Netflix: Review of MA RAINEY'S BLACK BOTTOM: A Performer's Pride and Passion

December 18, 2020

It was 1927 in Chicago. "Mother of the Blues" Ma Rainey (Viola Davis) was recording some of her songs at the studio of Mr. Sturdyvant (Jonny Coyne) as arranged by her manager Irvin (Jeremy Shamos). Her trusty band mates were all there: Custer (Colman Domingo) on trombone, Slow Drag (Michael Potts) on bass, and Toledo (Glynn Turman) on the piano. 

And then, there was also an arrogant and ambitious trumpet player Levee Green (Chadwick Boseman). His "modern" ways of doing music his way did not sit well with Ma and the rest of the band. He felt his talent deserved to have his own band and recordings. His rebellious attitude stirred up major tensions during that fateful recording session. 

Viola Davis played the impossibly imperious diva Ma Rainey who knew her voice was valuable enough for her to insist on what she wanted, while white folks tripped over themselves to keep her happy. She knew what she was worth and she demanded it. This was an empowered role that Davis totally embodied. She's played strong characters before, but this time, her eyes were literally burning out of their sockets. It had only been 3 years since Davis won her first Oscar, but this performance has got Oscar written all across it as well. 

The late Chadwick Boseman already looking very thin physically, but his acting was no less explosive. He had a powerful scene where he was telling the band about a traumatic childhood experience and another one angrily challenging God. Those two scenes may have already have that posthumous Oscar for Best Actor all sewn up for him. Too bad most of the world only knew Boseman as the Black Panther before he passed away. Seeing his performance here as Levee, Boseman clearly had so much more to offer.

The unmistakable theatrical feel of this George C. Wolfe film owed to the fact that the screenplay by Ruben Santiago-Hudson had been adapted from the 1982 play by August Wilson, the same playwright who originally wrote "Fences," for which Viola Davis won her first Oscar in 2017. The remarkable cinematography, faithful period production design, make-up, costumes (by Ann Roth), and jazzy original score (by Branford Marsalis) were all of awards caliber. Denzel Washington wore a producer's hat here, part of his commitment to bring the plays of August Wilson about the African-American experience to the big screen.

African-American racial and cultural pride are front and center of this extraordinary film, and this was further elevated by the passionate performances of Davis and Boseman. 8/10. 

Mini-Reviews: 5 FILMS ABOUT WOMEN BY WOMEN

December 18, 2020

NEVER RARELY SOMETIMES ALWAYS

Director: Eliza Hittman

Writer: Eliza Hittman

Autumn (Sidney Flaningan) was only 17 years-old when she had an unplanned pregnancy. She had decided to terminate her pregnancy, but she needed her parents' consent in her home state of Pennsylvania. After her efforts to induce an abortion failed, she decided to go to New York City to have it done there where it was possible to do so. Her cousin and best friend Skylar (Talia Ryder) went with her and supported her decision. However, the process was not as simple as she had anticipated. 

The unusual title was derived from one quietly moving scene where these words were choices in an interview questionnaire that Autumn needed to answer. Watching this brave indie refreshed the stress of watching another unbearable film about abortion, Cristian Mungiu's 2007 Palme d'Or-winning "4 Months, 3 Weeks and 2 Days" (MY REVIEW). This sensitive topic by itself is not for everyone. The way Hittman told her story with her two raw young actresses had so much grit and realism, it became an even more uncomfortable watch, but it was likewise compelling and informative.  8/10.

I AM WOMAN

Director: Unjoo Moon

Writer: Emma Jensen

In 1966, a young single mother from Australia named Helen Reddy (Tilda Cobham-Hervey) arrived in New York for an audition for a recording contract which never happened. Helen became close friends with journalist, feminist and fellow Australian Lillian Roxon (Danielle Macdonald). Later, she met and married a charming talent manager Jeff Wald (Evan Peters). He brought her to Los Angeles to launch her career, which peaked with the release of the women's movement anthem "I Am Woman" in 1972. 

The clear strong singing voice of Helen Reddy was familiar to me growing up, with her songs like "You and Me Against the World," "I Can't Say Goodbye to You" and of course, "I Am Woman." It was quite a surprise to learn about how ironic her real life with husband Jeff Wald was. Cobham-Hervey portrayed Reddy as a weak, hapless and clueless victim, in stark contrast to the strong feministic message of her signature hit. The film wallowed in melodrama most of the way, but it was her famous songs that pretty much kept it afloat. 7/10.

WANDER DARKLY

Director: Tara Miele

Writer: Tara Miele

Adrienne (Sienna Miller) and Matteo (Diego Luna) were new parents, but their marriage was in a very rough patch. One night, after coming home from a party, the two had an argument in the car which was cut short by another car crashed into theirs. When Adrienne woke up, she lingered in a state which felt like limbo, not knowing if she was alive or dead. Unlike others, Matteo was able to see her. so the two confront each other about their relationship, going through events in their past as these shaped their course as a couple.

