Review of RED SPARROW: Spy by Seduction

March 2, 2018

Jennifer Lawrence had been looking for a film to revive her career which seemed to have started to flag after the "Hunger Games" series and her Best Actress Oscar for "Silver Linings Playbook". "Serena" (2014), "Joy" (2015), "Passengers" (2016) and "mother!" (2017) all met critical and commercial resistance. For this year, JLaw hopes to recover her lost momentum as she goes for a sexy secret agent role for a change. 

Dominika Egorova (Jennifer Lawrence) was a prima ballerina of the Bolshoi Ballet until a freak accident forced her out of her rising career due to injury. Desperate to be able to keep supporting her ill mother (Joely Richardson), Dominika accepted the sketchy offer of her very own uncle Vanya Egorov (Matthias Schoenaerts), a highly-placed Russian spy official, to help them lure a certain subject for an extra-judicial execution. 

She was sent to an academy for Sparrows under the tutelage of the "Matron" (Charlotte Rampling). This was a training ground for select agents who would use their looks and bodies to seduce required information out of targets. Her first case was to make contact with an American agent Nate Nash (Joel Edgerton), and coax out of him the identity of the Russian mole he was protecting. 

The film is a long one, 140 minutes -- more than two hours. It took its time to establish Dominika's back story in the first act. It devoted a lot of scenes of her Sparrow training, and these were some of the most interesting, controversial and sensational parts of the film. The rest of the film would be standard double-crossing spy dramatics we are more familiar with, a femme fatale spy is one of the oldest tricks in the book. However,  not without some unexpected nifty twists of its own.

Jennifer Lawrence finally conquered her fear to do film nudity in one very bold scene in front of a room of people, as she taunted a fellow trainee Nikolai (Makar Zaporozhskiy) to have sex with her. I was expecting bone-crushing fight scenes like those we saw in other female spy films like "Salt" or "Atomic Blonde" but there was not much of that here. That does not mean though that this was short on painfully gruesome torture scenes -- both inflicted on, and inflicted by, JLaw. She felt really ice cold here, not easy for us to connect with.

Joel Edgerton played an unconventional movie spy -- a one-dimensional good guy.  There was never a point where you felt Nash would do anything bad to Dominika. Funny how the men (not JLaw) kept on referring to him as handsome, like we need to be convinced. On the other hand, I was more impressed with the characterization of Belgian actor Matthias Schoenaerts of Dominika's Uncle Vanya. You knew the character was bad news, but the actor tries to give him some layers to make that final scene worth your while. Jeremy Irons looked miscast as the Russian General Korchnoi. 

I wish Charlotte Rampling had more to do in the film than in only in those training center scenes. I was hoping that she and/or any of her classmates would figure in actual action somewhere else in the film, but there would be none of that. Mary Louise Parker was as quirky (and spaced out) as ever as Stephanie Boucher, the chief of staff to a US senator who was not averse to sharing secret data with her lesbian lover who turned out to be another Sparrow Marta (Thekla Reuten). 

The storytelling of director Francis Lawrence (best known for having directed JLaw in three out of the four "Hunger Games" films) was not complicated and engaging, but may have occasional drag in certain points in Act 2. It sort of felt like a "Mission Impossible" the way the elements of the complex scheme all fell neatly into place. I think there could have been a more deeply psychological exploration of sexual espionage, as that was its main selling point. The Sparrow academy part could actually have been a whole film in itself, but here, it barely scratched the surface of its cinematic potential. 6/10. 

Review of PHANTOM THREAD: Tailored Toxicity

February 2018

Of all the nine nominees for the Best Picture Oscar this year, this was the one that had the least buzz before the fateful announcement last January 23, 2018. The only news I heard about this film was that this was supposedly going to be the last film of its lead actor, Daniel Day-Lewis. But apparently, it was way more than just that. "Phantom Thread" was nominated not only for Best Picture, but also for Best Director, Actor, Supporting Actress, Original Score, and expectedly, Costume Design. 

It was the 1950s in London. Reynolds Woodcock is the couturier of the rich and famous ladies. He is an avowed bachelor, a strict stickler to his daily routines, with an obsessive eye for perfection based on his own high standards. He is deeply loyal to the memory of his departed mother and dependent on his spinster sister Cyril to manage the business side of his fashion label. 

One day, Reynolds met Alma, a tall lissome waitress of uncertain foreign origin in a countryside restaurant. Alma eventually becomes Reynold's constant inspiration, until a testy kind of love developed between them. Reynolds' highbrow fastidiousness and Alma's easygoing simplicity were not a match made in heaven. Alma decides she needs to do something drastic to make Reynolds realize her value, even if it meant hurting him.

