Author: Wanggo Gallaga

  • Theater Review – ‘Niyebe: Isang Experimental Na Musikal’ Finds Its Footing with the Strength of Its Two Leads

    Theater Review – ‘Niyebe: Isang Experimental Na Musikal’ Finds Its Footing with the Strength of Its Two Leads

    Dudz Terana’s and Vince Lim’s musical adaptation of Gabriel Garcia Marquez’s short story, ‘The Trail of Your Blood in the Snow’ called ‘Niyebe: Isang Experimental Na Musikal’ is running until March 27 at the FEU Center for the Arts Studio. Dubbed as an “experimental musical,” the play is a wonderful showcase for the blossoming talent of the Far Eastern University Theater Guild (FTG) and their incredible range of singers who masterfully bring to life the beautiful songs of the play.

    Nyebe Isang Musikal 1 Poster

    Taking much from the source material, ‘Niyebe: Isang Musikal’ tells the story of the Colombian couple, Billy and Nena, who fall in love, get married, and in their honeymoon, travel to Spain and then to Paris where a tragedy befalls them.

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    Nena suffers a cut from a thorn of a rose and, very much like the magical realism of Latin American literature, the wound never heals, and Nena is taken to a hospital in Paris where Billy is left outside to wait for news as the visitation hours in the hospital are only once a week. Alone, in Paris, Billy suffers alone while waiting for news of his ailing wife.

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    As a short story, it’s an easy read, but in a play, Terana (who wrote the book and the lyrics and directed this staging) expands the world to fully detail the couple’s childhood, which include the Colombian conflict in 1964. The play is experimental as the story is told in a non-linear manner. Even with a narrator, the narrative jumps from their childhood to Billy waiting for news in the streets of Paris, jumping again to when Billy and Nena are falling in love while in school and so on and so forth. It goes beyond just a storytelling effect when, in one scene, the younger versions of Nena and Billy have conversations with the older versions of themselves: a four-way conversation between what is essentially just two people. It’s moment like this, in the play, when the brilliance of the material’s theatricality really captures the audience’s interest.

    Nyebe Isang Musikal 7 Acting Ensemble

    The music, in of itself, is wonderful and melodic. The play is almost completely sung through, with a few parts for dialogue. Luckily, the whole cast are excellent singers – not just the three leads – but an exciting ensemble who enter and exit as various individuals within the story all building a fully-fleshed out world while providing set changes, bringing in and out of props, and creating the clamor needed for certain scenes. There’s a lot of good happening here.

    Nyebe Isang Musikal 8 Chorus

    On the other hand, while everyone are such good singers, there’s a need to sharpen their movement quality. A number of them need to learn to finish their extensions, while some need to pin down their timing. Some need to put intention and story behind every movement. There’s quite a number of dancing here, excellent choreography by Carlon Matobato, but some understand the intention while others are just doing steps. And while a lot of them are fully committed to their roles, the fact that the characters and the milieu is Colombian and the themes are in the realm of the existential, there are times when the performers sometimes does not quite capture the nuance of the moment. But this is an issue of maturity. What they can process from their own experience is enough to capture the moment. It’s going to be very interesting to see them grow more as artists when they gain more experience and a larger worldview.

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    But what really grounds the work and makes it incredibly enjoyable is the power and charisma of its two leads – Dave Bambang and Kesiah Aritao as Billy and Nena, respectively – who are not just magnetic performers but incredibly talented singers. As they navigate the demands of their songs, they infuse with a lot of passion and emotions that the play feels connected by the bond they create for their characters. You might get lost with the non-linear narrative storytelling, but Bambang and Aritao anchors it in their love story. These two have such a strong presence that it keeps you rooted and can stop the play from falling out of orbit.

    There’s a roughness to the FTG’s production of ‘Niyebe: Isang Experimental Na Musikal’ that also gives it its charm but what the show really showcases are the gorgeous songs of this musical and the powerful voices of the FEU Theater Guild. 

    My Rating:

    stars 3 0



    Niyebe: Isang Experimental Na Musikal will run until March 27, 2025 at FEU Center for the Arts(FCA) Studio, Ground Floor, Engineering Bldg., FEU Manila. Get your tickets at here.

  • Disney+ Streaming Review — From the Ashes: A Review of the First Two Episodes of ‘Daredevil: Born Again’

    Disney+ Streaming Review — From the Ashes: A Review of the First Two Episodes of ‘Daredevil: Born Again’

    The new Daredevil series begins with a gorgeous, grounded coverage of the city bursting with busy-ness and life. A montage of the characters we’ve come to know from the 3-season Netflix series it follows – Matt Murdock, Foggy Nelson, and Karen Page – showing us that they’ve returned to working together and, for the first time, it seems our titular character Matt Murdock looks happy. The shots bring out the flavor and textures of New York; that of ordinary people, outside the usual hustle-and-bustle of the MCU. This is meant to bring us closer to real people and real lives. Probably a way to remind us that Murdock is unlike Tony Stark or Thor. He’s a lawyer, first, as well as a superpowered costume vigilante. His battle against injustice is at two fronts.

    But when a battle ensues with someone from his past, Murdock is forced to don the mask and fight crime as Daredevil. People are hurt, tragedy strikes, and Murdock is pushed over the edge. As he later states in the pilot episode, “A line was crossed…”—and from that moment, the show takes an unexpected turn.

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    The prologue’s promise of a continuation of the series storylines is an illusion. ‘Daredevil: Born Again’ is exactly that: a rebirth. That tragedy changes Matt Murdock and the story continues a year after that monumental event, and he has not been Daredevil of that period of time. He starts a new firm and surrounds himself with new people, including an investigator, Cherry, who is aware of his former identity. Murdock is more cynical now, a bit jaded. So much so that his partner tries to set him up with someone new, a doctor, Dr. Heather Glenn. 

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    (L-R) Karen Page (Deborah Ann Woll) and Daredevil/Matt Murdock (Charlie Cox) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2024 MARVEL.

