytelling was topnotch as he riveted our attention from beginning to end. The scenic island location for the penal colony, complete with stately lighthouse and an old tree with a dramatic crown of leaves, was surely a dream come true for cinematographer Neil Daza. Nominations are forthcoming for all of them. 

2. UNDER THE PIAYA MOON - Kurt Soberano (MY REVIEW) 

The script by Vicente Garcia Groyon hewed to old-fashioned linguistic styles to keep to the nostalgic theme of the film. It included a number of charming, kitchen-inspired sayings and mottos to keep to the culinary theme. Director Soberano brings up the clash between traditions vs. modernity multiple times, but different generations will answer this question differently. I am a sucker for this type of film that has warmth, sentimentality and positivity.

1. ISANG HIMALA - Pepe Diokno (MY REVIEW) 

A solar eclipse occurred over the cursed town of Cupang. That day, a 29 year-old country girl named Elsa (Aicelle Santos) said that she saw the Blessed Virgin Mary who granted her the ability to heal. The parish priest (Floyd Tena) was skeptical, but Elsa went on with her mission, assisted by her mother Saling (Bituin Escalante), best friend Chayong (Neomi Gonzales), grateful mother Sepa (Joann Co) and local socialite Mrs. Alba (Sweet Plantado).  

Director Pepe Diokno grabbed the formidable material by the horns and made sure all its key plot and message points come across clearly and engagingly to the audience. Vincent de Jesus's big dramatic songs transitioned very well onto the big screen. Ricky Lee's religious debate of a script, with its biting socio-political commentary, remain as complex and thought-provoking as it did before, proof of its timeless and lasting significance. 

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*January 3, 2025 Updated this list after being able to watch four more MMFF 2024 films after New Years Day. I have now seen 7/10. 

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My List of Best Filipino Films of 2023 is posted HERE. 

My List for Best Filipino Films of 2022 is posted HERE.

My List for Best Filipino Films of 2021 is posted HERE.

My List for Best Filipino Films of 2020 is posted HERE.

My List for Best Filipino Films of 2019 is posted HERE.

My List for Best Filipino Films of 2018 is posted HERE.

My List for Best Filipino Films of 2017 is posted HERE.

My List for Best Filipino Films of 2016 is posted HERE.

My List for Best Filipino Films of 2015 is posted HERE.

My List for Best Filipino Films of 2014 is posted HERE.

MMFF 2024: Review of ISANG HIMALA: The Enigma of Elsa

December 20, 2024

A solar eclipse occurred over the cursed town of Cupang. That day, a 29 year-old country girl named Elsa (Aicelle Santos) said that she saw the Blessed Virgin Mary who granted her the ability to heal. The parish priest (Floyd Tena) was skeptical, but Elsa went on with her mission, assisted by her mother Saling (Bituin Escalante), best friend Chayong (Neomi Gonzales), grateful neighbor Sepa (Joann Co) and local socialite Mrs. Alba (Sweet Plantado).  

Nimia (Kakki Teodoro), an estranged childhood friend of Elsa and Chayong, came back to open her own cabaret called Heaven with her pimp father Igme (Neil Tolentino). Chayong's suitor Pilo (Vic Robinson) is frustrated at her rejection of his marriage proposal, and planned to go to Saudi to work. Orly (David Ezra), a struggling young filmmaker from Manila, came to town to focus his camera on Elsa and her activities, hoping to kickoff his career. 

The original MMFF 1982 film "Himala" is recognized as one of the greatest Filipino films of all time. It has the pedigree of three National Artists behind it -- screenwriter Ricky Lee, director Ishmael Bernal, and lead actress Nora Aunor. In 2003, Vincent de Jesus had the idea to write music and songs to augment Lee's script for a musical theater version of the film. It was directed by Soxy Topacio for Tanghalang Pilipino, starring May Bayot as Elsa. 

This musical was revived in 2018, directed by Ed Lacson Jr. for 9 Works Theatrical and the Sandbox Collective. This show won 8 trophies in the Gawad Buhay Awards for musicals that year -- Best Production of Previously Existing Material, Director, Lead Actress (Aicelle Santos), Featured Actress (Bituin Escalante), Ensemble, Set Design, Costume Design and Lighting Design. Majority of this 2018 revival cast were gathered for this film version of the musical. 