Whether this is really Daniel Day-Lewis' last film or not, he gave a memorable performance here of a man with a difficult and flawed personality, the exact sort of character which Oscar loves to reward.  Day-Lewis is the only actor who had won the Best Actor Oscar three times before: "My Left Foot" (1989), "There Will Be Blood" (2007) and "Lincoln" (2012). BAFTA also rewarded him for the same three roles, but added one more Best Actor award for "Gangs of New York" (2002). He may not win this year, but his nomination was very much deserved. Not many actors could pull off playing such an unlikable man like Reynolds Woodcock with so much external charm and internal conflict. 

Alma is played by Vicky Krieps, an Luxembourgian actress in her English language film debut. She had the right look for the part, with a lingering elegance when she wears those beautiful evening gowns, the perfect model and muse. With her delicate restrained portrayal, we felt the frustration of her character as she tried to live with this challenging conundrum of a man whom she loved. She ably provided the stark contrast as required.

Lesley Manville earned an Oscar nomination for Best Supporting Actress for playing Cyril Woodcock, Reynolds' formidbale elder sister whom he cannot live without. She manages all aspects of Reynolds' life to keep his mind clear for his artistry. Each scene with her had considerable tension, especially those with Cyril imposing herself between Reynolds and Alma. It is just too bad that her screen time was not as much than I was expecting.

There are two technical categories which I feel "The Phantom Thread" will really figure in prominently. The original score of Jonny Greenwood is lush orchestral or piano music with a Baroque flavor which pervades every scene. This type of music was something I did not expect from Greenwood, who is better known as the guitarist of Radiohead. As would be expected for a film about couture, the elegant costume designs of Mark Bridges are front and center in every scene. I am betting on Bridges to bring home the Oscar.

Paul Thomas Anderson first gained prominence for writing and directing "Boogie Nights" (1997), and since then, all his films became cinematic events met with critical acclaim: "Magnolia" (1999), "Punch Drunk Love" (2002), "There Will Be Blood" (2007), "The Master" (2012), now this one. He missed a Screenplay nod this year, but he gains his second Best Director nomination. In "Phantom Thread," Anderson foisted upon us a problematic relationship, where the toxicity of one's personality could only be countered by a toxicity of a more literal sort. It may not sound so good on paper, but on the screen it was as nail-biting as it was mesmerizing. That is what a good director can do. 8/10. 

Review of LADY BIRD: A Teenager's Thirst

March 1, 2018

2 years ago, come Oscar time, Saoirse Ronan starred in "Brooklyn," a coming-of-age film of a girl from Ireland who went to seek her fortune in New York City. That film earned three nominations, including Best Picture, Best Adapted Screenplay and Best Actress for Ronan. This year, Ronan is again starring in a coming-of-age film about a girl from Sacramento who also wanted to seek her fortune in New York City. This new film "Lady Bird" won 5 Oscar nods, including Best Picture, Director, Original Screenplay, Supporting Actress and again Best Actress for Ronan.

The year is 2002. Christine "Lady Bird" MacPherson is a high school senior in a Catholic school in Sacramento, California.  Her interests were in the arts and she believed that she has to leave her home town and go to the East Coast to find culture. In between her mother sermonizing and her father losing his job, she spent her senior year joining the theater club, getting romantically involved, and choosing the college she wishes to attend. 

Saoirse Ronan is really one simply sincere actress. I've seen her breakthrough film "Atonement" where she earned her first Oscar nomination for Best Supporting Actress at age 13. Since then, it does not seem she is doing any acting at all. She seems so naturally quirky, her character's idiosyncrasies do not look put on. While millennials will totally identify with what Lady Bird going through, I could not. Lady Bird is a girl who knows what she wants, and will do anything she needs to do to get it. Watching this film from a parent's point of view, I could not help but find Lady Bird as bratty and disrespectful to her mother. 

This is why I preferred the performance of Laurie Metcalf as Marion, Lady Bird's loving but exasperated mother. Parents in the audience can all identify with her frustrations in trying to talk some sense to a headstrong teenage kid. I only remember Metcalf from her role as Rosanne's sister Jackie on TV during the entire run of that series from 1988 to 1997. This role earned Metcalf three consecutive Emmys for Supporting Actress in a Comedy from 1992 -94. I think this would be the first time I had seen her again since then. She would have had a good chance to win the Oscar for Best Supporting Actress, were it not for Allison Janney's abusive mother character in "I, Tonya" which was more bombastic than Mercalf's strong-willed mother character here. 

Tracy Letts (whom I also saw in "The Post") played Lady Bird's gentle father Larry. He is the calming presence in their turbulent household. Lucas Hedges (Oscar nominated for Best Supporting Actor in "Manchester by the Sea" last year) plays Danny O'Neill, Lady Bird's crush in the theater club, who in turn had his own separate interests. Timothee Chalamet (the youngest ever Oscar Best Actor nominee for his breakthrough film "Call Me By Your Name" this year) was a big surprise to see here as the snobbish cad Kyle, the boyfriend girls fall for, but parents dread. 