    Things are looking different, quieter and peaceful until Wilson Fisk, the Kingpin, runs for Mayor. And Murdock struggles whether he would return to his vigilante ways or has Wilson Fisk really turned a new leaf? Matt Murdock doesn’t think so. And the nine-episode season tells us, at some point, he will find a reason to put the mask on again.

    There’s still a darkness to the series, with showrunner Dario Scardapane at the helm, but off the bat the cinematography is already a bit brighter, even during the dark. The flash of humor is a very Marvel + Disney thing and doesn’t hold the same bite that it did in the old Netflix series. The show is trying its best to hold on to its foundations – the old show – but also trying to present it in a new way. There’s a bit more CGI than I’m comfortable with; especially because it’s not clean and can get very distracting. There’s even a fight scene in episode one that is reminiscent to the famous first season fight scene of ‘Daredevil,’ the one shot that was a tribute to ‘Oldboy.’ Unfortunately, the fight scene in ‘Daredevil: Born Again’ doesn’t have that same energy and is muddled by weird choreography and blocking and some unflattering CGI movements that makes it feel manufactured. It doesn’t have that grit and power that the originals have.

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    (L-R) Daredevil/Matt Murdock (Charlie Cox) and Wilson Fisk / Kingpin (Vincent D’Onofrio) in Marvel Television’s DAREDEVIL: BORN AGAIN exclusively on Disney+. Photo courtesy of Marvel Television. © 2025 MARVEL. All Rights Reserved.

    But once you’ve shaken that initial feeling of having to compare the two (because let’s face it, the Netflix Daredevil series is so loved) and acclimate to the Disney-fied version of ‘Daredevil: Born Again,’ there’s quite a lot to enjoy from the new show. Charlie Cox and Vincent D’Onofrio are always a joy playing these two characters and with the premise of ‘Daredevil: Born Again’ there’s an unsteady truce between them. It gives opportunities to meet and talk and their acting prowess just makes the screen sizzle with energy. From the first two episodes, we can feel the push and pull inside Murdock and Fisk, the way they are trying to hold on to a change they have committed to; but we can see them breaking. We can see the cracks. It’s wonderful and I can’t wait to see it unfold over the season.

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    (L-R): Wilson Fisk/Kingpin (Vincent D’Onofrio) and Vanessa Fisk (Ayelet Zurer) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2025 MARVEL.

    Ayelet Zurer returns as Vanessa Fisk, Wilson Fisk’s wife, who has taken over his crime business while the Kingpin was recovering from a gunshot to the face (as implied in the last episode of ‘Hawkeye’ and possibly in ‘Echo,’ which I have not seen). Zurer had always made Vanessa such an interesting character and it’s nice to see her add a new layer to the role. Margarita Levieva plays Dr. Heather Glenn, who serves as an interesting romantic interest for the Daredevil, but we’ll get to see her flex her acting chops as her story seems to intersect into the rest of the plot beyond just as a love interest by the second episode. As previewed in press materials and on social media, the White Tiger will make an appearance by the second episode while the Punisher is nowhere yet to be seen.

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    Daredevil/Matt Murdock (Charlie Cox) in in Marvel Television’s DAREDEVIL: BORN AGAIN exclusively on Disney+. Photo courtesy of Marvel Television. © 2024 MARVEL.

    Shot during 2023, there’s a lot of subtexts within the show’s premise that is mirroring America after its most recent election. The Kingpin running for office and the way the show tries to explore and navigate the social aspect of such a move directly articulates a lot of present-day feelings. The fact that the show began filming before the election will shield it from any political notions, though it could still reflect the current U.S. president’s first term. But the groundedness I mentioned at the beginning of this review makes ‘Daredevil: Born Again’ more than just a superhero TV show. The fact that Matt Murdock is struggling whether he will be more effective as a lawyer or as a vigilante in a political and social landscape in the show that is very similar to that in real life – it makes it something even more interesting to watch.

    We’ve been waiting for this! Despite a few fumbles, it’s looking good. ‘Daredevil: Born Again’ is looking really good.

    My Rating:

    stars 4 0



    Daredevil: Born Again is now streaming on Disney+.

  • An Inside Peek at ‘Daredevil: Born Again’—Exclusive Highlights from the Virtual Press Conference

    An Inside Peek at ‘Daredevil: Born Again’—Exclusive Highlights from the Virtual Press Conference

    On February 22, Disney+ held a virtual press conference for the cast and producers of its highly anticipated upcoming series, Daredevil: Born Again. In attendance were stars Charlie Cox and Vincent D’Onofrio, who play Daredevil and Wilson Fisk, respectively, along with showrunner Dario Scardapane, episode directors Justin Benson and Aaron Moorhead, and producers Brad Winderbaum and Sana Amanat. ClickTheCity was granted access to the event and had the opportunity to watch the panel, moderated by Sade Spence.

    Daredevil: Born Again

    Off the bat, it seems that this is happy production. The two leads easily share banter not just with each other but the creative team behind the show. In fact, Vincent D’Onofrio is quick to hand out praises for the team, especially to the directors Justin Benson and Aaron Moorhead. D’Onofrio compliments them by saying that ‘Loki’ season 2 is his favourite Disney+ show and that there are “stuff they did on the second season of that show that I’ve never seen before.”

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    (L-R) Karen Page (Deborah Ann Woll), Daredevil/Matt Murdock (Charlie Cox) and Foggy Nelson (Elden Henson) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2024 MARVEL.

    Despite playing each other’s nemesis for three seasons of Daredevil, Charlie Cox and Vincent D’Onofrio share a close and comfortable friendship. Cox even says, “Over the last 10 years, we’ve obviously become very good friends. And the good news is that it does feel like the better friends we become, the easier it is to hate each other.” D’Onofrio agrees but adds that their strong friendship fosters trust, which enhances their work. Their bond is so deep that whenever Daredevil and Wilson Fisk share a rare scene together, they instantly connect. D’Onofrio refers to this unspoken understanding as their “shorthand.”