The concept of this film was very interesting with the troubled couple trying to heal their relationship beyond the confines of life. I knew what it was trying to do but it was difficult to follow exactly what was going on, which was real and which was not. However, the performances of Miller and Luna succeeded to draw me into their stories, made me care and root for them to figure things out between them. This makes people realize how sometimes the most seemingly minor words or events can actually mean so much to their partners. 7/10.

THE ASSISTANT 

Director: Kitty Green

Writer: Kitty Green

Jane (Julia Garner) had been working as a junior assistant for an executive at a film production company in New York City. In the course of a single day, she would see how her boss espoused sexual harassment and infidelity in various forms. Jane tried to express her observations with Human Resources head Wilcock (Matthew McFayden), but he even accused her of being jealous. Jane knew then in order to keep her job, she should just learn to turn a blind eye to matters like this.

I knew Julia Garner from TV series "Ozark"  where she played Ruth Langmore, the direct opposite of her character here. If Ruth was spirited, street-smart and confident, Jane was mousy, shy and introverted. Writer-director Kitty Green was not afraid to take her time to document Jane's even most mundane duties in the office and errands outside. This will tax the patience of audiences who could not wait for something to happen. Nothing big ever did really, but Green's message about misogyny in the workplace was well-appreciated. 6/10.

LUXOR

Director: Zeina Durra

Writer: Zeina Durra

A British volunteer doctor Hana (Andrea Riseborough) was on a leave from her harrowing duties at the war zone on the border of Jordan and Syria. She decided to return and spend time in the ancient city of Luxor.  While walking through the city, she unexpectedly ran into her ex-boyfriend Sultan (Karim Saleh), an archeologist who was working on a dig there.  The two reconnected while walking through the pyramids and temple ruins, as Hana contemplated on the uncertainty of her future. 

If you thought "The Assistant" was slow, this one was even slower. Writer-director Zeina Durra followed the reticent Hana as she walked though the different places of interest in Luxor and experienced some of its culture. Exposition was so spare, such that if you blink and miss that one key scene in the temple, you'll be in the dark why Hana was even in Luxor. Riseborough was an epitome of restraint and introspection here. She never really let us in on what Hana was thinking about in her desert sojourn, up to its nebulous end. 5/10

Netflix: Review of THE PROM: Illuminating Inclusivity

 December 11, 2020

Self-absorbed Broadway stars Dee Dee Allen (Meryl Streep) and Barry Glickman (James Corden)' latest show "Eleanor! The Eleanor Roosevelt Musical" just closed on opening night with terrible reviews. To prove that they were not the narcissistic celebrities they are accused of, they looked for a cause they can try to help solve, thinking that the good publicity will wash their names clean, and put them back into the favor of the press and the Tonys.

Meanwhile, in Edgewater, Indiana, controversy was brewing in James Madison High School, where their bigoted PTA had decided to cancel prom night because Emma Nolan (Jo Ellen Pellman), a 17 year-old lesbian student wanted to bring a female date. Little did the closed-minded PTA president Mrs. Greene (Kerry Washington) know that Emma's girlfriend was actually her own daughter Alyssa (Ariana DeBose), who was still in the closet. 

Gay icon Dee Dee and unabashedly gay Barry thought that Emma's civil rights case was the perfect opportunity for them to intervene and make a major statement  Their friends, constantly ignored chorus girl Angie Dickinson (Nicole Kidman) and currently gig-less actor Trent Oliver (Andrew Rannells) join them on their mission to bring their liberal Broadway sensibilities to fight the outdated conservatism that pervades America's heartland. 

Right off the bat, director Ryan Murphy wanted us to know that he was sparing no expense for this project. There was immediately a grand and glittery musical extravaganza atmosphere with the elaborate and high-energy opening number "Changing Lives," featuring Dee Dee and Barry celebrating on the opening night of their latest show together. This elaborate number went from the red carpet, onto the stage, and into the after-party awaiting reviews.

Meryl Streep's Dee Dee made her grand entrance into Emma's school with the showstopping "It's Not About Me" channeling Eva Peron, catching the eye of principal Mr. Tom Hawkins (Keegan Michael-Key), who was a huge fan of hers. Later, she would perform Dee Dee's iconic song "The Lady's Improving" for Tom right in his office. These two lung-busting song numbers really showcased Streep's vocal range and comic timing, but there were scenes where she was too Patty Lupone for comfort. 

Fresh from the "Cats" nightmare, James Corden may have proven that he is not really cut out to be a movie actor with his awkward, over-the-top performance here as Barry. His songs, like "Tonight Belongs to You" as Barry was giving Emma a makeover, or "Barry Goes to the Prom" as Barry recalled his own sad prom night experience, only had his goofy and enthusiastic "Car Pool Karaoke" goodwill going for them. To be fair, he was better here than in "Cats."