Maybe it is the fact that this film was written by Greta Gerwig as her solo directorial debut that gave it added sheen. I first heard about Gerwig back in 2012 for the film "Francis Ha" which she co-wrote with director Noah Baumbach and starred in the lead role. The set-up of that film was something like this one too -- just depictions of regular daily goings-on for the lead character. But then again, its just that -- a mundane reflection of suburban life in America, this time from a teenager's point of view. "Lady Bird" is not a bad film as it depicts realistic family dynamics, but I think it may not be enough to win as Best Picture. 7/10. 

Review of THE SIGNIFICANT OTHER: Catty Clashes

February 28, 2017

Just a week right after we watched an adultery-themed flick in "Sin Island," here comes yet another one with "The Significant Other." Aren't there any more interesting issues our mainstream filmmakers come up with? If it is not a millennial romantic comedy, then it is a millennial infidelity drama -- which inadvertently turns out to a comedy too. Unfortunately, this was the only film in the cineplex that matched the time I had to kill. I got my wish granted. My two-hours of time spent watching this was literally killed.

This Joel Lamangan film starts with a big catfight between two models during a fashion show for wedding dresses. The combatants were the comebacking star Maxene versus the upcoming star Nicole. The ruckus was over the young hotshot dermatologist and cosmetic surgeon who had been juggling his time between them both -- Dr. Edward Santillan. 

From that scandalous prologue, we then get to learn the story of Nicolodia Dimaculangan, who just lost a barrio pageant for Miss Bacacay, but was noticed by a model agent from Manila. Because Nicole had a big birthmark on her neck, she was referred to Dr. Santillan to have it removed. During the course of their treatment, the doctor made advances with his patient, and the thrilled patient gladly reciprocated. 

Then we go over to the story of Maxene de Vera, who dropped out of the modelling scene at the height of her career to go to the States to give birth to her child by her husband Dr. Edward Santillan. However, they agreed that this will be a secret marriage that no one in the press or society should know about. While Maxene got too busy on her return to active modelling, the sneaky Edward took advantage and hooked up with the clueless Nicole.

Of course, the two ladies (the elegant Lovi Poe as wife Maxene, and the perky Erich Gonzales in the title role of "significant other" as Nicole) are both very easy on the eyes. If the story is very flimsy and the writing of the script is absurd, their beautiful faces by themselves would not be able to make a two hour-plus long film bearable to sit through. These two ladies were constantly making the wrong decisions and saying the wrong words. Ladies should not have demeaned themselves like this for a man like that. 

Tom Rodriguez was made to do so many things wrong as a doctor (that is, aside from the adultery.) He high-fived the patient while doing a procedure wearing gloves. Right after treating the neck of the patient (with what looked like a turned-off laser machine), he goes down for a kiss the operative site! He also asked his nurses to go home early in order to leave him alone in his examination room with a female patient. (Of course, these nurses leave ALL the doors of the clinic open, ready for a surprise visit from the wife.) 

As a leading man, Rodriguez must be a good-looking man in person, but he did not register well on the screen in this one. (You can actually see it in the poster already.) The camera had several unflattering shots of his face in various awkward expressions, as if he (the actor) could not wait to extricate himself from unconscionable situation he (the character) so willfully entered for the most shallow, most inexcusable reason. There was no way any actor could have pulled off that garish public confrontation scene or that weepy apology scene with his dignity intact. 

Dina Bonnevie and Snooky Serna co-star as Jessica and Delay, the mothers of Maxene and Nicole respectively. Apparently, they also became mistresses themselves in the past, as if saying that these things are such commonplace aberrations. They also have a featured catfight of their own, but of course! Nevertheless, it was good to see these two "Underage" girls together onscreen again. I hope this means that their reunion with Maricel Soriano for an "Overage" movie will really push through.

If you go to watch this for the sex scenes, they were more sterile than the surgery scenes. The extent of cinematic imagination in these scenes was exemplified in two scenes. In the first one, guy parks his car on an isolated roadside and begins his make-out moves on the girl. Then the roof of the convertible retracts and then scene shifts to an overhead drone view. The second scene shows the legs of the illicit lovers in bed, while the wife was seen having her photoshoot outside from the window. 

The whole "secret marriage" situation was contrived with a capital C, especially since they already have a five year old son. How could they keep that a secret for long in reality? It just made it more convenient for the guy to bed as many unsuspecting ladies. In the end, there was also a contrived attempt to make everybody look like they have moved on in no time, as if everything was ok in a few months (the son is still the same age). This "all's well that ends well" scenario further highlights the shallowness of this whole exercise. 3/10. 

Review of THE SHAPE OF WATER: Comfort from a Creature

February 22, 2018

This was the film I was most excited to see for this Oscar season. "The Shape of Water" led all contenders for the Oscar with 13 nominations in the following categories: Picture, Director, Actress, Supporting Actor, Supporting Actress, Original Screenplay, Original Score, Costume Design, Production Design, Sound Editing, Sound Mixing, Film Editing and Cinematography. Critics Choice gave it 14 nominations. BAFTA gave it 12. Definitely, this is a must-see film.