A 2-1/2 hour-long heavy-drama musical film remake with no box-office stars in the cast is certainly a big gamble for any producer. To make sure the adaptation to film was handled expertly, Pepe Diokno, 2023 MMFF Best Director for "Gomburza," was tapped to direct this audacious project. Diokno grabbed the formidable material by the horns and he made sure all its key plot and message points come across clearly and engagingly to the audience.

Sir Ricky Lee sorted the dialogue from the original film and moved them around to fit the structure of a musical. A lot of lines very lifted verbatim, but some were delivered by different characters. There were also some significant changes in story detail. The new Elsa is five years older. An new detail about an "estampita" allegedly found with baby Elsa was revealed.  The words said immediately after a very traumatic scene were heard, instead of just implied. The place where one character died was moved to a more scandalous location. 

Aicelle Santos's Elsa was shown to be more self-conscious of the camera following herm especially with her song "Gawin Mo Akong Sining." Even in that moment right after an experiencing extreme distress, she still realized her fame was on the line, and she selfishly wanted it to last longer. This aspect of Elsa's personality was not that obvious with Nora Aunor's Elsa, whom Bernal painted with more subtle mystery.  

Because of the deeply-emotional songs they were given to sing, the featured characters were better fleshed out, making them all prime nominees for Best Supporting Actress. Bituin Escalante's Aling Saling had very deep anxieties about Elsa's well-being. We get to feel more intimately the torment of Neomi Gonzales's devout Chayong. Like Gigi Duenas before, Kakki Teodoro may also win with her colorful, larger-than-life take on Nimia, the jaded hostess. 

David Ezra has a big chance to follow Spanky Manikan's lead in winning the Best Supporting Actor award in the role of intrusive outside observer Orly, especially with that anguished confession scene. In the hands of Vic Robinson, Pilo came across a charming loverboy, than Pen Medina's more lecherous version before. Floyd Tena's Catholic priest did not tolerate the fanaticism of Elsa's disciples, and was more disdainful than Joel Lamangan's milder take. 

Unlike the real gritty desert location of the original, the Cupang here was obviously a constructed set, seemingly to remind viewers that this musical they are witnessing originated from the stage. This was distracting only at first, especially in scenes set on the apparition hill. Vincent de Jesus's big dramatic songs transitioned very well onto the big screen. Ricky Lee's religious debate of a script, with its biting socio-political commentary, remain as complex and thought-provoking as it did before, proof of its timeless significance. 9/10

PS: Ms. Nora Aunor has a special participation in this film. Listen well and try to catch it. 

VMX: Mini-Reviews of PIN/YA, FORBIDDEN DESIRE, LAMAS

December 19, 2024

PIN/YA

Director: Omar Deroca

Writer: Ronald Perez

When she was first year high school in 2013, Pinlee "Pin" (Candy Veloso) transferred to a new school.  The first girl who became her friend was Maraya "Aya" (Angelica Hart), daughter of employees of Pinlee's family.  They became best of friends from their very first meeting, and this eventually developed into romantic love. One day, Pin was brought to Manila by her father, leaving Aya behind. 10 years later, Pin and Aya meet again. 

This was basically a simple coming-of-age film about two best friends who discover love with each other. To pad the sex scene quota, there were extraneous scenes with CAT officer Fled (Julieanne Richard) and Pin's sister's boyfriend Macoy (GBoy Pablo). However, the true clincher that set this story apart was this wild preposterous twist about a major secret that was kept by one of them all those years ago, only revealed in the last 5 minutes. 4/10. 

FORBIDDEN DESIRE

Director: GB Sampedro

Writer: Marvic Kevin Reyes

Wealthy businessman June (Rolando Inocencio) had two daughters. His biological daughter Agatha (Aiko Garcia) is now working for him as marketing manager. His adopted daughter Ubel (Vern Kaye) is now studying medicine. Agatha and Ubel have been the best of friends since childhood, and this closeness eventually developed into romantic. One day, June introduced Agatha to his best friend's son, Lawrence (Josef Elizalde) as a boyfriend. 