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    (L-R) Daredevil/Matt Murdock (Charlie Cox) and Kingpin/Wilson Fisk (Vincent D’Onofrio) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2024 MARVEL.

    There are two such scenes already in the first two episodes of ‘Daredevil: Born Again’ and what they are talking about is in full view.

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    (L-R): Wilson Fisk/Kingpin (Vincent D’Onofrio) and Kirsten McDuffie, ADA (Niki M. James) in Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2025 MARVEL.

    But while there’s a lot of love and banter and laughter, the whole cast and artistic team are very, very careful about spoilers. Oftentimes, someone says out loud, “careful” why someone is trying to answer a tricky question about certain characters. As someone who was given a screener for the first two episodes, I got nervous about how some people were trying to skirt around these topics – mostly from the two directors – because the two actors were completely tight-lipped. 

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    (L-R): Director Aaron Moorhead, Charlie Cox, and Director Justin Benson on the set of Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2025 MARVEL.

    One thing they were able to talk about is the fact that Jon Bernthal is returning to the show as Frank Castle, also known as The Punisher. Sade Spence shared a question directed towards Charlie Cox about what kind of relationship will the two characters have in the show. Cox was quick to say that he would watch anything Jon Bernthal was in and is a massive fan of the actor. Cox adds that he’s “got such amazing charisma and energy. Whenever he shows up, it’s absolute delight both in terms of his performance and as a human.” But then Cox also shares that Jon and Charlie (talking about himself in the third person) are very “different people” and he implies that the energy their differences create is utilized and made to make the show so much more fun.

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    (L-R): Director Aaron Moorhead, Director Justin Benson and Vincet D’Onofrio on the set of Marvel Television’s DAREDEVIL: BORN AGAIN, exclusively on Disney+. Photo by Giovanni Rufino. © 2025 MARVEL.

    “We’re very different people, in some ways,” Charlie Cox tries to explain, “but Daredevil and Frank are much more like one another than Charlie and Jon are so it’s much more fun to play with that. And often when I’m on a scene as Daredevil with Frank, he pulls me closer to the Daredevil that I’m frightened of and excited by, if you know what I mean.”

    Now that’s a combination that’s making me extra excited about what else is to come in the show.

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    Daredevil/Matt Murdock (Charlie Cox) in Marvel Television’s DAREDEVIL: BORN AGAIN exclusively on Disney+. Photo courtesy of Marvel Television. © 2025 MARVEL. All Rights Reserved.

    But while they can be open about The Punisher, when the moderator opens about a character called Muse, no one can give her a straight answer other than Scardapane saying that “Muse is one of the stressors” of the two characters. 

    To sum up what Scardapane imagines for this show is how the hero and the villain, Matt Murdock as Daredevil and Wilson Fisk as The Kingpin, are filled with such humanity but carry with them “a kind of dark passenger” or their alter egos. So, what the made working on the show so interesting for him was how they “always try to find that humanity inside the heightened world with action that every time is trying to reset the bar for television.” They tried to keep the darkness and the grit of the earlier versions of the show when it was on Netflix and pushed against the boundaries of what was acceptable in a Disney+ show. Producer Brad Winderbaum said they took a “softer approach at the beginning” but then they kept pushing the material further and further because that’s what the fans would want (in terms of tone and aesthetic) but also because the story demanded it. Brad concludes with the fact that they “never found the breaking point” and achieved the darkness and the tone they wanted.

    Now, it’s time to see the results for yourself! Daredevil: Born Again is now streaming on Disney+—don’t miss it!

  • Movie Review — ‘Mickey 17’ Explores the Humanity of What We Deem Expendable

    Movie Review — ‘Mickey 17’ Explores the Humanity of What We Deem Expendable

    There is a whimsy to Bong Joon-ho’s ‘Mickey 17’ that feels closer to ‘Okja’ than his Academy Award winning masterpiece ‘Parasite.’ While the latter film is funny, it’s way more grounded than ‘Okja’ and it’s ‘Okja’s’ outrageousness that serves as dominant mode of Bong Joon-ho’s latest film. It’s a science fiction black comedy that tackles exploitation and delves into existential themes while exposing the way the ruling class holds dominion over society in an autocratic and fascistic ways. The film is over-the-top and holds true to Bong Joon-ho’s non-traditional, non-Western filmmaking style and aesthetic that the film’s language may be in English and there are recognizable Hollywood stars in the cast; make no mistake, this is not your typical, straight-up Hollywood mainstream big budget sci-fi movie. It’s a film working on its own terms, and it’s so enjoyable when taken that way.

    Set on Earth in 2054, Mickey Barnes (Robert Patttinson) and his friend Timo (Steven Yeun) find themselves in big trouble with a loan shark when their business fails. Unable to pay back the loan, they are threatened with death, which prompts the two to join a colony ship to a distant galaxy for the planet Nilfheim. But while the charming Timo easily finds himself a spot, Mickey is unfortunately not a very bright person. He’s actually on the naïve and dumb side. Without any credentials or recommendations, he applies as an expendable to secure his slot. In the future, expendable technology allows people’s memories and personalities uploaded unto a hard drive while their genetic structure is recorded so their bodies can be reprinted and memories uploaded should they die. As an expendable, Mickey is used as an experiment and is tasked with jobs that are surely fatal, but he can continue returning to continue working due to the expendable technology. Despite his lack of self-esteem, his innocence charms Nasha (Naomi Ackie), a security agent on board the ship and they fall in love and become a couple.

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    Upon the arrival on arctic planet of Nilfheim, Mickey 17 (he is now identified by how many times he’s died) discovers that the planet has a life form and is left for dead when he falls into a crevice covered by snow. He discovers something about the alien species and when he returns to the colony, he is surprised to find Mickey 18 in his bed.

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    They reprinted him thinking he had perished. In this time, the use of expendable technology is a moral battleground, but it was allowed for use outside of earth on the strictest grounds that no multiples should occur – multiples being several copies of the same being existing at one time – and now Mickey 17 and Mickey 18 are prime examples of multiples. The two must work together and figure out how to exist before they get caught are exterminated permanently.