It was the early 1960s in Baltimore. Elisa Esposito was a janitor at a government research laboratory. She was mute because of a neck injury she sustained as a child. She led a lonely life, with only her two close friends: Giles (an old gentleman who lived next door) and Zelda (her outspoken co-worker). One day, Col. Richard Strickland brought to the lab a humanoid water creature captured from a river in South America. Saddened by the harsh treatment it got from Strickland, Elisa formed a friendship with the creature, a bond that eventually developed into love. 

Director Guillermo del Toro had long been associated with creature or monster films, like  "Hellboy" (2004), "Pan's Labyrinth" (2006) and animated TV series "Trollhunters" (2016). "Pan's Labyrinth" was del Toro's first brush with Oscar, when it was nominated for Best Foreign Language Film as well as Best Original Screenplay. He won neither back then, but this year he is poised to win the big prize. For "The Shape of Water," Del Toro had already won Best Director at the Golden Globes, BAFTA, Critics Choice and the Director's Guild. The Oscar is clearly not far behind. 

The original score by Alexandre Desplat had already won in the Golden Globes and the Hollywood Music in Media awards. The nostalgic score set the tone effectively for a storybook romance, encouraging the audience only to see the beautiful in the female human - male fish creature relationship we see on the screen, dispelling any hint of disgust which may interfere with that image of pure love. The use of vintage love songs in the soundtrack likewise worked to achieve this idyllic atmosphere. 

Sally Hawkins had an innocent type of beauty which worked to her favor as the lonely and vulnerable Elisa. Her inability to speak made her role more challenging by forcing her to rely more on facial expressions and sign/body language alone to get her emotions across. She did enough to deserve an Oscar nomination. It certainly was not easy to create romantic chemistry with a likewise mute green amphibious creature (played by del Toro staple actor Doug Jones in a prosthetic body suit) like sweet Hawkins gloriously did here. 

The actors who played her two close friends also get nominated for Oscars in their supporting roles. Richard Jenkins owned his meaty role as Giles, Elisa's fellow lonely soul who loved cats, art, old movies, and pies. Octavia Spencer did not have much to do except to be Elisa's literally supportive friend Zelda. One would wonder what Oscar spell she cast to nab her third nomination for an unremarkable role as this one. Her previous nominations for "The Help" (2011, for which she won) and "Hidden Figures" (2016) were more deserved than this one. 

Michael Shannon played the alpha-male Colonel Strickland, who had a disturbing streak of violence in him. Michael Stuhlbarg marked a great year in his career last year by having been cast in three films nominated for the Best Picture Oscar.  Fans loved his role as Elio's supportive father in "Call Me By Your Name." He played a New York Times editor in "The Post." He had a marked role in "The Shape of Water" as Dr. Hoffstetler, a scientist with an ulterior motive and a desire to keep the asset alive. The Cold War espionage aspect gave the story more grit, but I thought those scenes of explicit violence did not fit right. 

However, I just wished del Toro could have just kept to the wholesome fairy tale spirit of this tale, without the Rated R sex. In the beginning montage alone depicting Elisa's daily routine, there was an unexpected scene of Hawkins fully nude, then later getting herself off in the bathtub. Even Strickland's wife showed her breasts before a brutish bed scene. I did not really see why del Toro had to be so frank about sex at all. Was it to give a different spin from "Beauty and the Beast" whose basic plot it shared? The film would have had a more widespread appeal without them. 

Being the film with the most number of nominations, will "The Shape of Water" go all the way and win the Oscar for Best Picture? It won "The Golden Lion" at the 2017 Venice Film Festival where it debuted. It won the Critics Choice award for Best Picture. It also won the Producers Guild award for Best Theatrical Motion Picture. Best Director may already be a lock for Guillermo del Toro, but I am betting that another film will win Best Picture. 6/10. 

Review of THE POST: A Pressing Predicament

February 21, 2018

There had been a number of newspaper-based historical drama films which had been critically-acclaimed in the past years.  "All the President's Men" (Allan Pakula,1976) dealt with a couple of reporters from the Washington Post investigating the Watergate scandal.  "Zodiac" (David Fincher, 2007) was about the reporters from the San Francisco Chronicle investigating the Zodiac serial killer. "Spotlight" (Tom McCarthy, 2015) finally brought home the Oscar for Best Picture, telling a story about reporters from the Boston Globe investigating child sexual abuse by Catholic clergy. 

"The Post" (Steven Spielberg, 2017) joins this illustrious list. This new film follows management and editors of the Washington Post (again) as they decide whether to publish (or not) the very controversial Pentagon Papers (a study about the US involvement in the Vietnam War). These top secret documents had initially been exposed by their rival New York Times, which led them to major legal entanglements with the government. Should the Washington Post follow suit and risk their already unstable financial conditions?

