Author: Wanggo Gallaga

Movie Review — A Dark and Gritty Cinderella Story, Anora Is Funny, Poignant, and Real All at the Same Time

Even with all the profanity, nudity, graphic sex, and violence, Sean Baker’s ‘Anora’ is still a charming romantic-comedy that shows a mastery of tone. The film manages to present the love story between an exotic dancer and her young Russian client with such care that it allows the audience to laugh and marvel and cheer them on despite the transactional nature of how they met and the gross indulgence of the Russian youth’s wealth. It’s more gritty, sexually-charged and drug-laden version of a Cinderella story and it somehow manages to surprise us at every turn.

Anora (Mikey Madison), who prefers to be called Ani, is a 23-year-old stripper at a club. Her boss tells her to take care of their Russian guest as Ani can speak and understand Russian. The guest is 21-year old Vanya (Mark Eydelshteyn), a son of a Russian oligarch who is in the US to study. The two hit it off immediately and he asks Ani if she’s willing to come and work outside of the club. One night turns to two, and then he invites her to join him at a huge New Year’s Party at his place before he invites her to stay with him for a week. During this time, she’s introduced to his friends as her girlfriend and they fly off to Vegas where he asks her to marry him so he can be a citizen and he doesn’t have to return to Russia to work for his dad.

Unfortunately, when news of their marriage reaches Russia, Vanya’s dad sends his godfather Toros (Karren Karagulian) to collect the two, get them annulled and to prepare for Vanya to return to Russia. With his two goons, Garnick (Vache Toymasyan) and Igor (Yuri Borisov), Toros attempts to bring the newlyweds to heel but instead Vanya runs off leaving Ani to deal with the rest, whom she is able to handle on her own. When calmer heads prevail, the four now journey throughout the Russian community of Brooklyn to find Vanya and settle everything before Vanya’s parents arrive.

The film runs a bit over two hours, taking its time to establish the characters of Ani and Vanya and showing us that whatever we may think of the transactional nature of their relationship – the payment for sex, the drug use, the excessive partying, the lack of any adult responsibilities or accountability – that the two found some level of safety within each other. The film never shies away from the fact that Vanya is a rich tool and then Ani is looking at this as an escape from her sordid life, but the film treats it as real without hiding the fact that Vanya is paying for Ani’s company and that the two are probably using each other to run away from their problems. It’s the magic of director Sean Baker’s use of extreme close-ups and handheld shots that gives the film an almost documentary feel. He unabashedly shows us the drug use and the sex but juxtaposes it with the two youths feeling safe in each other’s arms (and in the luxury of Vanya’s seemingly unending supply of cash).

When all of this starts to crumble, Ani’s background and history comes to the foreground and we see her fighting Toros, Garnick, and Igor with all her might. And boy is she formidable. The 25-minute scene of their confrontation is a hilarious farce that shows off each actor magnificent comedic timing as well as their full use of their physicality to make that scene one of the most memorable scenes in the past decade. It’s funny and well-executed but it is also incredible in how it turns the whole movie over and shifts it from an R-18 rom-com into an odyssey. As Baker takes us through the ins-and-outs of the Russian community in Brooklyn, we get to see another side of America that is usually left out in all its usual Hollywood propaganda of how the US is the greatest country in the world.

It’s here where we realise that Ani is just another child of immigrants trying to find her piece of the American dream. She thought she found it in the arms of a son of a Russian oligarch but, instead, she faces yet another American truth: only the rich get richer, and everyone still has to pay their dues.

Madison and Borisov are so deserving of all the award nominations they’ve been receiving this award season. Madison keeps Ani from being boring or cloying or fictional. Borisov’s Igor is a powerful presence in the film by the way he just stands in the background watching everything unfolding, receiving the full brunt of Ani’s anger, and finding space for his own voice to serve as a wonderful counterpoint to all the madness going on in the film.

‘Anora’ is such a splendid movie with how it takes the Cinderella story and turns it on its head. It never shies away from universal truths about how unfair this world is; how the class divide knows no culture or border and how deep down inside, we all just want to be loved. It’s funny and poignant and dark and bright all at the same time. It’s such an enjoyable two hours in the cinema and it’s probably going to be in my list of favourites for years to come.

My Rating:

Anora is still showing in cinemas. Check showtimes and buy your tickets here.