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    In its 137-minute run time, ‘Mickey 17’ can feel like different movies all meshed. The first part allows us to understand the inner workings of that world, the colony ship, and who Mickey Barnes is. The second part is on the arrival on Nilfheim and the crisis of the multiples – Mickey 17 and Mickey 18 existing simultaneously – and the fact that Mickey 18 seems to be a tougher, meaner version and can be quite trigger happy. The third movie revolves around Kenneth Marshall (Mark Ruffalo) and his wife Ylfa (Toni Collette), who run the colony ship without regard for ethics or sensitivities. While Bong Joon-ho has stated in an interview with the Korean Times that he had no intention of mirroring or reflecting any real-life people (or politicians) in this movie, there’s something about Ruffalo’s performances that seems reminiscent of the current US president, but Bong insists that the script was finished in 2021 and filming took place from August to December of 2022. Any resemblance to the theatricality and absurdity of Trump is, to Bong’s words, “a projection of our negative experiences” towards the character. 

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    Like all Bong Joon-ho’s work, there is a strong exploration on social class dynamics and an examination on the act of exploitation; and in this case, the way by which the naive and not-so-bright Mickey Barnes would be so amenable to being exploited just to get out of sticky situation. The ramifications of that simple choice to become an expendable is the bulk of this movie but it also humanizes it in the way by which Nasha still sees him as a human being, even when nobody else doesn’t. The film operates like a satire, so the hyper-real world exaggerates the worst of humankind, which makes any moment of growth – whether it be from Mickey 17, Mickey 18, or Nasha – feel even more inspiring. And these moments flare up in a film that is loaded with gruesome, brutal scenes of death (mostly Mickey’s), a fascinating new alien species that is more than meets the eyes, and Ruffalo and Collette’s scenery-chewing performance that is so outrageous it sometimes steals the show entirely. 

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    As enjoyable as it is, ‘Mickey 17’ is not the easiest of films to jump aboard as it meanders and takes it time to really make this world breathe and grow. It takes time to build Mickey Barnes and turn him in and out 17 times before Bong Joon-ho gets the story started. If you can let go of traditional Hollywood mainstream conventions of narrative, that this is going to be such a treat.

    My Rating:

    stars 4 0



    Mickey 17 is now showing in cinemas. Check showtimes and buy your tickets here.

  • Movie Review — Epic in Scale and Imagery, ‘The Brutalist’ Is a Wonder of Filmmaking, Though It Can Leave You Cold

    Movie Review — Epic in Scale and Imagery, ‘The Brutalist’ Is a Wonder of Filmmaking, Though It Can Leave You Cold

    From the musical score to the cinematography, director Brady Corbet’s ‘The Brutalist’ is a triumph of epic filmmaking. Running at three hours and thirty-five minutes (with a 15-minute intermission hard-coded into the film), it’s a sweeping story about the immigrant struggle during World War II in America. Writing with Mona Fastvold, Corbet creates a rough sketch of a Hungarian-Jewish man who fled Nazi occupied Germany to suffer the indignities of racism in America despite being an accomplished architect. From the opening overture of Daniel Blumberg’s lush score and then the striking imagery of Lol Crawley’s gorgeous cinematography, Corbet manages to build an immense story of a man’s struggle to build himself up again after losing everything.

    In a way, it is both a testament and a condemnation of the American dream in equal measure.

    The Brutalist Adrien Alessandro
    Courtesy of A24

    Laszlo Toth (Adrien Brody) arrives in America, having just fled the concentration camp of Buchenwald. He has been separated from his wife and niece. In America, he finds work and shelter with his cousin Attila (Alessandro Nivola) in his furniture shop. They are able to secure a job refurnishing and remodeling the study of the wealthy Harrison Lee Van Buren (Guy Pearce) and turning it into a library.

    The Brutalist
    Courtesy of A24

    This is a surprise set up by Van Buren’s son, Harry (Joe Alwyn) but when the elder Van Buren arrives home earlier than expected, the surprise of seeing the remodeled study sends him on a rampage, fires Laszlo and Attila and Harry doesn’t pay the two. This event compounded with others forces Attila to break ties with Laszlo. 

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    Courtesy of A24

    Three years down the line, now a junkie and working in construction, Van Buren finds him after discovering who Laszlo really is and having enjoyed the genius of Laszlo’s design of the library, invites him to his home and pays him for the job. The two strike a friendship and Laszlo eventually is tasked to build a memorial building for Van Buren’s mother. Laszlo stays at the guest house in Van Buren’s sprawling mansion and is reunited with his wife, Erszebet (Felicity Jones) and their niece (Raffey Cassidy) through Van Buren’s connections and pull. But Laszlo’s design is met with resistance – from Harry, from the town to the rising cost, and other things – and it becomes clearer and clearer to Laszlo and Erszebet that while America was quick to take in refugees, they were never promised kindness or equality.

    The Brutalist Brutalist construction1
    Courtesy of A24
    The Brutalist Brutalist construction
    Courtesy of A24

    Spanning from 1947 to the 1980s, the film takes on an epic scale that centers around Laszlo Thot and his reconciliation of his life and genius after it was all stripped away from him after the Nazi’s sent him fleeing for another land. To add bigness to the story, the film transitions moments with old newsreels about marketing the state of Pennsylvania as a booming state of industry and progress. Juxtaposed with Laszlo’s own hardships and struggles while people like Van Buren just get to do what they want; it creates a disconnect which forms the central theme of the film: that the American dream is nothing more than marketing ploy. Not everyone gets a seat at the table.