For the editor-in-chief Ben Bradlee, they should just go ahead and publish their story, as freedom of the press should always be upheld. He had long been waiting for a story like this to boost the status of his paper. However, the final publication decision lay on the current owner and publisher of the Washington Post, the gentle and unconfident Katharine Graham. Ms. Graham had inherited her position following the death of her husband Philip in 1963, and was then the first female publisher of a major American newspaper. She had usually deferred to the decisions of the men around her. However, for this sensitive decision of great national, moral and financial significance, it was all up to her.

Tom Hanks played Ben Bradlee, who led the male-dominated newsroom of the Washington Post. Hanks is really a very comfortable actor in films like this, never felt like he was acting at all. Bob Odenkirk played Post national editor Ben Bagdikian who was able to track down the source of the leak. His showcase scene was when he was all jumpy and excited at the payphone as he learned some vital information. Tracy Letts was Fritz Beebe, Bradley Whitford was Arthur Parsons -- both holding influential positions at the Post but each with contrasting viewpoints.

Aside from Best Picture, the only other Oscar nomination nabbed by "The Post" is Best Actress for no less than Meryl Streep, her 21st Oscar nomination for acting overall. This was not a bombastic role like Miranda Priestly or Margaret Thatcher or Julia Child or Florence Foster Jenkins. Even if I did not know who the real Katherine Graham was, I can feel that this was a quiet performance of gracefully nuanced detail about a self-doubting woman who had to deal with tough issues of gender politics and press integrity. This role may not win her the Oscar, but this was yet another realistic portrayal that seems so natural for Streep. 

Other important supporting actors were Bruce Greenwood (who played embattled US Secretary of Defense Robert McNamara, who commissioned the Vietnam study in the first place), Matthew Rhys (who played the disillusioned military analyst Daniel Ellsberg, the source of the leak) and "Call Me By Your Name" actor Michael Stuhlbarg (who played newsman A.M. Rosenthal from the New York Times which first broke the story). Sarah Paulson played Ben Bradlee's wife Toni, who made him realize some matters he had failed to see because of his hunger for sensational news. 

Even if I did not know anything about this controversy, nor any of the personalities involved, Steven Spielberg and his cast really had me engaged from beginning to end. For those like me who did not know the outcome, the whole film unfolded like a tightly-wound thriller without any action scenes. It first introduced us to the key personalities, and then proceeded to build up to that critical moment of the all-important decision. The fantastically authentic production design, the exciting editing of the scenes, the urgent musical score (by John Williams) all contributed to the effective storytelling. 

The release of this film now in the face of various issues of governmental control versus freedom of the press are very much in the news. When you learned at the end about how Nixon actually barred reporters from newspapers he considered offensive from covering him at the White House, a very current event of similar nature immediately came to mind. Such was the ever-volatile relationship between government and the press back then, and still is, apparently, up to now. 8/10. 

Review of BLACK PANTHER: Empowered Ebony

February 18, 2018

This newest Marvel film told the legend about one of the new heroes I first met in "Captain America: Civil War" (2016) -- the prince, later king, of Wakanda, T'Challa, and his superhero persona, the Black Panther. I never knew about this character before, and Chadwick Boseman gave this black superhero an electrifying debut. It was apparent from that point that the Black Panther was going to get a proper origins movie of its own, and now here it is -- a critical and commercial success in its first week out. 

Following the assassination of his father T'Chaka, T'Challa returned to his home in Wakanda to be crowned king in the presence of his family, significant other Nakia and the rest of his country. However, when a serious threat to the throne was posed by Eric "Killmonger" Stevens, a cocky American challenger with royal Wakandan blood in his veins, a long-kept secret about the former king is revealed, and the call for sharing Wakanda's secret wealth and technology with the world is renewed.

The whole look of imaginary country Wakanda is a result of meticulous visual effects work, a result of the fertile imaginations of its artistic creators. From the cliffs and waterfalls of its ritual arena, to its wide open fields where the giant rhinoceroses roam, to its modern city skyline with its sophisticated train system and its futuristic interior designs (yet fully retaining its ethnic flavor), the special effects to create all those diverse landscapes of the country "hidden in plain sight" looked very realistic and inviting to go visit.  

Another very remarkable aspect of the film is the role of women. Nakia (Lupita Nyong'o) was an undercover spy sent by Wakanda to international missions. T'Challa's younger sister Shuri (Letitia Wright) is already quite the technical wizard at 16 years of age, in the same fashion as Q was for James Bond. Even though her gadgets are very high-tech, she makes sure it carried a distinctly African design. The Secret Service bodyguards of T'Challa is an all-female group called the Dora Milaje, led by the amazonic Okoye (Danai Gurira). Of course, the former queen and T'Challa's mother Remonda is impressive just because she is played by ever-elegant Angela Bassett.