Aiko Garcia and Vern Kaye tried their best to portray their characters, but it was the inconsistent way how these characters were written that made them problematic. Again it was the writing that made June's insensitivity to Agatha's feelings appalling, even if it was really made to look like it was her fault.  Again, the crazy ending was such a blast, unintentionally (or maybe intentionally) hilarious in its preposterousness, topping the "Pin/Ya" ending. 4/10.

LAMAS

Director: Christian Paolo Lat

Writers: Christian Paolo Lat, Kevin Piamonte

Mona (Ataska) and her father Adon (Mark Anthony Fernandez) ran their own bakery. One day, one of their trusted employees Lina (Cariza Manzano) suddenly left to go to Manila. Adon brought in a new girl Lucy (Christy Imperial) to replace Lina as Mona's apprentice. Just as she did with Lina before, Mona also became romantically involved with Lucy. However, Adon wanted Mona to get married to their business partner Jake (Van Allen Ong) instead. 

This story was basically like the previous film in that it involved a father wanting his daughter to marry a rich boy, but the daughter was in love with a girl instead. Having Mark Anthony Fernandez cast as the father, there was no surprise at all that he would be up to no good. Ataska is commendable in her nuanced portrayal of Mona, the girl with a talent of kneading dough into the best monay, but it was far too subdued to be memorable. 3/10

MMFF 2024: Review of GREEN BONES: A Convict's Conviction

December 18, 2024

Criminology graduate Xavier Gonzaga (Ruru Madrid) was a new jail guard at the San Felipe Penal Colony, where his former professor Marquez (Michael de Mesa) is the superintendent . His choice of profession had been spurred by the murder of his elder sister Elise (Pauline Mendoza) when he was a boy. Even from the start, he clashed with senior guard Cruz (Wendell Ramos) who did not like the way Gonzaga worked. 

The inmate that Gonzaga was most suspicious of was Domingo Zamora (Dennis Trillo), a mute man who used in sign language. He was convicted of murdering his sister Joanna (Iza Calzado) and his niece Ruth (Sienna Stevens) in cold blood, which made Gonzaga's blood boil against him. Gonzaga noted that Zamora was receiving regular visits from an NGO worker Betty (Alessandra da Rossi) and items were being passed between them. 

This new film is a reunion of the primary creatives behind "Firefly" (2023) -- director Zig Dulay, writer Anj Atienza (this time co-writing with none other than National Artist Ricky Lee), producer Nessa Valdellon, and actress Alessandra da Rossi. The cryptic title "Green Bones" was derived from a legend that if you see green bones after a dead body was cremated, it meant that this person had been good during his lifetime.

The role of Dom Saltik gave Dennis Trillo yet another showcase to portray a whole range of emotions as he explored the psyche of a convicted murderer. His being mute and resorting to sign language gave this mysterious character a dimension of sinister unpredictability. He was able to convincingly project how a man pushed to the edge could turn to the dark side Being nominated for, and even actually winning, the Best Actor award is very likely.   

Ruru Madrid's face reflected the idealistic drive of Gonzaga. Alessandra da Rossi's Betty was steadfast even as things went from bad to worse.  Royce Cabrera, Mikoy Morales, Gerard Acao, Raul Morit and Ronnie Lazaro played Dom's co-conspirators in prison. Wendell Ramos and Victor Neri looked absolutely creepy even with no dialogue. Like "Firefly," a cute child was the heart of the film. Here, Sienna Stevens is a top contender for Best Child Performer. 

Lee and Atienza told this crime story from two perspectives -- Gonzaga's first, then Dom's. Director Zig Dulay's knack for visual storytelling was topnotch as he riveted our attention from beginning to end. The scenic island location for the penal colony, complete with stately lighthouse and an old tree with a dramatic crown of leaves, was surely a dream come true for cinematographer Neil Daza. Nominations are forthcoming for all of them. 9/10. 

Review of MUFASA: Pick of the Pride

December 18, 2024

One stormy day, Simba (Donald Glover) left his daughter Kiara (Blue Ivy Carter) in the care of Rafiki (John Kani), Timon (Billy Eichner) and Pumbaa (Seth Rogen), while he went out to look for Nala (Beyonce Knowles-Carter). To entertain the royal cub, Rafiki told her the story of her late illustrious grandfather Mufasa, and how he rose in rank from a lost stray outcast to being the king of all the animals of the Pridelands.    