    The Brutalist Adrien bus
    Courtesy of A24

    Adrien Brody’s Laszlo Thot is a broken man yet, someone who still has a lot of pride. It’s a delicate performance that he manages well. I recognize how good Brody is but there are shades of this brokenness from his performance in ‘The Pianist’ but the pride and the swagger, I’ve seen in his work in ‘Peaky Blinders’ or ‘King Kong,’ and even his obsessive doctor in ‘Splice.’ It’s a great performance but nothing I haven’t seen him do before. Felicity Jones is solid and steadfast but it’s Guy Pearce’s Van Buren that really propels this movie as he becomes representative of all the well-meaning American industrialist with their big dreams and reckless abandon; how quickly they can dismiss the people they help when things don’t go their way. The selfishness and unconscious greed are wrapped up in Pearce’s charming performance that makes it all so human. So that when Van Buren commits the ultimate act of jealousy and show of superiority in the shocking third act: it makes perfect sense despite it coming from absolutely nowhere.

    The Brutalist Adrien sparks
    Courtesy of A24

    But for all its immensity and grandness – ‘The Brutalist’ is a gorgeous, well-crafted movie – I find that the film leaves me so cold and connecting very strongly with Felicity Jones’ Erszebet when she calls America a “disgusting, awful place.” The way the film rends America’s veneer of polish and shine is a little brutal, pun intended. The building that is at the center of all the conflicts in the second act is never ever given its visual moment in its entirety, like a promise that is never fulfilled. It’s shown in parts but never whole and it feels like a symbolism of what America must be like for the immigrant. 

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    Courtesy of A24

    It’s a magnificent movie; I cannot say that enough. I feel that the musical score should win the Oscar as it has already won the BAFTA and if the cinematography won, I wouldn’t mind as well. I also enjoyed that film really carved a 15-minute intermission which allowed us to really take in the whole epic-ness of the film. It’s worth it to see in the big screen.

    My Rating:

    stars 4 5



    The Brutalist is now showing in cinemas. Check showtimes and buy your tickets here.

  • Movie Review — The Sound of Change: A Review of ‘A Complete Unknown’

    Movie Review — The Sound of Change: A Review of ‘A Complete Unknown’

    Early in the Bob Dylan biopic ‘A Complete Unknown,’ Pete Seeger (played by a charismatic Edward Norton) says that “a good song can change the world.” As I’m watching the film, it’s not just the world that changes. I cued in on the way this movie is about how Bob Dylan (played by Timothee Chalamet) and his music changes everyone around him and, at some point, even himself. The power of his music gives him fame and fortune and this changes him and pushes him to evolve and transform both musically and as a person. This leads up to a famous performance at the Newport Folk Festival in 1965 wherein he is booed and jeered by his folk fans while bringing in a new, younger audience by changing his sound to include electric instruments.

    Directed by James Mangold and written by Mangold and Jay Cocks (based on the book ‘Dylan Goes Electric! by Elijah Wald), ‘A Complete Unknown’ chronicles the time of Bob Dylan from 1961 to 1965. A young Bob Dylan travels to New Jersey to visit his idol, folk singer Woody Guthrie (Scott McNairy), at the hospital. There he meets Pete Seeger and when he plays a song for the two folk singers, he impresses them so much that Seeger offers him a place to stay and helps introduce him to the New York folk scene.

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    In the whirl of it all, he impresses studio executives from CBS Records who sign him up, catches the eye of folk singer Joan Baez (Monica Barbaro), while dating Sylvie (Elle Fanning), a young artist who frequents the folk scene. His meteoric rise to fame finds him becoming pen pals with Johnny Cash (Boyd Holbrook), being recognized anywhere and everywhere, having affairs, and feeling trapped and imprisoned by his contract and his connection to the folk music scene. His need to evolve, to grow leads him to explore a larger, bigger sound, which threatens to turn away his most ardent fans who love his folk music.

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    Timothée Chalamet in A COMPLETE UNKNOWN. Photo by Macall Polay, Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

    Mangold keeps the story focused in keeping Dylan an enigmatic character and hints at a backstory that is far different from the persona he is trying to project. In fact, it’s a continuing reason for his and Sylvie’s strained relationship: the fact that he is an unknown entity to her. He shares nothing of his past – and in the film, never really does – and this adds to the tension to their relationship. The executives and fans only love him for his music and his success that they don’t care to ask the important questions and when he begins his affair with Baez, she too is attracted to the genius of his songwriter and his mysterious character. But her close proximity to Dylan gives her clarity and perspective, and she even rebukes him.

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    Elle Fanning and Timothée Chalamet in A COMPLETE UNKNOWN. Photo Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

    No, the film does not try to humanize Dylan but turns him into a fable of any man or woman who has a dream of making it big in the music industry and discovering that fame and fortune can be a prison. The film is careful to show the political unrest of the era – the assassination of JFK and Martin Luther King are mentioned – and this backdrop of America in flux runs parallel to Dylan’s need to grow. His politically charged songs need larger breath and a bigger sound. But expectations are holding back and holding him down.

    A Complete Unknown 005 018 ACompleteUnknown Trailer1 153 Domestic 3840x2160 2398 Stereo ProRes422HQ nwe 20240718.00 01 26 13.Still006
    Timothée Chalamet and Monica Barbaro in A COMPLETE UNKNOWN. Photo Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

    Chalamet is wonderful, as always. I’m not the biggest fan of his off-camera persona but he always gets lost in a role and I’m not surprised he won the Screen Actors Guild Award for this performance. Not only is he inhabiting Bob Dylan’s persona but he’s playing his instruments live and singing the hell out of Bob Dylan’s songs.

    A Complete Unknown 088 180 160 ACU 13495

    His magnetic performance keeps you glued to the screen even as the film refuses to show us Dylan’s inner world. Chalamet does all of this with the flourishes behind his eyes. In fact, Chalamet, Barbaro, Norton, and Holbrook all perform their instruments and sing live and it captures a time I’m very familiar with because these are the songs of my father, and he played them all the time in his room. This is a world I knew quite a bit about from the stories of my dad and seeing it and the Chelsea Hotel and singing songs that were playing loudly when I was a kid takes me back. 

    A Complete Unknown 265 268 258 ACU 10608 R Large

    Mangold doesn’t try to dazzle us with complex filmmaking. The camera is just there to capture the authenticity of the performances, allowing the script to do its job in showing us what change looks like: it’s rough and chaotic. Sometimes it strips down everything to rebuild upon the ashes. And as Bob Dylan sings (and as heard in the movie), “The times are a-Changin’.”