I may be in the minority but I found the supporting male actors and their characters more interesting than lead actor Chadwick Boseman and his portrayal of T'Challa. Boseman was not in anyway bad, mind you, but the others seemed to have better screen presence. There was the magnetic Michael B. Jordan and his powerful portrayal of the main antagonist, Killmonger. Jordan had been the star of director Ryan Coogler's two previous films before this, "Fruitvale Station" (2013) and "Creed" (2015), so they know each other very well indeed.  Oscar winner Forest Whitaker (as spiritual leader Zuri), Oscar nominee (for "Get Out") Daniel Kaluuya (as T'Challa's warrior friend W'kabi) and Winston Duke (as rival Jabari warlord M'baku) also made very strong impressions. 

This film was a gloriously rich celebration of African culture, with several tribal influences seen in the costume design (by 2-time Oscar nominee Ruth E. Carter), production design (by Hannah Beachler), musical score (by Ludwig Göransson, with a soundtrack featuring songs by hip-hop star Kendrick Lamarr!) and choreography (by percussionist Jabari Exum). This resplendent cultural color and pride brought about by all these potential award winning technical artists were what made this film stand out above all Marvel Cinematic Universe films, not really its superhero aspects. 8/10. 

Review of SIN ISLAND: Temptation, Tryst, Terror

February 16, 2018

There is really a fascination about mistresses in Filipino films. Usually, filmmakers use this topic for titillating sexy dramas. I guess that is what mistresses are for, aren't they? "No Other Woman" (2011), "My Neighbor's Wife" (2011), "A Secret Affair" (2012), "The Mistress" (2012), the list goes on and on, and so is the unfortunate impression that this is already an accepted practice (especially when even public figures are not shy about their mistresses anymore). Here is another one to add to that list.

David Santiago is a hotshot photographer for fashion and weddings. His beautiful bride Kanika (where did that name come from?) is an airline stewardess. A business misfortune sidelines David for two years when he did nothing but wallow in his misery while his wife brought home the bacon. When David noticed Kanika enjoying the flirting moves of her macho pilot Stephen, he took off on a solo getaway to the island resort of Sinilaban, or "Sin Island" for short. He would not stay solo for long.

Xian Lim totally shed off his wholesome image for this project as his character David engaged in steamy sex scenes with two sexy women. While he shows off his torso, he remained shyer than his co-stars as he would keep himself covered under the sheets. The acting is adequate, though there could still room for further emotional breakdown. David really does some pretty stupid things, and we see the cluelessness in Lim's face. He has broken off his long-time love team with the ever-virginal Kim Chiu just in time to do this "mature" role, so let's see where this move will take his career from now on. 

Coleen Garcia already shed her sweet image a while back when she did the sexy telenovela "Pasion de Amor" (2015-16). She also starred in sexy dramas like "#Y"(2014), "Friends with Benefits" (2015) and "Love Me Tomorrow" (2016) -- all under the direction of Gino M. Santos, also the director of "Sin Island". Here, she get romanced (separately) by both her husband and her pilot, including a scene where she got naked while making out in a dark hallway in a hotel. Her acting was also just right, but a more mature actress could have limned something more out of those heated confrontation scenes. 

Nathalie Hart is Tasha, an uninhibited woman whom we first see doing her yoga poses on the beach -- in the nude. Hart's career took off only two years ago when she began doing daring roles in indie films like "Siphayo" (with Luis Alandy and Joem Bascon) and "Tisay" (with JC de Vera). My first time to see her was in Cinema One Originals 2017 entry, "Historiographika Errata" (MY REVIEW) where she again engaged in torrid sex scenes with Jess Mendoza and Rafa Siguion-Reyna. She is bold alright, no qualms in showing her breasts and her buttocks in broad daylight. Her Tasha is loud, florid, fearless, tactless and crazy -- red flags from the get-go. 

As was obvious from the trailer, the best part of this film is its lush cinematography by Mycko David, with those creative camera angles and effective use of lighting to showcase the beautiful houses, offices, beaches, faces and bodies in order to enhance the sexy mood. 

I do not really know what to make about the odd decision to use KZ Tandingan's sultry version of Imelda Papin's "Isang Linggong Pag-ibig" to accompany the main sex scene. I thought it was more distractingly funny. The song was too campy to be sexy at all.



***** Spoiler Alert



The script (interestingly credited to be written by Jancy E. Nicolas, based on the original screenplay by Keiko A. Aquino) started promisingly as it tackled the roots of adultery. However, towards the third act, it makes a sudden unexpected turn into "Fatal Attraction" territory. This reference was all too obvious for those who knew that 1987 classic film about the horrific consequences of infidelity, it can't be missed -- down to that final knife battle and killer who refused to die. 5/10. 

Review of THREE BILLBOARDS OUTSIDE EBBING, MISSOURI: Calling for Closure

February 16, 2018

This film has such a long unwieldy title which may puzzle moviegoers. However, with all the critical acclaim this film received since its debut, as well as all the awards and citations it had gained over the past three months, this is a film that simply cannot be ignored. It had just gained 7 Oscar nominations, including Best Picture, Original Screenplay, Actress, two Supporting Actors, Original Score and Film Editing.