January 21, 2025
Movie Review — Dreadful and Genuinely Scary, ‘Wolf Man’ Loses Steams by Its Third Act

With a 15-minute prologue that really sets the mood, Leigh Whannell’s ‘Wolf Man’ establishes itself as a horror film that is rooted in dread. It’s a long exposition that details the tension-filled relationship between a young boy and his father who are living isolated in the woods of Oregon. The father, a military-man by his demeanor and language, is teaching his son about survival and hunting when they are attacked by a large animal that appears to be standing on two legs. It’s barely seen but knowing this film and what it’s about, we know it’s the wolf man and it sets us up for what we expect to be a scary ride.

We jump thirty years later and that young boy, Blake, is not a father to Ginger and is married to journalist Charlotte. Ginger and Blake have a very strong connection, obviously a far cry from Blake’s own relationship with his father but Charlotte seems the odd one out. The marriage is not doing well, and Charlotte seems disconnected to both her husband and child. But when Blake receives news that his father is now officially declared dead, he decides to bring everyone to Oregon to help him pack his father’s belongings and would love to use that time for the family to get closer together. Unfortunately, the wolf man that we’ve seen in the prologue is still in those woods and at the arrival of Blake and his family, they become his new prey.

With a cast of four performers, ‘Wolf Man’ is economical and tight. At 103 minutes, the film feels fast and never boring. Whannell makes full use of long shots to show how isolated the family is the moment they get to Oregon, which helps sets the fear knowing that they are all alone and far away from any sort of civilization. When they are attacked by the wolf man and forced to run and take shelter at Blake’s childhood home, it becomes a battle for survival. When the meat of the story happens, it all unfolds within one night, which allows for Whannell’s and director of photography Stefan Duscio to really play with light and shadows to create the suspense. We know the wolf man is just outside the house. We know they are all alone. And what’s worse, Blake is hurt and is slowly turning into a wolf man himself.

The way by which Blake becomes a wolf man is quite well-done. The volume starts to increase showing us his hearing is getting stronger and when he gets dizzy, a symptom of his transformation, the camera shifts angles to accompany his disorientation, and when the scene is covered in darkness, the camera shifts to his point-of-view and we start to see through his heightened vision. It’s techniques like these that really immerses us into Blake’s transformation: how he is slowly losing himself to this affliction.

Christopher Abbott as Blake in Wolf Man, directed by Leigh Whannell

What the film failed to immerse us into is Charlotte’s point-of-view. Blake and Ginger’s relationship had been established quite early on and so Ginger’s insistence on making room for her dad even when she can see that he’s changing makes sense. Their connection is the grounding element of the film. But Charlotte never has a moment to be vulnerable or to show her humanity. She’s presented to us as cold and distant and the trip to Oregon was supposed to be a chance for her and Blake and her and her daughter to get closer – a chance for the audience to see her softer side. Instead, she finds herself in a horror movie and as the protagonist role shifts from Blake to Charlotte, the film begins to lose its anchor. The love she has for her family which motivates all her actions at the latter half of the film has not been explored or developed throughout the film leaving it sort of hollow or empty.

All of a sudden, the moment Charlotte takes the lead, the film isn’t so scary. Surviving isn’t so vital to the enjoyment of the film. Julia Garner, who plays Charlotte, is doing the best she can but there’s very little space for her in the script to give her character more humanity as she’s thrust into survival mode before she has a chance to show us what she’s got. Christopher Abbott manages to keep us invested in his character with his earnestness in the role. Even the way he speaks to Ginger (Matilda Firth) is so adult and so straightforward, but you know it’s rooted in his own difficult relationship with his father. It could feel so awkward for a script but without having to explain it, Abbott justifies it through the performance.

‘Wolf Man’ has genuine frightening moments and some really good set ups and doesn’t rely on jump scares to create fear and dread. Unfortunately, it forgot to take time to develop and grow its second lead and that’s where it loses its steam.

My Rating:

Wolf Man is still showing in cinemas. Check showtimes and buy your tickets here.

January 18, 2025
Movie Review — ‘Sonic the Hedgehog 3’ Is a Formulaic Plot-Heavy Mess Even Two Jim Carreys Can’t Save

I was very much surprised and charmed by the first ‘Sonic the Hedgehog’, but I don’t remember if I have seen the sequel or if I missed it. So, coming into ‘Sonic the Hedgehog 3’ meant there was a lot of goodwill from the first film that was carried into the cinema with me. Surrounded by a family with their unruly children (really, parents should learn to discipline their kids in public spaces), I was expecting to have a really good time with the third installment of this series. I was quite disappointed when the charm and warmth that the first film had was gone and was replaced by an over emphasis on plot while, at the same time, sidelining it to give way for Jim Carrey to have his gags.