Mufasa (Aaron Pierre) got separated from parents as they were taking him to a legendary fertile place beyond the horizon called Milele. He met a young prince of another pride Taka (Kelvin Harrison Jr.), who longed for a brother. Even if Taka's father Obasi (Lennie James) did not accept him, his mother Eshe (Thandiwe Newton) treated him as her own. An incursion by Kiros (Mads Mikkelsen) and his vicious white lions broke their status quo.

This latest film by Walt Disney Pictures is both a sequel and a prequel of the 2-D animated film "The Lion King" (1994). It features the same photorealistic animation technique used in the recent remake of the original classic released in 2019. We will get to see what's up with Simba, Nala, Timon and Pumbaa, as well as learn the back story behind Mufasa, Scar, Sarabi, and Zasu, as told in the point of view of Rafiki, who was featured in both narratives.  

There were common plot points about a young lion cub being separated from his parents and how he met and relied on new friends to survive. However, there were some surprising revelations about how the ill feelings arose between bosom buddies Mufasa and Taka. This film also detailed how Mufasa met Sarabi, how Scar got his scar and his name, and even how the iconic rock formation of Pride Rock came into being. 

Something that made this film very entertaining to watch were the songs. I went in without knowing who wrote them, but the catchiness of songs like "I Always Wanted a Brother," "Bye Bye" and "We Go Together" easily gave away that they were written by none other than Lin Manuel Miranda. Ironically, among these cute bouncy tunes, it was the rather cheesy love duet "Tell Me It's You" that was the only one that entered the Oscar nomination shortlist. 7/10

 

MMFF 2024: Review of THE KINGDOM: Politics of Pride

December 16, 2024

The country of Kalayaan was a monarchy led by their royal family led by Lakan Makisig Nandula (Vic Sotto). He had three children, namely Magat Bagwis (Sid Lucero), Dayang Matimyas (Cristine Reyes) and Dayang Lualhati (Sue Ramirez). One day, armed secessionist rebels led by Wigan (Archi Adamos) sowed chaos in broad daylight as her convoy was crossing a bridge en route to her wedding to the Prince of Thailand.

Meanwhile in a remote province in the north, there was a farmer named Sulo (Piolo Pascual) who lived with his grandfather Lolo Kip (Soliman Cruz). Because his father Sigwa (Arnold Reyes) was executed for committing a crime, Sulo had no markings on his skin, the sign of a Tinatwa (Banished), the lowest caste in society, poorest of the poor. His father's death scene scarred him and his palm to the present time. 

The main concept of this film was a bold reimagination of what the Philippines would be like if it was never colonized by foreign powers from since the dawn of her history. The main peg is Thailand, a constitutional monarchy with an elected parliamentary government. The code of laws, ceremonial dress, and formal language has remained basically native Filipino, with foreign influences only as a result of more modern globalization. 

In fictional Kalayaan, the Lakan was essentially a dictatorial strongman, with a puppet prime minister. The soldiers of his military are called Bagani. His royal guards are called Kalasag. His decisions are guided by his Punong Babaylan (Ruby Ruiz), a shaman who can divine the future. It is already 2024, yet ancient forms of capital punishment for crimes and duels challenged via the law of retribution ("tugmaan") are still being practiced.  

We see a very different Vic Sotto here. His Lakan Makisig was unsmiling, serious, restrained, dignified as king should be. Piolo Pascual imbued his peasant Sulo with a rare intensity and palpable pride.  Sid Lucero gave his Bagwis a strong anti-hero vibe, as his usual. Cristine Reyes's portrayal of Matimyas was reminiscent of her presidential daughter in "Maid in Malacanang" (2022). Sue Ramirez's breezy Lualhati gave us something to smile about amidst the intrigue. 

You can clearly see the efforts of director Michael Tuviera, scriptwriter Michelle Ngu and production designer Nestor Abrogena Jr. to build this alternate reality within which our country existed in the film. They were advised by professors of history and anthropology to guide their world-building. They were meticulous in details of fashion, ornaments, tattoos, and interior decor. Direction, screenplay, production and costume design merit award consideration. 8/10

Review of KRAVEN THE HUNTER: Beastlike Bravado

December 12, 2024

Russian crime lord Nikolai Kravinoff (Russell Crowe) always brought his two sons along on his big game hunting trips. In one such trip, the elder son Sergei was attacked by a lion and was left for dead. Unexpectedly, Calypso, a random girl on a safari trip with her parents, saw the mortally-wounded Sergei and gave him her grandmother's secret healing potion to drink. After being declared clinically dead for three minutes, Sergei came back to life.   