    My Rating:

    stars 4 0



    A Complete Unknown is now showing in cinemas. Check showtimes and buy your tickets here.

  • Movie Review — Balancing Horror and Whimsy, ‘Nosferatu’ Is a Stunning Work of Genius

    Movie Review — Balancing Horror and Whimsy, ‘Nosferatu’ Is a Stunning Work of Genius

    A remake of the 1922 F. W. Murnau film ‘Nosferatu: A Symphony of Horror,’ which is a loose adaptation of Bram Stoker’s novel ‘Dracula,’ Robert Eggers ‘Nosferatu’ is a gorgeously filmed gothic horror that is exquisitely directed, balancing fear, sensuality, and whimsy in equal measure. With exceptional cinematography by Jarin Blaschke and delicate editing by Louise Ford, the film vacillates from beauty to horror seamlessly. As the original film is loosely based on Bram Stoker’s popular story, the narrative is very familiar but there are modern touches that creates a reflection of modern issues as well.

    The film is set in the early 1800s in Germany, and a young woman, Ellen prays for some being to rid her of her loneliness. This call manages to awaken a dark, malevolent spirit who promises to be with her forever. We cut to much later, when Ellen (Lily-Rose Depp) is now married to Thomas (Nicholas Hoult). They love each other very much, their first scene together shows them incapable of separating, even if he is late for work.

    Nosferatu Lily2
    4193_D015_00007_RC Lily-Rose Depp stars as Ellen Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Aidan Monaghan / © 2024 FOCUS FEATURES LLC
    Nosferatu Nicholas Hoult
    NOSFERATU_FP_00238_R Nicholas Hoult stars as Thomas Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC

    Thomas ends up at his office and his boss, Herr Knock (Simon McBurney), offers him an unusual opportunity. He requests that Thomas acts as solicitor to Count Orlok of the Carpathians, a whole 6-week travel away. He is to broker the sale of an old, decrepit mansion in Wisburg, where they live. If Thomas makes the journey, he will be given a huge bonus and a promotion at work. Ellen is against this, though, as she has been having dreams, but Thomas is insistent. Ellen stays with her rich friend Anna (Emma Corrin) and her husband, Friedrich (Aaron Taylor-Johnson) while Thomas makes the journey. But we all know that Count Orlok (Bill Skarsgard) is a vampire, and he holds Thomas captive in his castle while he makes his way to Wisburg to be closer to Ellen. The closer he gets; the more Ellen suffers manic fits and hallucinations. She is then introduced to a brilliant but ostracized doctor, Doctor Von Franz (Willem Dafoe), who is connects her mania with a dark, sinister evil approaching Wisburg.

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    NOSFERATU_FP_00130_R A carriage approaches Orlok’s castle in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC

    Most of the plot points are very similar to that of ‘Dracula,’ so the story is nothing new. But what Eggers suffuses with his film is the highly erotic nature of Ellen’s connection to both Thomas and Count Orlok. The sound design of the film is exquisite, amplifying the hard intake and release of breaths that, in scenes where the characters are experiencing great stress, if you close your eyes, it could sound sexual in nature. Even when Count Orlok drains his victims of blood, he straddles over them, both writhing, that one cannot help but think of the erotic.

    Nosferatu Lily Bill
    NOSFERATU_FP_00005_R Lily-Rose Depp stars as Ellen Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Courtesy of Focus Features / © 2024 FOCUS FEATURES LLC

    In Eggers’ ‘Nosferatu,’ Ellen is a victim but not of Count Orlok but by her own innocent call for companionship. Unaware of her own power, she sends out a prayer to the angels but instead conjures up a demon. Her own power leads her to have fits and seizures, marking her as an outcast, someone different and strange. Regarded as an oddity, it feels connected to her call for help and has led her to vulnerable to such a being like Count Orlok. Count Orlok then uses great wealth and power to corrupt the people around him – Herr Knock, for example – to extend his reach and access the vulnerable.

    Nosferatu Willem Dafoe
    4193_D039_00268_R Willem Dafoe stars as Professor Albin Eberhart von Franz in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Aidan Monaghan / © 2023 FOCUS FEATURES LLC

    In other version of the Dracula story that I’ve seen, the emphasis had always been on the vampiric and supernatural nature of the demon. While Eggers is not above filling his film’s world with the supernatural and the occult, but the real-world metaphors rise to the surface and become painfully apparent. Count Orlok is a vampire in the movie, the metaphor stands of people in power who act as predators and gain access to the vulnerable by people who are eager to have a taste of that power and richness. 

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    4193_D033_00258_R Nicholas Hoult stars as Thomas Hutter in director Robert Eggers’ NOSFERATU, a Focus Features release. Credit: Aidan Monaghan / © 2024 FOCUS FEATURES LLC

    And while the composition, editing, production and costume design is exceptional, I love how ‘Nosferatu’ is not afraid to lean into its silliness and how the whole cast is fully committed to this world and seamlessly allowing themselves to fully imbibe the gothic horror and the camp that can come with it. By never taking itself too seriously, we see the work for what it is and marvel at each well-executed part while still enjoying the whole, which is completely familiar to us as well.

    Eggers has shown from this and his previous films – ‘The Witch’ and ‘The Lighthouse’ – that he is truly a master of tone, creating horror and dread through gorgeous imagery, while unafraid to being both literary and flighty in equal measure.

    My Rating:

    stars 4 0



    Nosferatu is now showing in cinemas. Check showtimes and buy your tickets here.