Underused Nicole Kidman, in full Roxy Hart "Chicago" mode, had her own jazzy solo number "Zazz" encouraging Emma to express herself. Andrew Rannell's best number was "Love Thy Neighbor" performed with teenagers in the fountain area of the mall with a definite "Godspell" vibe. He had another song about inclusivity called "The Acceptance Song," which was unfortunately booed off when he tried to sing it in a monster truck arena of all places. 

24 year-old Jo Ellen Pellman makes an auspicious film debut here as Emma Nolan. Her introductory song "Just Breathe" which Pellman sung with a definite "Once on this Island" lilt, related how Emma coped with her daily ordeal in school. She had another song later in the film entitled "Unruly Heart" which had her playing the guitar while singing, with a strong message echoing LGBTQ's endless quest for acceptance in modern society. 

Obviously 29-year old Ariana DeBose played Emma's partner Alyssa had her own moment with her dramatic solo number "Alyssa Greene" which told about her own predicament while she was trapped in the closet by her imperious mother. "Dance with You" was a pretty romantic duet between Emma and Alyssa, as the embattled duo walked in a whimsical garden glittery purple lights. The final song "Wear Your Crown" had a "Hairspray"-like excitement.

Comedian Keegan-Michael Key was a pleasant surprise when he had a song number himself. Musical theater fans will all identify with Mr. Hawkin's wistful song "We Look To You" as he earnestly related to Dee Dee why a secondary school administrator like him would save up to go to the theater, hoping to escape the drudgery of reality by being brought to a place of fantasy by their favorite stage performers.

The message of inclusivity and LGBT rights is in most Ryan Murphy's projects from "Glee" to "Pose," even in his two recent Netflix drama series "Hollywood" and "Ratched." "The Prom" was a lot of fun and exuberant, very campy and gay. Those perky song numbers come one after the other with extravagantly colorful sets, electric youthful choreography and the full Broadway treatment musical theater fans would definitely love. 7/10. 

Amazon Prime: Review of SOUND OF METAL: Hoping for Hearing

December 7, 2020

Ruben (Rhiz Ahmed) was the drummer of his own punk band called Blackgammon, which he formed with his girlfriend and vocalist Lou (Olivia Cooke). One morning, Ruben suddenly felt the hearing in both his ears become muffled and unclear. After doing audiometric tests, his doctor advised him that both his ears are suffering from sensorineural hearing loss, and that he should avoid noisy activities to preserve the hearing that he has left.

Mindful of their gig schedules, Ruben denied his condition and continued to play his drums that night. Whatever hearing he had left in his ears totally disappeared. Ruben could never move on from his anger, only progressing to rage. Lou brought Ruben to a place run by Joe (Paul Raci) that aimed to help deaf people accept their disability and integrate into their new normal life. Ruben did not find it easy to fit into the system of discipline demanded by Joe.

This film co-written and directed by Darius Marder (in his feature film debut as director) tries to put the viewer into the aural experience of deaf people. Its soundtrack is supposed to be how deaf people hear or do not hear the sounds around them. The sound became muffled and annoying at first, and this would eventually progress quickly to absolute silence and be disorienting and scary. This sound and sound mixing was the most remarkable aspect of this movie, and should be in serious contention for technical awards.

In a remarkable acting performance, Rhiz Ahmed became Ruben -- a tattooed ex-drug addict, a rock musician, a rebel, a hedonist. Unlike Joe and his other deaf housemates, Ruben was someone who cannot just simply accept this major life change sitting down. While he eventually learned to sign and interact with other deaf people, he still very much longed to be in the noisy world he came from. Despite restrictions, he was willing to do everything he can in order to get those cochlear implants which he believed could bring him back there.

In my regular day job as an otolaryngologist, I encounter people in various stages of hearing loss. I try to help them in my limited capacity as they try to cope with losing one of their vital senses. I can only imagine the devastating impact of this disability in their lives, especially for those who lost their hearing suddenly. I cannot exactly know or feel what they are going through as they struggle to communicate everyday. I get a brief taste of that difficulty as I try to talk to them during their consultation. What more the people who live with them at home? 

This film may not be perfect. It had very slow pacing. Ruben's character not exactly likable. There was a false sense of ease in the way Ruben was able to get his cochlear implant surgery done, as it is definitely not that quick a process.  However, this film impacted me in a different way as a professional who works with patients with hearing loss. It brought me into a deaf community and how they want to live a life where deaf is not a handicap. It made me aware of how the technology we advise them about may or may not actually help them. This immersive approximation of life as a deaf person is a valuable lesson in empathy. 8/10

Netflix: Review of START-UP: Confronting CEO Challenges

December 6, 2020 

Seo Dal-mi (Heo Jung-eun) and her elder sister In-jae (Lee Re) parted ways in their early teens when their parents divorced. Dal-mi stayed with their father (Kim Joo-hun) who quit his job and struggled to start his own web-based business. In-jae went with their mother (Song Seon-mi) who married a rich man and migrated abroad. 