In the third installment, we are introduced to Shadow (voiced by Keanu Reeves), another hedgehog who appears faster and stronger than Sonic and unlike our protagonist, he’s not a nice hedgehog. Shadow has been locked up in a containment cell for the last 50 years, but he awakens in the first ten minutes of the film, frees himself, and wreaks havoc in the nearby city of Tokyo. In the other side of the world, Sonic (Ben Schwartz), Tails (Colleen O’Shaughnessy), and Knuckles (Idris Elba) are having a picnic with Tom (James Marsden) and Madie (Tika Sumpter), They celebrate Sonic’s first arrival on earth and at a race, they manage to find Sonic’s old cave (from the first movie). Here, Sonic and Tom get to talk about choices and being a good person – a very scripted scene that underlines the theme of the whole film and you know will be important later on – before the agents of G.U.N, come to take Sonic, Tails, and Knuckles to Tokyo to face off Shadow.

Jim Carrey as Ivo Robotnik and Gerald Robotnik, Shadow (Keanu Reeves) and Lee Majdoub as Agent Stone in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

When Shadow proves invincible, Sonic must resort to working with Dr Robotnik (Jim Carrey), who is determined to find out who is using his technology without his permission. The team-up is short-lived, though, for they discover that Shadow is working with Professor Robotnik (also played by Carrey), Dr. Robotnik’s grandfather.

Knuckles (Idris Elba), Sonic (Ben Schwartz) and Tails (Colleen O’Shaughnessey) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

Sonic, Tails, and Knuckles must reunite with Tom and Madie and figure out how to stop Shadow, and the two evil Robotnik’s from taking over the world.

Sonic (Ben Schwartz), Knuckles (Idris Elba), Tails (Colleen O’Shaughnessey, James Marsden as Tom and Tika Sumpter as Maddie in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

What makes ‘Sonic the Hedgehog 3’ arduous is that the film feels like multiple segments leading up to an obvious realisation at the end of the film for its two main characters (three if you count Dr. Robotnik). The film’s formula is way out in the open for you to see and nothing about its elaborate plot feels surprising. What makes it even worse is that the film’s tedious plot ends up pausing and taking breaks so that Jim Carrey can play out a sketch or a gag – and with two Jim Carreys in a scene, it can get a little overindulgent – and the whole pacing of the film is ruined. Some gags are funny. Some feel tired and old. Some the kids in the audience loved and others went way above their heads.

When the big finale comes, without that feeling of surprise and the callback to the obviously scripted parts about the choices people need to make, the film feels spoiled before it even got a chance to get good.

Sonic (Ben Schwartz), Knuckles (Idris Elba) and Tails (Colleen O’Shaughnessey) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

The only thing that still manages to surprise me is how good James Marsden is with such a flimsy script. He is practically performing to a CGI character and I’m not privy to how the scenes were shot, if there was a puppet or if Ben Schwartz was actually there, but Marsden really sells Tom’s good guy persona and makes it believable that he’s talking to a blue, anthropomorphic hedgehog from another part of the universe. It’s such an amazing performance. Jim Carrey is Jim Carrey. He’s good at that. Whether you are tired of his shtick or if it can still capture you (like it still sometimes does, for me), then that’s a personal thing.

It’s unfortunate that none of the heart and warmth of the first film found its way to ‘Sonic the Hedgehog 3’ but consider the response of the kids in the cinema when that mid credit scene came out, the fourth looks like it still has an audience excited and waiting for the sequel.

My Rating:

Sonic the Hedgehog 3 is now showing in cinemas! Check showtimes and buy your tickets here.

January 18, 2025
Streaming Review — Light and Fun, ‘Unmasked’ Is a K-Drama That Fits Lead Actress Kim Hye-Soo’s Style to a Tee

Kim Hye-Soo has somehow mastered the quirky girl boss roles. She did it in ‘Hyena’ and a more restrained version of it in ‘Under the Queen’s Umbrella.’ In the new Disney+ series ‘Unmasked,’ she takes this template and applies it to Oh So-Ryong, a gung-ho and fearless tv journalist in the show Trigger, whose ratings are dropping but lends credibility to its channel’s programming. So-Ryong is gutsy enough to paraglide into a cultist den to grab the scoop that she needs to break a story wide open without regard for her own safety (and that of her team). The first two episodes of ‘Unmasked’ promises to be a wild ride into investigative journalism in a televised platform.