  • Theater Review — ‘I Love You, You’re Perfect, Now Change’ While Enjoyable, Ends Up Highlighting the Difference Between Americans and Filipinos in Dating

    Theater Review — ‘I Love You, You’re Perfect, Now Change’ While Enjoyable, Ends Up Highlighting the Difference Between Americans and Filipinos in Dating

    ‘I Love You, You’re Perfect, Now Change’ by Joe DiPietro (book and lyrics) and Jimmy Roberts (music) is light-hearted musical comedy about love and relationships and all the struggles and hurdles that come with it. There’s no overall narrative at work, the play is a series of vignettes between a man and a woman (though there are some quartet work and one couple variant are two married men) that detail some of the inner thoughts that enter our heads when it comes to dating, to our self-worth and self-image (in relationship to relationships), to sex, to being in a relationship, to getting married, and all that happens after marriage. It’s quickly paced, witty and clever and upbeat, and says quite a lot of things that not a lot of people say out loud (but you know they think it) and over-all is quite a fun and amusing play.

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    Directed by Menchu Lauchengco-Yulo, I Love You, You’re Perfect, Now Change officially opened
    REP’s 88th Season at its new home theater in Eastwood. Photo Credit: Noah Del Rosario

    Sitting in the new Repertory Theater in Eastwood, I remember laughing and seeing how good the four performers were. I caught the cast that composed of Barbara Jance, Krystal Kane, Marvin Ong, and Gian Magdangal and these four actors are shifting and switching roles per vignette. At one point, he’s a guy who is boring her during their date and in the next scene, they could be a married couple with a new infant wondering what happened to their sex life. Most of the play is sung through, but in the few moments when they engage in dialogue and trade lines, you can see the honesty in their work. They are all fabulous singers, and you can tell they are having fun. And with a fun show like that, it is thrown back to the audience.

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     I Love You, You’re Perfect, Now Change also touches on how friendships and romantic love change
    when kids enter the picture. Photo Credit: Noah Del Rosario

    But the thing about the play is that I do remember laughing. I remember enjoying myself and having a good time. But the moment I was out of the theater, I don’t remember much. It’s the way that the play is written. It’s making a lot of fun (and in its own way, creating a critique about our world in terms of dating and relationships) at the complex ways with which we think about romance and love. It does say some pretty interesting things in some parts while others take a more traditional stance but, in the end, it wraps everything up very neatly and manages to say much at all. I’m not saying that all plays must be thought-provoking and profound. This is definitely a great time in the theater but what it did was made me think about how different Americans see relationships and dating in comparison to us.

    There are similarities, sure, and this is wonderfully done by one scene early on about a guy and girl who are attracted to each other but don’t think they are attractive enough to be wanted. Beautifully done and so authentically performed. But the show is primarily done in duets which sort of emphasizes the loneliness and isolation of American culture. These exact same moments, in a Filipino setting, would not be duets, but songs sung and performed in front of their barkada or their one or two closest friends. Filipino culture is so rooted in family and community and the stories that unfold in ‘I Love You, You’re Perfect, Now Change’ would play out so differently if it were done with the Filipino mentality in place. This is the disconnect I felt with the material.

    I Love You You're Perfect Now Change

    But the show itself is so enjoyable and well put together. Director Menchu Lauchengco-Yulo utilizes projectors and scrims to really create a vibrant, dynamic backdrop that keeps changing according to the narrative of the vignette. With only two actos on stage, most of the time, and with four at the most, I’m surprised how that stage never feels empty. The movements, that projector and the scrims, it’s a dynamic world that keeps the energy flowing and you don’t get lost from the transitions from moment to moment. Kudos to projection designer GA Fallarme, Set and Costume Designer Joey Mendoza, and Light Designer Meliton Roxas Jr for keeping the world on that stage vibrant and breathing.

    My Rating:

    stars 3 0



    I Love You, You’re Perfect, Now Change will run until March 9, 2025 at the REP Eastwood Theater. Get your tickets at Ticketworld and Ticket2Me.

  • Movie Review — ‘The Monkey’ Will Scare You, but It Will Also Make You Laugh

    Movie Review — ‘The Monkey’ Will Scare You, but It Will Also Make You Laugh

    Because it is based on a 1980 short story by Stephen King and directed and written by Osgood Perkins who gave us such frightening movies like ‘Longlegs,’ I was quite pleasantly surprised that ‘The Monkey’ is as hilarious as it is creepy. The film takes great joy in the irony and the gruesome nature of the deaths that happen in the story. It takes a comic approach to make large-scale set ups that maximizes brutal scenes of accidental murder. Unlike ‘Longlegs’ where Perkins disturbs us with a slow build-up of tension and dread, ‘The Monkey’ is in-you-face with the violence. You know it’s coming, and the outrageousness of its execution and the extremity of its bloody effects are what makes you laugh. The horror is the idea of how and why it is happening.

    At the heart of the story is the relationship of twin brothers, Hal and Bill Shelburn. The two couldn’t be more opposite of each other. Bill is a horrible bully and takes pride in torturing his younger brother. Hal is kinder, softer, and does not know how to fight back. Their father is missing all their lives and their mother takes a more care-free, free-spirited approach to raising her two boys. The twins do enjoy going over their father’s stuff as he happens to have been a hoarder and a collector of an eclectic items from all over the world. This includes a toy monkey that never goes away and, if you wind it up, ends up killing someone randomly in the most horrible of ways possible.

    Traumatized by the first accidental killing, Hal realises the monkey is to blame somehow. He then tries to use the monkey to kill Bill but the monkey “doesn’t take requests.” The death sends the twins into a tragedy that forces them to throw away the toy down a well and have been estranged ever since.

    BTS1 THE MONKEY Osgood Perkins Theo James Courtesy of NEON
    BTS THE MONKEY Osgood Perkins and Theo James Courtesy of NEON

    Now grown-up, Hal trying to live a quiet, peaceful life. The trauma of his experience with the monkey has left him isolated and introverted and will only see his son once a year, for his son’s safety. But on their visit, he is told his aunt is dead and he must reclaim her things and one of them is the monkey. Suddenly, Hal’s old hometown is experiencing a slew of outrageous accidental deaths, and he knows the monkey is loose and someone is winding him up.

    02 THE MONKEY Courtesy of NEON
    THE MONKEY Courtesy of NEON

    Through the narration of Hal, the film takes on a cynical and jaded look at the world that gives a world view that everyone is essentially mean and cruel. It seems that Hal is the only person who is trying to protect people, and this even puts a wedge between him and his son, Petey. Despite how bad things get, and how awful people turn out to be, Hal is desperately trying to stay sane and good.