Fifteen years later, Dal-mi (Bae Suzy) was an ambitious young woman who longed to own her own business despite being university dropout and earning below minimum wage. In-jae, now using her step-father's surname Won, was the CEO of her own cosmetics company. One day, the two sisters meet again in a seminar at the Sandbox, a company owned by Ms. Yoon Seon-hak (Seo Yi-sook) who supported promising start-ups by young entrepreneurs.

As a young girl, Dal-mi did not take her parents' divorce too well. So her grandmother, corn-dog store owner Choi Won-deok (Kim Hae-sook) asked Han Ji-pyeong (Nam Da-reum), a poor, homeless, but very intelligent teenage boy who she allowed to stay in her home, to pretend to be Math Olympiad champion Nam Do-san (Kim Kang-hoon) and become penpals with Dal-mi, a friendship which lasted for a whole year. 

Fifteen years later, Ji-pyeong was a millionaire hotshot CEO of his own investment firm called SH Venture Capital. Meanwhile, the real Do-san (Nam Joo-hyuk) was a brilliant AI developer who founded his own company Samsan Tech with his friends Lee Chul-san (Yoo Su-bin) and Kim Yong-san (Kim Do-wan), but could not get it off the ground business-wise. This was much to the chagrin on Do-san's frustrated parents (Kim Won-hae and Kim Hee-jung).

When I first saw the title of this K-drama, it sounded dry, and did not really did not attract my attention. However, by the second week, when the fourth episode had been aired, there had been significant positive word of mouth about it already on social media, which tempted me to give it a try. By that time, I just watched the finale of another K-drama, and was looking for an currently ongoing series to follow, and this one quickly got me hooked from Episode 1.

Of all the six K-drama series I had finished so far, this was probably the Episode 1 with the most emotional highlights right off the bat. Don't be surprised if you will be tearing up in at least than three scenes before this pilot ends. It certainly made sure we came back for the second episode and get thoroughly hooked into its story and lovable characters. Aside from the cute romantic triangle story, there were very interesting subject matters at its core -- cutting-edge image recognition technology (and its applications for the visually impaired or self-driving cars), and management of businesses in development.

There are scenes of slapstick comedy, mostly care of Yoo Su-bin (as Do-san's excitable friend) and Kim Won-hae (as Do-san's exasperated father), when they would throw tantrums, chase people around or have drunken rants. However, it was those subtler and more symbolic comic moments that made this series quite funny. These delightful moments were best seen in the turning point Episode 7, when the love triangle long brewing among the three lead characters became more clearly defined -- a situation that got full-blown by Episode 8, sparking fans to pick their own "ships", and climaxed in an awesome cliffhanger in Episode 9.

Practically any moment with Kim Hae-sook's precious Mrs. Choi can make you teary-eyed from Episode 1 all the way to Episode 16. She was the dramatic heart of the whole series as it was her character who bound all the characters together with a such rich arc. I had seen her before in the 2012 crime action film "The Thieves" (now also on Netflix) where her portrayal of senior con-woman Chewing Gum won her awards. I will not be surprised when Kim will also be cited as Best Supporting Actress for her role here come awards season.

By Episode 12, I had a feeling this could have been a good ending. It was not happy, but everyone had learned their lesson, sacrificed for love and moved on. However, by Episode 13, things went fast-forward by three years and so did the fortunes of all the characters. Episode 14 may have started off pretty rough for everyone, but  the intense rivalry between the two male leads persisted. By Episode 15, Dal-mi appeared to have already made her choice, a decision which I am sure was met by dismay for supporters of the other contender. The finale reconnected friends and families as expected from light dramas like this.

In its 16 episodes, we learned about angel investors, hackathons, key men, burn rates, aqhiring, elevator speeches, and minimum viable products. We ogled over their flashy Mercedes cars, foldable Samsung smartphones and Desker tabletops. Ultimately, this engaging series made us care about the three main characters enough to make our own decisions as to how we want their love story to end. Whether this series ended the way we wanted it or not, we know that their inspiring story of ambition and scaling up had entertained us well every weekend over the past two months. 

Netflix: Review of MANK: A Sharp Scriptwriter's Story

December 6, 2020

In 1940, Herman Mankiewicz or "Mank" (Gary Oldman) was holed up in a small bungalow in the middle of the Mojave Desert to nurse a broken leg he sustained from a car accident. It was during this time, that Mank had been recruited by director Orson Welles (Tom burke) to write the screenplay for his next project for which  RKO had granted him complete control. Mank would go on a write the script of what was to become "Citizen Kane," loosely based on the life of William Randolph Hearst (Charles Dance). 