It had been seven months since Angela Hayes had been raped and murdered. Up to now, there had yet been no leads on the perpetrator of the crime. Desperate and angry, her mother Mildred rented three unused billboards outside their town to express her frustration, calling out police chief Bill Willoughby for his apparent inaction about Angela's case. Mildred's bold move earned the ire of her neighbors, especially the police -- officer Jason Dixon in particular. Mildred did not care and insisted on her call for justice.

The search for elusive justice can sometimes lead people to do the craziest things, and Mildred Hayes really went the whole nine yards on this. Frances McDormand really squeezed everything out of this character, there is really nothing any other actress could have done for this role to make it better. People who have seen McDormand act know how deadpan her face can be, yet it was always a wonder how it could be so effectively expressive at the same time -- it was amazing to watch. She is my bet to win Best Actress come Oscar time this year, her second since winning for "Fargo" in 1996. 

I have to admit that Sam Rockwell is not an actor I liked. This was ever since I saw him give a lousy lead performance in that terrible mess of a film called "The Hitchhiker's Guide to the Galaxy" (2005). When I recognized him in this as the racist, impulsive, over-the-top violent policeman Jason Dixon, I was prepared to hate his character all the way. However, Rockwell actually had me changing my mind about him, the way he rode the wave of this character's interesting and eventful arc. I can't believe I am saying this, but I think he might just go home with the Oscar for Best Supporting Actor this year.

Woody Harrelson played the embattled though well-loved Police Chief Willoughby. He knew Rockwell had the showier role, so Harrelson had the right sense to play his character with restraint and composure. This made his character very enigmatic and sympathetic. This wise approach also led to his surprise third Oscar nomination for his supporting performance here. His previous Oscar nominations were for Best Actor in "The People vs. Larry Flynt" (1996) and Best Supporting Actor in "The Messenger" (2010). 

I had heard of Martin McDonagh before as a playwright. I had seen a locally staged and adapted production of one of his plays entitled "The Pilllowman" (MY REVIEW). That play tackled a very disturbing topic about child murders.  in 2009, I had also seen one of McDonagh's previous films called "In Bruges" (MY REVIEW). These works, including this new one, really affirmed Martin McDonagh's skill with black comedy. 

How McDonagh wrote and directed his story for the big screen is nothing short of outstanding. A black comedy is not always an easy movie to watch, but the way McDonagh crafted it with all those unexpected twists and turns really drew me in and kept me engaged. That is saying a lot, since ALL the major characters in this film were just so unlikable and unpleasant, no one really that you'd like to meet in real life -- however they were all so compellingly portrayed you could not stop watching them wreak hate on that screen. 

Out of the seven Oscar nominations it earned. I am betting on "Three Billboards" to win at least four. Martin McDonagh should win the Oscar for Original Screenplay, especially since it was very surprising that he was snubbed for Best Director. Frances McDormand and Sam Rockwell should win for Best Actress and Best Supporting Actor respectively, like they won the Golden Globes and the Screen Actors Guild awards. And so far, I am betting on "Three Billboards" to win the biggest Oscar prize -- Best Picture! 9/10. 

Review of DARKEST HOUR: Channeling Churchill

February 15, 2018

I knew Winston Churchill only as Great Britain's Prime Minister during World War II, the contemporary of FDR of the United States and Adolph Hitler of Nazi Germany. Maybe I know a quote of his about "blood, sweat and tears." However, apart from those shallow pieces of knowledge, I do not know much anymore about the person he was nor his exact achievements during the war. Getting to know this historical personality through this film would serve as the impetus to make me read more about him afterwards, as it usually happens to me for other historical films I watched before. 

The story of "Darkest Hour" begins in May 1940 when then Prime Minister Neville Chamberlaine was forced to resign by the British Parliament for perceived incompetence regarding national security against Nazi Germany. Despite his unpopularity because of his abrasive personality and seemingly reckless decisions, Winston Churchill was still named as the new Prime Minister. The rest of the film recounts his contentious relationship with his War Cabinet which includes pro-peace Viscount Halifax, and Churchill's decisions during  the Dunkirk siege.

So, thank to the coincidence that Christopher Nolan's film "Dunkirk" was released just about six months ago so we are already familiar with what happened on the battle front. "Darkest Hour" tells us what was happening in the War Room back in London that led to what happened on that beach in Dunkirk. This was a pure political drama, all talk and arguments. It was amazing that director Joe Wright was able to hold our interest for two hours. 

The film had been nominated for six Oscars for Best Picture, Actor, Cinematography, Production Design, Makeup and Costumes. The absence of a Best Director nomination for Joe Wright does not bode to well for its chances for Best Picture. These technical citations for historical realism are in stark contrast to the other nominees for more fantastical subject matter. Acting of supporting actors like Kristin Scott-Thomas (as Churchill's wife Clementine) and Ben Mendelsohn (as King George VI) had also been cited by other awards bodies. 