    01 THE MONKEY Courtesy of NEON
    THE MONKEY Courtesy of NEON

    It’s quite an interesting little dark fable that is a refreshing take on the demonic toy narrative. By leaning into its humor, it finds a new one to be enjoyable. It’s still creepy – just the design of the toy monkey is enough to send shivers down your spine – and the way Perkins shoots the toy creates enough horror to amplify the terrifying thought that the world is filled with bad people.

    06 THE MONKEY Courtesy of NEON
    THE MONKEY Courtesy of NEON

    I’ve never been a big fan of Theo James as an actor, but he fits so well playing the double role of Hal and Bill, the older versions. Both characters are so different from each other and James manages to create a texture for both that suits the tone of the film so well. Playing the younger version, Christian Convery does an excellent job playing Hal but doesn’t let his Bill because as scary and as sinister as he could be. It’s such a joy to see Tatiana Maslany on the big screen. I’m a huge fan of her because of her work in ‘Orphan Black’ and playing the role of the twins’ mother allows a special place for both warmth and recklessness. She’s a bitter woman who is trying her best to save whatever love she still has for her kids. It’s such a nuanced performance that it helps ground the film despite its strangeness.

    ‘The Monkey’ is a fun little twist that I could use a bit more of these days. It’s nice to see a horror film have a lot of fun with its audience and its own self.

    My Rating:

    stars 3 5



    The Monkey is now showing in cinemas. Check showtimes and buy your tickets here.

  • Disney+ Streaming Review — With Fresh Energy, ‘Buried Hearts’ Is a New Disney+ KDrama That Will Keep You Guessing

    Disney+ Streaming Review — With Fresh Energy, ‘Buried Hearts’ Is a New Disney+ KDrama That Will Keep You Guessing

    As a corporate crime suspense thriller, ‘Buried Hearts’ takes an interesting approach to its narrative structure. The show opens with a flash-forward, a man’s body is discovered in the sea, dead, with an emphasis on his watch. We go back in time, to see Seo Dong-Joo (Park Hyung-Sik) attending a government hearing where Heo Il-do (Lee Hae-Young) is being grilled over the possibility of corruption in an energy collaboration between Heo Il-do’s company and the government. Seo Dong-Joo then sends a signal to an assemblyman, who incites chaos into the proceeding. Already, we are told that Dae-san, the company of Heo Il-do and Seo Dong-Joo are not to be trifled with. 

    The set up shows us the dirty dealings of a chaebol and how you’d never want to mess with their people. Seo Dong-Joo is one of those people, the right-hand man of Cha Gang-Cheon (Woo Hyeon), the CEO of Daesan and the father-in-law of Heo Il-do. In fact, the first episode is quick to show us that Cha Gang-Cheon is much closer to Seo Dong-Joo than Heo Il-do and Heo Il-do is not happy about it, neither is his wife, Cha Deok-Hee (Kim Jung Nam). But Seo Dong-Joo is loyal and is working hard playing the politics of business to try and get a promotion for himself. Keeping him grounded is his lover, Yeo Eunnam (Hong Hwa-Yeon), who is also working at Daesan.

    Still 1 Buried Hearts Park Hyung sik Seo Dongju
    Photo courtesy of Disney+ | Buried Hearts (Park Hyung-sik, Seo Dongju)

    From the get-go, the series feels like it’s primarily a suspense thriller set in the messy world of conglomerates. Seo Dong-Joo’s goal seems to be how he’ll navigate raising in the ranks, especially when he’s not part of the family; as chaebol families have a tendency of keeping the highest positions in the business only to family. Seo Dong-Joo had already given up dating Cha Gang-Cheon’s granddaughter for Yeo Eunnam. 

    Still 1 Buried Hearts Hong Hwa Yeon Yeo Eunnam
    Photo courtesy of Disney+ | Buried Hearts (Hong Hwa Yeon, Yeo Eunnam)

    But the big twist is that this thriller’s fulcrum, the surprise at the end of episode one, is that this is a love story, and Seo Dong-Joo must contend with Eunnam in ways that was predictable but still shocking when it unfolds.

    Still 2 Buried Hearts Lee Hae yeong Huh Ildo
    Photo courtesy of Disney+ | Buried Hearts (Lee Hae-yeong, Huh Ildo)

    What makes ‘Buried Hearts’ so interesting is the narrative approach to the story. Director Jin Chang-Gyu (‘Military Prosecutor Doberman’) and writer Lee Myung-hee allows the story to begin right in the middle without taking too much time establishing characters and relationships. The show does that while the plot is unraveling before our eyes. It’s a hit-the-ground-running sort of approach that gives ‘Buried Hearts’ a different energy and pace. It’s exciting because there’s so much, we still don’t know but we are already at the heat of it, most especially by the end of episode one, that there’s very little room to breathe.

    Still 1 Buried Hearts Huh Joon Ho Yeom Jangseon
    Photo courtesy of Disney+ | Buried Hearts (Huh Joon Ho, Yeom Jangseon)

    While Heo Il-do and his family seem to be an obvious obstacle for Seo Dong-Joo, the big mystery is how Heo Jun-Ho’s Yeom Jang-Sun plays into it. A former prosecutor and what seems like a current-day fixer is trying to create a relationship between himself and the Daesan group. He also has a connection with Seo Dong-Joo (is he Dong-Joo’s mentor?) but the show is setting him up to be the main adversary. This is where the politics and intrigue of the chaebol world will come to play, and I hope it’s as exciting as the first two episodes is making it out to be.

    The show is slick and has a distinct and fresh energy that makes it an intriguing watch. It may be bogged down if it leans too heavily on the romance aspect but if it handles it the same way it handles all the other narrative aspects of the first two episodes, this might be a very enjoyable watch.

    My Rating:

    stars 4 0



    Buried Hearts is now streaming on Disney+.