10 years earlier, Mank first met Hearst at the set of the latest film of actress Marion Davies (Amanda Seyfried), who called Hearst her "Pops." From then on, Hearst supported Mank's career and invited him to the parties he hosted at his lavish mansion. Mank had a major falling-out with Hearst in 1934 after Mank's drunken rant at one of these parties. Mank described a film about Hearst as a modern-day Don Quixote and Davies as his Dulcinea. Hearst showed him out after telling him the parable of the organ-grinder's monkey.

A major reason for Mank's anger at that party followed his discovery that the big bosses of MGM, namely Louis B. Meyer (Arliss Howard) and Irving Thalberg (Ferdinand Kingsley) filmed smear campaigns against socialist candidate Upton Sinclair (Bill Nye) during the 1934 gubernatorial elections in California. This part about fake news of course is still very rampant in the political landscape today all over the world -- how people are bound to believe false information if they are constantly being told these lies.

Watching 'Mark" will make you want to revisit Orson Welles' classic 1941 opus "Citizen Kane," always mentioned to this day as among the greatest films of all time. You will appreciate the parallelisms Mank made about Hearst and Charles Foster Kane (and Don Quixote). Both were ruthless and rich yellow journalists who had a fancy estate with a zoo and a second-rate entertainer as a wife. It will be very apparent why "Citizen Kane" was a very controversial film at that time, as Mank's references were not exactly thinly-veiled. Citizen Kane was nominated for 9 Oscars, but only took home one -- for Mank's original screenplay, an award which he had to share with Orson Welles, grudgingly. 

Mank was only 55 when he died in 1953, so the 62-year old Gary Oldman was clearly too old to play Mank in his early 30s and 40s. This detail aside, Oldman of course gave an award-worthy transformative performance in the lead role. His delivery of those quick-witted, sarcastic zingers Mank was known for were so smooth and natural. Portrayals of alcoholics have a good track record for winning Oscars, and this one is on that level. That scene of an inebriated Mank's climactic monologue at Hearst's costume party was a major highlight.

Amanda Seyfried gave a sympathetic performance as Marion Davies. When Mank's brother Joseph (Tom Pelphrey) admonished Mank about how his script can affect Marion, this was the part that made me want to watch "Citizen Kane" again to see how Kane's wife Susan was portrayed. Since I read about classic Hollywood, it was interesting to see famous names like MGM mogul Meyer, Thalberg (for whom the honorary Oscar award was named), Hearst and Welles come to life on screen, albeit all in unflattering characterizations.

Director David Fincher and his cinematographer Erik Messerschmidt captured the era beautifully, reminiscent of the black-and-white deep focus style by Welles's cinematographer Gregg Toland (unjustly snubbed by Oscar back then) for "Citizen Kane." The screenplay by Jack Fincher, David's father, was as witty and eloquent as its gregarious subject matter. For fans of "Citizen Kane" and golden age Hollywood as a whole, "Mank" is a definite must-watch. But for those who do not share this interest in vintage cinema, I'm afraid they may not share that sentiment. 8/10. 

QCinema 2020: Reviews of TRUE MOTHERS and ROH (SOUL)

 December 5, 2020

TRUE MOTHERS

Mr. and Mrs. Kiyokazu (Arata Iura) and Satoko (Hiromi Nagasaku) Kurihara wanted desperately to conceive a child but could not. Hikari Katakura (Aju Makita) was only 14 years old when she got pregnant by her boyfriend Takuri (Taketo Tanaka). Her parents sent her off to Baby Baton in Hiroshima, where Asami-san (Miyoko Asada) took her in until she gave birth, then arranged the adoption of her baby to the Kurihara couple. 

Because it devoted significant time to the stories of both women, the film ran for 2 hours and 20 minutes, which can feel slow at times. The story being told could have been told as a short film. However, Ms. Kawase did not take shortcuts to draw us into the emotional turmoil that led Hikari to one day seek out and confront the Kuriharas about Asato. Strange thing was, the ending, while beautifully poetic, still felt somewhat rushed. 

This was a family melodrama done in uniquely a Japanese style by writer-director Naomi Kawase. There was a distance felt between us the viewer and the characters, yet we are not completely detached. This was mainly because of the sensitive portrayals of the two mothers in the life of the little boy Asato (Reo Sato), as well as the motherly woman behind Baby Baton. 7/10.

ROH

A woman Mak (Farah Ahmad) lived in a small hut isolated at the edge of the woods with her daughter Along (Mhia Farhana) and son Angah (Harith Haziq). One day, a dirty little girl covered with grime (Putri Syahidah Nurqaseh) showed up outside their home, so Mak took pity and let her spend the night. The morning after, the girl shocked everyone by uttering a curse against the whole family, then she reached for a knife and sliced her neck.

One day, a hunter (Namron) with a spear showed up at their door looking for a missing little girl. From that time on, all kinds of misfortune soon befell Along, which Mak tried desperately to counteract with various folk rituals involving blood sacrifices of chickens and pigeons, as instructed by their only neighbor, a mysterious old lady (Junainah M. Lojong), who appeared to be knowledgeable about these matters.