The success of this film was due in large part to the performance of Gary Oldman as Winston Churchill. Critics and audiences alike have been unanimous with the praises for his uncanny impersonation. As I had confessed earlier, I had no idea about how he acted or how he spoke in real life, so I cannot comment on the accuracy of his impersonation. I was actually very surprised with some bombastic behavior and pronouncements shown in some scenes. However, it was the intensity and sincerity of Oldman's performance rang truest in those passionate speeches he delivered and quiet personal moments he shared.

Of course, since the real Gary Oldman does not look a thing like Winston Churchill, a major part of his winning performance was thanks to his meticulous make-up team. Honestly though, do you know Gary Oldman really looks like? This actor is a true chameleon, he can really disappear into any character he played, be it Sid Vicious ("Sid and Nancy,"1986), Lee Harvey Oswald ("JFK," 1991), Count Dracula ("Bram Stoker's Dracula," 1992), Ludwig Van Beethoven ("Immortal Beloved," 1994), Sirius Black ("Harry Potter" films, 2004-11) or George Smiley ("Tinker Tailor Soldier Spy," 2011). 

His performance in "Darkest Hour" was certainly his master work as actor. There was practically nothing left of Oldman in his portrayal of Churchill. Following the Golden Globes, Critics Choice and Screen Actors Guild trophies he had already won, Oldman is practically a sure lock as Best Actor come Oscar time. This Oscar is not just in recognition for this one truly remarkable performance of his, but will also be a lifetime achievement award for his career as a movie actor as well. 7/10. 

Review of ALONG WITH THE GODS: THE TWO WORLDS: Defending the Deeds of the Dead

February 11, 2018

I was not actually planning to watch this Korean film since I had not heard about it before. That was the case until I saw ads that it will actually have screenings in 4DX! Now that caught my attention as 4DX are usually reserved for Hollywood blockbusters. I thought that was convincing enough a reason to go catch its release in local theaters. As of this writing, this film had just overtaken "Ode to My Father" (MY REVIEW), and is now the second biggest Korean box office hit OF ALL TIME!

A fireman named Kim Ja-hong (Cha Tae-hyun) died a heroic death in the line of his duty. A head guardian of the afterlife, Gang-rim (Ha Jung-woo), and his two assistants Haewonmak (Ju Ji-hoon) and Deok-choon (Kim Hyang-gi) escort the soul of Ja-hong in the world beyond. They will have to defend Ja-hong in front of the gods heading the seven hells, namely Murder, Indolence, Deceit, Injustice, Betrayal, Violence and Filial Impiety. Only if he can pass these trials in all these courts can his soul be reincarnated.

I had seen the lead actors in at least one previous film before. Ha Jung-woo also played the lead in "Tunnel" (MY REVIEW) and "The Handmaiden". His portrayal of Gang-rim was noble, fair and willing to go against the rules. Cha Tae-hyun was most famous for "My Sassy Girl" (MY REVIEW). His portrayal of Ja-hong never gave away how the story was going to go. Ju Ji-hoon was in "Asura: The City of Darkness." His character here had a gangster-like vibe to him. Kim Hyang-gi is only 17 years old, but she held her own as Ja-hong's kind and empathetic guardian. 


As far as tear-jerking drama is concerned, Korean filmmakers really know how to hit that sensitive spot. Whenever Ye Soo-jung (as Ja-hong's mute Mother) was on the screen, get your hankies ready. Do Kyung -soo, who was so good in "My Annoying Brother" (MY REVIEW), also had dramatic moments as the guilt- tormented soldier Won Il-byung. There is also a touch of humor in the characters of two persistent prosecutors against Ja-hong, played by veteran actors Oh Dal-su and Lim Won-hee. 

The whole film was a visual effects extravaganza, though some effects were better than others. The various courts of hell were set in various fantastical landscapes which presented a particular challenge for Kim. Murder was in a volcano. Indolence was in a waterfall, Deceit was in a forest. Injustice was on a glacier. Betrayal was in a heavenly passage. Violence was in a sink hole. Filial impiety was in a desert. Kim and the guardians also had to fight with "hell ghouls" unleashed by a vengeful spirit which crossed over in both reality and the afterlife. There were really a lot of exciting action sequences worthy of a 4DX platform (though I only watched in regular 2D).

I found the concept of the afterlife presented by this film to be very interesting. I do not know how much of this was based on actual Korean folklore and how much was just from the imagination of  Joo Ho-min who created the webcomic upon which writer-director Kim Yong-hwa based his script. It says that we have committed some variation of all of these seven crimes in different levels of severity, and we have guardians to help us argue our cases before the gods of the underworld. It was an idea that was as innovative as it was also quite thought-provoking. 

On the debit side, the film tried to squeeze in too many subplots in its 140 minutes such that there are parts that may feel confusing and long. Nevertheless, I'm still looking forward to its coming sequel to be subtitled "The Last 49 Days." 7/10.