16 years later, Sergei (Aaron Taylor-Johnson), who had long been estranged from his family, was a deadly vigilante who sought out and executed game poachers and other notorious criminals with his beast-like strength, agility and invincibility.  One day, his gentle, artistic younger brother Dmitri (Fred Hechinger) was abducted by henchmen of a powerful, thick-skinned hybrid human who called himself Rhino (Alessandro Nivola).

Kraven is another character from Marvel Comic, who was identified as Spider-Man adjacent, like Venom, Morbius, and Madame Web. The films of this Sony Pictures's Spider-Man Universe featuring these characters all had middling to bad reviews from critics. "Morbius" (2022) and "Madame Web" (2024) were box-office disasters. That did not stop foolhardy Sony from pushing through with this latest one about "Kraven the Hunter."  

In the comics, Kraven the Hunter is a supervillain and adversary of Spider-Man since he was first introduced in 1964. In this movie, he considered himself a hunter with super-human abilities who went after criminals, especially those who endangered wild animals. Spider-Man was not even mentioned in this film, but spiders and subtle references to the friendly-neighborhood web-slingers did make cameo appearances, which fans would recognize.

Aaron Taylor-Johnson was solidly built and skilled in martial arts as a superhero was expected to be. Like Tom Hardy as Venom before him, Taylor-Johnson seemed in on the dark humor of his character and this movie. He came across as cool and likable, even if he did resort to some pretty vicious and violent kills (which gore fans would enjoy). If rumors are true that Taylor-Johnson is a top choice for James Bond, he certainly proved his mettle for action here.

As the father with whom Kraven had a conflicted relationship, Russell Crowe was believably cold and heartless. Christopher Abbott's mesmerizing villain Foreigner was very well-executed. However, the rest of the supporting actors were so campy that they're laughably bad (probably not on purpose). Worst offender was recent Oscar winner Ariana de Bose, whose portrayal of the adult Calypso was just so flat and out of whack.  6/10

Review of HERETIC: Ruminations on Religion

December 5, 2024

Sister Barnes (Sophie Thatcher) and Sister Paxton (Chloe East) were missionaries from the Church of the Latter Day Saints. One day, they knocked on the door of Mr. Reed (Hugh Grant), who wanted to learn more about their religion. It began to rain, so Mr. Reed invited them to come in. As per their rules, they said they can only enter when there is another female in the house. Reed assured them that his wife was inside, baking blueberry pie.

Even as early as this point where nothing has really happened, there was already a feeling of foreboding in the air. We knew that these two young women should not really enter the house. However, the weather was bad, and Reed was being very friendly and charming, and he did say that his wife with in the house with him. When girls did accept to enter the house, right off, we immediately felt that they had made the worst decision of their lives. 

After that suspenseful buildup of impending danger in the first act, the meat of Scott Beck and Bryan Woods' film was laid out in the second act. Reed turned up the level of tension further by lecturing them about "Iterations" -- how pop songs (like "The Air That I Breathe" by the Hollies) or board games (like "The Landlord's Game" by Elizabeth Magie) were overtaken in popularity by subsequent products which were only copies of these originals. 

Everything only made sense when he made a further connection by using these iterations as a metaphor to the world's biggest religions, before further making a connection to them as agents who need to go house to house to promote a much smaller religion, like Mormonism, which is also yet another copy of the bigger religions. Reed even went further to enumerate figures in other religions all over the world who shared the same story as Jesus Christ

Reed wanted to subject the missionaries to an experiment where they can conclude for themselves what the main purpose of organized religion was. Once the girls decided to enter a door into the unknown, this was the point when the movie went from psychological thriller to full on horror mode. This was also the point when the movie began to lose my interest. I was actually hooked when they were just talking, than when there was already bloodshed.