There was not really much story in this horror story. However, director Emir Ezwan made up for that by creating an irresistibly creepy atmosphere with its deliberately slow pacing, the startling gory imagery and foreboding musical score and sound editing. Once I saw that unforgettable scene at the start of a poor deer hanging from a tree by its head, I knew this was going to be an uneasy ride into the unknown, but it never really reached the heart of that darkness. 6/10. 

QCinema 2020: Review of MIDNIGHT IN A PERFECT WORLD: Nolan-esque Noir

December 2, 2020

In a not so distant future, Manila already had an efficient transport system and an ideal drainage system. However, the authoritarian government implemented extreme punishment against those who violated laws, called "blackouts."  In response to this, there were a number of "safe houses" for people to seek refuge from police capture. Despite this, there was still a rampant drug problem in the city. The latest craze was Magic Star, said to have the twice the trip of LSD, and the main dealer was the sleazy Kendrick (Charles Aaron Salazar).

A group of four friends got together one night because their common friend Deana had a "blackout" and had disappeared. Mimi (Jasmine Curtis-Smith) was the smart, careful one. Jinka (Glaiza de Castro) was the feisty, impulsive one. Glenn (Anthony Falcon) was the quiet pragmatic one. Tonichi (Dino Pastrano) was the nervous paranoid one. When they were caught on the street when the curfew hour hit, loud sirens and pitch darkness enveloped them. They ran in panic and were able to enter a safe house. Only then did they realize that Tonichi was not with them anymore.

The four millennial lead actors, Curtis-Smith, de Castro, Falcon and Pastrano, all stars of acclaimed indie films of the past, carried the film very well with their individual and ensemble performances. There were senior actors in the cast as well, Soliman Cruz (as Mimi's musician stepfather Fabian), Dolly de Leon (as Tonichi's mother Ella), whose scenes I cannot fit into the whole story. And then, there was that classy lady in the safe house Alma (the ever-elegant Bing Pimentel), who exactly is she and why had she been in three safe houses? To continue the thought, what exactly are those safe houses anyway?

What exactly was the nature of that black alien creature called the "Mimic" in the credits, who could consume humans with its darkness? Who was that man in the first scene played by Brian Sy and what happened to him after his close encounter with the alien? The whole concept of intermixing vivid dreams into the context of reality reminded me of Christopher Nolan's "Inception" (2010) and the Wachowski's "The Matrix" (1999), wherein Dayao incorporated his own brand of horror and political statements. 

The allusions of this film to the current deadly war on drugs were not thinly veiled at all. There was even a line calling it a "beta version of Martial Law," with terms like "curfew" and "desaparecidos" ("disappeared people") being mentioned. The statements after the last credit rolled up spelled Dayao's main motivations out clearly, with statements like Ariel Ureta's legendary "Sa ikauunlad ng bayan, bisikleta ang kailangan," followed by the eternal Filipino civil rights vow and hashtag "Never Again." 

This was a slick suspense horror feature, only the second film of director Dodo Dayao, after his acclaimed debut "Violator" (2014). The plot was a complex sophisticated one with allusions to Philip K. Dick and bilocation, Ley lines and psychogeography.  This film definitely aspired much higher than the folkloric horror tropes he used in "Violator." The cinematography was topnotch with excellent use of pitch blackness. The sound design was remarkable in its use of absolute silence. There may be more questions than there were answers about the story, but visually and aurally, this was such an intense and immersive film experience. 8/10. 

PS: I had a problematic streaming experience with Upsteam - Gmovies platform when watching in my first and second attempts to watch this movie. It repeatedly announced errors to interrupt the stream, which necessitated me to refresh the page in order to resume viewing. Despite this, this remained to be a compelling and thrilling film to watch. I feel this could have been better seen on a big screen in an actual movie house. 

PPP 2020 Premium: Mini-Reviews: THE HIGHEST PEAK, HE WHO IS WITHOUT SIN, COME ON IRENE

 December 1, 2020

THE HIGHEST PEAK

Director: Arnel Barbarona

Writers: Arnel Barbarona, Arnel Mardoquio

David Justambaste (Dax Alejandro), CEO of a Davao-based mining company, experienced a series of tough events in his family, career and health. One day, he booked a spirited Lumad teenage guide Podong (Henyo Ehem) to take him up to the peak of Mt. Apo. While hiking the challenging trail up the mountain, David learned from Podong about the culture of his people, as well as how the mining industry had denied them of their ancestral domain and a decent education. 

Director Arnel Barbarona also produced, co-wrote, lensed, edited, scored the music and did the sound for this full-length film. The back story of David was told in a series of flashbacks which I never really figured out which events came first before the other, something that took time for me to get my bearings on. I get the "journey of redemption, closure and healing" part, as well as the important message about the encroachment into Lumad life and land. However, the amateurish self-conscious acting, the awkward comic relief and a gratuitous sex scene got in the way. Meanwhile, the view at the peak of Mt. Apo was breathtaking, and the special participation of an Audemars Piguet wrist watch was very classy. 6/10. 

HE WHO IS WITHOUT SIN

Director: Jason Paul Laxamana

Writer: Jason Paul Laxamana

Broadcasting student Martin Pangan (Elijah Canlas) had a chance encounter with the Lawrence Manalastas (Enzo Pineda), a TV reporter he idolized when the latter interviewed him as a man on the street. That night, Lawrence gave Martin an unexpected call, inviting him to go out with him for coffee. However, when he related this experience to his friends like Klarisse (Lara Fortuna) and Neil (Gio Gahol), Martin came up with three different versions of how his meeting with Lawrence went. From a friendly chat, it evolved to a sleazy tease, and ultimately, it became a hellish nightmare.

This was a relatively short film at a compact 1 hour an 15 minutes, and in that time, it was able to build up a very shocking plot. It started as a case of "Rashomon" with the various versions were just told by just one person. Then you'd realize that 17 year-old Martin was just so in awe of his idol, he cannot bear to tell the ugly truth all in one go. As Martin grappled with psychological torture, Elijah Canlas once again proved that he was an actor with depth and skill to reckon with. As the charming and respectable Lawrence, Enzo Pineda was a smooth predatory wolf in sheep's clothing. The subject matter of sexual harassment is very uncomfortable to watch, and could certainly trigger people who had been in that helpless situation. 5/10. 

COME ON IRENE (2018)

Director: Keisuke Yoshida

Writer: Keisuke Yoshida, adapted from a manga series by Hideki Arai

Iwao Shishido (Ken Yasuda) was a 42-year old Japanese man who worked in a game arcade. His mother Tsuru (Hana Kino) was very frustrated that he remained unmarried up to that time. He liked a co-worker named Aiko (Aoba Kawai), but his mother rejected her because she was divorced and had a bad reputation. Exasperated, Iwao flew to the Philippines to buy himself a bride. The childish young girl he chose Irene (Nats Sitoy) immediately met the disapproval of Tsuru who did everything to break them apart, even conspiring with a Yakuza goon Shiozaki (Yusuke Iseya) to kidnap Irene.

Co-writer and director Keisuke Yoshida was going for a dark comedy, but he tried so hard, the whole thing failed to fly, making it a chore to get through its entire 2 hour runtime. All the Japanese characters were very unlikable -- from the glum sex pervert Iwao, his histrionic terror mother Tsuru, to all his raunchy friends at the arcade. Even the pathetic character of Irene was made to do some bizarre behavior and foolish actions. The director went for the shock approach to drive his film forward -- the absurd, the violent, the offensive, the insulting and the perverse-- and it was all one big unsavory mess. 3/10. 

 

Netflix: Review of FINDING AGNES: Meeting Mother More

 November 30, 2020

Wealthy businessman Virgilio "Brix" Rivero (Jelson Bay) was abandoned by his mother Agnes (Roxanne Guinoo) when he was still a child. 25 years later, his mother (now played by Sandy Andolong) visited him unannounced during a busy day at work. However, before they even got a chance to reconnect, Agnes passed away just as suddenly from a stroke. He discovered that his dad and stepmother Gloria had not been giving Agnes' monthly letters from Morocco, where she ran her own Brines' Bed and Breakfast in Marrakesh. 

In her will, Agnes wanted her ashes to brought back Brines to be buried, so Brix flew her urn there to fulfill her wishes. There he met the manager Cathy Duvera (Sur Ramirez), whom Agnes loved like her own daughter. As Brines was bequeathed to him, Brix wanted to quickly sell the property off so he can get back to his business in Manila. Meanwhile, Brix and Cathy still needed to fulfill Agnes' final wish to return a certain figurine to Regina Castor (Dexter Doria), which led him on a road trip to know his mother more. 

Vertically- and follicularly-challenged comedian Jelson Bay is probably the last actor you'd think would headline this film, but there he was confidently portraying a character which would usually be played by leading men like Pascual or Veneracion.  After the initial shock of seeing and hearing him as Brix, he slowly settled into the part, accent and all. Of course, there will be scenes when Bay would slip comfortably into this comedic shoes. I commend the script for not ever bringing up his physical appearance at anytime. His looks simply did not matter. 

Sue Ramirez tones down the quirks here as the devoted Cathy and, as always, she was very classy and likable with her winsome smile and kind spirit. She was delivering her Arabic lines with so much fluidity, you'd think she had been speaking this language all her life. Seeing Ramirez standing in sharp contrast with Bay in potentially romantic situations, there was a need to take a momentary pause to suspend our disbelief. Again, I commend the script for not going there to force the issue. 