Casting Hugh Grant as Reed was a stroke of genius. He had to project an innocuous image that was beyond suspicion. He should be able to make even the most cautious of young women feel safe to engage in his philosophical conversations.  Who knew that the actor we knew best for his romantic comedies during his heyday in the 1990s can also convincingly portray a sick sinister character?  A nomination for acting will not be surprising. 6/10. 

Review of GLADIATOR 2: A Rabid Retread

December 4, 2024

16 years after the death of Marcus Aurelius,  the Roman army under General Acasius (Pedro Pascal) attacked Numidia. Hanno (Paul Mescal) was a warrior of the Numidian army who bravely fought back but lost, costing the life of his wife Arishat (Yuval Gonen). Hanno was held captive and became a slave. After he proved himself to be a fighter, he was trained to be a gladiator under the stable of Macrinus (Denzel Washington). This brought Hanno a step closer on his quest for vengeance. 

Ridley Scott's first "Gladiator" was released in 2000. It was about a Roman general Maximus Decimus Meridius who became a gladiator after his beloved emperor Marcus Aurelius was murdered by his own son Commodus. It was a both a major box-office hit; as well as a critical darling. It earned 12 nominations from the Academy, and won the Oscars for Best Picture and Best Actor for Russell Crowe, plus Visual Effects, Costume Design and Sound. 

Memorable scenes from the first film were depicted in the artwork of the opening credits of this sequel. Rome also defeats a foreign country at the beginning of the film. Maximus and Acasius both wished to go home to family. Maximus and Hanno were both sold to slavery and became gladiators plotting revenge. Like Commodus, the twins Geta and Carcalla were ruthless emperors who resorted to gladiator games to keep the citizens of Rome happy.

The famous shot of Maximus's hand gliding over a field of tall grasses was also recreated for the sequel with Hanno's hand. Both of them were also seen picking up gravel off the ground and rubbing his hands with it before a crucial fight. A wooden sword was given to a gladiator as a symbol of his freedom. Maximus's line "Strength and Honor" is heard several times during the sequel, notably intoned by the gladiators at the very end. 

Two actors from the first film play their roles again in the sequel. Derek Jacobi is back as the ever-contrarian Senator Gracchus. The more prominent comeback was Connie Nielsen as Lucilla. In the first film, we knew her as the daughter of Marcus Aurelius, sister of Commodus, widowed mother of 10 year-old Lucius, and secret lover of Maximus. In the sequel, she is introduced as the wife of Acasius, who had angry initial meetings with both heroes.

Oliver Reed's gladiator mentor Proximo was acted with more dignity and gravitas than Denzel Washington's wily Macrinus. While Joaquin Phoenix had a subtly internal attack on the cruelty of Commodus, Joseph Quinn and Fred Hechinger were outrageously lunatic as Geta and Carcalla. More egregious though was the dull, uninspiring performance of Paul Mescal as Hanno, a very far cry from the sincere noble heroism of Russell Crowe as Maximus. 

As for the fights, they were more bloody and gory than before. The first film had tigers. In the sequel, owing to improvements in CGI technology, they had wild baboons, sharks and even a rhinoceros. Spectacular to watch, yes, but these were totally crazy unrealistic, very fake-looking. However, how can they fill the Colosseum with sea water deep enough for the sharks to swim in and for battleships to sail on? Inconceivable. 6/10. 

 

VMX: Mini-Reviews of PUKPOK, BOSS MA'AM, SILIP

December 3, 2024

PUKPOK

Director: Christopher Novabos

Head Writer: Maya Diaz

Writer: Mark Norman Boquerin

Company secretary Jennilyn (Allison Smith) turned heads of all the men around when she passes by. Using her feminine wiles, she always got her way with the security guard Malana (Ace Toledo), the new construction worker Randy (Mon Mendoza), or even the boss's brother Sir Richard (Seon Woo Kim).  Soon, she also targeted their main boss Engineer Christian (Rash Flores), who was getting frustrated with his wife Amanda (Arah Alonzo).  