There were some beautifully shot scenes here taking full advantage of the exotic Moroccan architecture and interior design, just like that dramatically-lit scene on the stairs where Brix and Cathy had their final conversation. Production design and Ramirez's costume designer also deserve commendation for providing local charm and color. There were a couple of Moroccan actresses who provided the film moving emotional moments, like the lady at the women's sanctuary and the woman celebrating her 25th wedding anniversary. 

While Aileen Kessop's previous screenplay for the Aga Muhlach-Alice Dixson Greenland-based thriller "Nuuk" (2019) felt over-dark and overwrought, this new one was marked with remarkable lightness, simplicity and no melodrama. Director Marla Ancheta took a huge risk it was to cast Jelson Bay so much against his usual type, but it actually turned out to be a most fortuitous decision. Instead of becoming just a typical foreign-set rom-coms, Ancheta imbued this project with so much refreshing sincerity and heart that it emerges as one of the year's best films. 9/10. 

QCinema 2020: Review of GENUS, PAN (LAHI, HAYOP): Animalistic Allegory

November 30, 2020

Slow cinema master Lav Diaz's latest opus "Genus, Pan" makes its Asian Premiere online during this special hybrid edition of the QCinema filmfest. Certainly notable was the fact that this new film was only a little under 3 hours long (157 minutes to be exact), a very manageable figure compared to Diaz's previous epic films which famously had running times of 5 hours or more, the longest being "Ebolusyon ng Isang Pamilyang Pilipino" (2004) which clocked in a little under 10 hours long (593 minutes). 

Three men from Hugaw Island had just finished their three-month contract working in the gold mines of Inawayan. Two were seniors already, the blunt cantankerous Baldomero Catabay (Nanding Josef) and the calm relgious Paulo Honero (Bart Guingona); and one much younger, Andres Hanibal (Don Melvin Boongaling). Sick and tired of working in unsafe conditions and having to "share" his salary with various officials, the rebellious Andres disclosed to Paulo this was going to be his final time to work there.

On their return to Hugaw, Baldo instructed the boatman to bring them to the far side of the island instead of the usual port. They would rather make the difficult trek through the woods for a few days to get to their homes, rather than to have them and their salaries ambushed at the barrio. Andres got to know his senior partners better during their hike, including the fact that Baldo and Paulo had a traumatic experience they had long kept secret from others, only to be revealed after they heard an unseen gecko's loud ominous calling. 

By the time the hiking scenes ended, there was still a full hour left in the film. Those final 60 minutes would be devoted to scenes in the town and the terrible people who ran it, namely Capitan Teofilo (Popo Diaz), his right-hand man Sarge (Noel Sto. Domingo) and the devil-incarnate rogue Inggo (Joel Saracho). Coinciding with the annual Catholic commemoration of Holy Week, Inggo single-handedly terrorized the poor townsfolk for whatever little money they had, violent deeds were committed resulting in several senseless deaths.

We see several unmistakable trademark hallmarks of a Lav Diaz work. The black and white photography was crisp and clear. The long arduous trek through the woods was marked with folk myths, hallucinogenic visions and acts of violence. There were interminable walks of a character from one end of the screen to the other -- and they really walked very slowly like Baldo's autistic daughter Mariposa (Hazel Orencio), or that fallen penitent Mang Melchor (whom Andres left to walk on his own the hot rocky road.) There was a scene of passionate singing, this time featuring Lolita Carbon as Nanang Mamay grieving the death of her family.

There were some lapses in continuity, like how Andres brought home only one white sack in one scene, while there was an earlier scene when he brought home three such sacks, confusing a critical detail in the story. There were lapses in names, like how Aling Quirina was given the surname of Catabay, when her husband was supposed to be Paulo, not Baldo. The non-actors who played the Hugaw townspeople were obviously very nervous and self-conscious on camera, totally wasting the dramatic potential of their scenes with their static "performances," especially that of Andres' mother and her soft, slow and strained voice.

The main point of the film was actually elucidated at length in a radio program the three men heard in the early part of their trek. An expert Dr. Nana Salinab (Sig Pecho) was being interviewed by DJ Marian (Adrienne Vergara) about how some humans still had brains which had not yet fully developed, thus putting them on the level of the primate genus Pan or the chimpanzee. Humans with fully-developed brains (like Jesus or Buddha) are altruistic with no desire for power. Those with chimpanzee brains become lying, stealing and killing dictators. No names mentioned, but his political message was pointedly frank, seemingly concluding a trilogy with his last two films. 7/10. 

*****

Other Lav Diaz films I had seen before:

ANG HUPA (MY REVIEW)

ANG PANAHON NG HALIMAW (MY REVIEW)

ANG BABAENG HUMAYO (MY REVIEW)

HELE SA HIWAGANG HAPIS (MY REVIEW)

MULA SA KUNG ANO ANG NOON (MY REVIEW)

NORTE: HANGGANAN NG KASAYSAYAN (MY REVIEW)