This could have been a star vehicle for a more competent lead actress. However the opportunity was wasted on newcomer Allison Smith, who doesn't exude a femme fatale aura. Anyhow, the level of acting of everyone else in the cast was so dismal all around, she fit right in. Rash Flores was the veteran in this cast, but he had not yet improved as actor at all -- with his awkward attempts of drama turning out unintentionally comedic. 3/10

BOSS MA'AM

Director: Iar Arondaing

Writer: Zane Mendoza

Junior sales associate Charm (Vern Kaye) is a patient assistant of Ms. Vern Andrea Dixon (Jenn Rosa), a judgmental slave-driver senior sales manager of Spice City Holding Company. One night, Charm got fed up with Vern's insults and boldly answered back, resulting in her firing. Meanwhile, Vern would have secret meetings with new maintenance guy Jojo (Aerol Carmelo), when Vern let him boss him around during their dalliances. 

This was actually quite an entertaining romp of corporate intrigue between two female bosses of a company. Jenn Rosa did her best to approximate the late Cherie Gil in her portrayal of the sarcastic Vern.  Vern Kaye matched this with a transformation of Charm from a mousy subordinate to a power-tripping boss. More seasoned actresses could have given more nuanced performances, but theirs were quite adequate for VMX standards. 5/10.  

SILIP

Director: Bobby Bonifacio

Writer: Quinn Carrillo 

Rose (Rica Gonzales) was a prostitute who lived and worked at room 302 of Ligaya Apartments. Joel (Karl Aquino) worked at the store selling "pares" (braised beef stew with garlic fried rice) across the street. His co-worker Candy (Lea Bernabe) had a crush on Joel, but he only had eyes for Rose. One day, one of Rose's customers, Edrick (AJ Oteyza), dropped by Joel's store to buy food, and accidentally left his clutch bag behind. 

This was run-of-the-mill story about yet another prostitute and the toxic life she led, a theme VMX had peddled in its films several times already. This is already Rica Gonzales's 8th film this 2024, but she has not really progressed too much as an actress. Karl Aquino gave Joel that love-struck innocence vibe, which turned out to be idiocy with all the stupid decisions he made (the rotten food, really?). At least, Joel and Candy's final scene was a good ending. 2/10. 

Review of HERE: House as Home

December 1, 2024

This was released so quietly, I would not have thought of watching this if I did not see that it starred Tom Hanks and Robin Wright, as well as written and directed by Robert Zemeckis. It turns out that this whole film was a 40th anniversary reunion of the creative team of "Forrest Gump" (1994), including co-writer Eric Roth, cinematographer Don Burgess, composer Alan Silvestri, sound designer Randy Thom, and costume designer Joanna Johnston. 

The title "Here" refers to the one spot where the camera was steady for 99 percent of the film. It caught everything that was happening in front of it, from the dinosaurs and the Ice Age, to the regrowth of flora and fauna. We then see Native Americans, then the building of a colonial mansion by an illegitimate son of Benjamin Franklin. By 1900, across the street from this mansion, a new house was built, which was a setting for all the stories to follow.

The first residents of this house were pioneer pilot Thomas Harter (Gwilym Lee) and his wife Pauline (Michelle Dockery). In the 1940s, it was occupied by lounge chair inventor Leo Beekman (David Flynn) and his model wife Stella (Ophelia Lovibund). After World War II, Al (Paul Bettany) and Rose (Kelly Reilly) Young moved in. Later, the house also became the residence of eldest son Richard (Tom Hanks) and his wife Margaret (Robin Wright). 

Zemeckis would tell the stories of the Young family interspersed with the stories of all the other past couples who lived in the house. After the Youngs, Devon (Nicholas Pinnock) and Helen (Nikki Amuka-Bird) Harris also lived in that house, through the COVID pandemic. This inter-generational storytelling may be Zemeckis's conceit, but it can be confusing, and ultimately disappointing when some of these stories don't really make an important impact. 

68 year old Hanks and 58 year old Wright played Richard and Margaret from age 18 all the way to their twilight years. Whatever technology they used to attempt to an illusion that they were teenagers did not really work. This made the scenes where they were supposed to be young adults unconvincing and awkward, no matter how hard Hanks and Wright tried. Their best scenes were those when they were middle-aged, and especially the final scene.

Actually, even the central story of the Youngs was not extraordinary or unique. Their family went through things as would any family -- marriage, birth, death, disability, career, sacrifices, financial problems, in-law problems, marriage problems. Zemeckis wanted their audience to see themselves in this family and connect emotionally. Because of this reason, this film will likely resonate more with Gen X (like me) or Boomers, than Gen Y and Z. 6/10.