Creating the contrast for the character is Han Do (Jung Sung Il), a director for the drama world who finds himself out of the narrative department and sent to the news division. He is not a people person and his first introduction to the world of Trigger and the many unique characters that comprise the team. In the first two episodes, we see this world through Han Do’s eyes and while he’s resistant to it, it’s a case in episode two that finds him joining the fray and getting entrenched into the team.

Photo courtesy of Disney+

While the first two episodes feel like the show will take an episodic structure – with each episode or couple of episodes detailing a unique and individual case – the cliffhanger of episode 2 suggests that previous cases may come in to play later on. This would create a thrilling world that is unpredictable and quite dangerous as the show may be the type to create enemies.

Photo courtesy of Disney+

This show seems to be Kim Hye-Soo’s bailiwick: the character, the genre, the tone. It’s a strong mix of suspense, thriller, and a generous dose of comedy. So far, there doesn’t seem to be any romantic angle being set up for Oh So-Ryong and Han Do but you can never really tell with these dramas, though she does seem intrigued by Han Do’s background and potential to be a strong teammate and the new director of Trigger. Whether he adapts and acclimates himself is the question, and he probably will, so the real story is how.

Photo courtesy of Disney+

The other characters that populate the show are played by Joo Jong Hyuk (of ‘Extraordinary Attorney Woo’ and ‘Yumi’s Cells’ fame) and Jang Hye Jin (of ‘The Red Sleeve’ and ‘Jangnyeon: A Star is Born’ fame). Joo plays an eager segment producer who is hoping to land his first story while Jang is the veteran senior writer of Trigger who knows more than enough about the crazy world that these characters have found themselves in.

Photo courtesy of Disney+

The show has a fast energetic pace and is not afraid to get silly or to make fun of itself. What’s refreshing too is to see Kim Hye-Soo also go for laughs and not afraid to ridicule herself. The show looks dark and ready to go deep into the underbelly of South Korea’s criminal world as Trigger is known to solve cases that the police and prosecution were not able to.

By the looks of it, this is another glossy, trendy K-Drama from Disney+ that’s slick and efficient but not really the cultural reset that ‘Moving’ was. This is a show in the same vein as ‘Military Prosecutor Doberman’ or ‘Blood Free’ or ‘Red Swan.’ It will be fun to watch, if you find something in it to hook you but it won’t be making the same kind of noise that ‘Moving’ made.

My Rating:

Unmasked is now streaming on Disney+! Click here to watch it now.

January 16, 2025
Review — Made Only for the MOAs, ‘Tomorrow X Together: Hyperfocus’ Doesn’t Quite Reach All Audiences

There is something to be said about a full immersive cinema experience. I’m a purist about cinema and trying to simulate what is happening on screen for the audience seated in the theater feels like a novelty more suited to a theme park than the world of film and movies. The power of books and movies and music is that the connection is made by the imagination that links our lives with what we experience on the page or the screen or what we hear in our ears. The history of film has shown us that just what we see and hear, projected on to that screen, can take us to different times and worlds and situations and allow us to truly experience a lifetime. Wind machines, scented spritzers, and a moving chair does not bring me closer into the world of the film, it takes me away from it and that’s one of the many barriers that got in the way for me to enjoy ‘Tomorrow X Together: Hyperfocus in Cinemas.’

The film is less than an hour long and it’s a showcase of the K-pop idol group TXT as they sing six songs from their discography in a wide range of virtual sets and caps off with a behind-the-scenes look at the shoot with the virtual reality studio. It’s not a concert video. It feels more like a showcase that’s akin to an extended Studio Choom dance video (if you’re a K-pop fan, you know what Studio Choom; if not, take a look at it on YouTube). As a K-pop fan myself, I can see that this release is intended specifically for TXT’s fandom, called MOAs. It’s a nice way for someone who is not familiar with them, like myself, to get to know them and their music – I for one took note of the second and the fourth song that they sang, ‘Magic Island’ and ‘Tinnitus (I Want to Be a Rock)’ and added them to my own playlist – see them dance and get to know their faces (as the camera comes in really close to the absolute delight of the fans in the audience with me). But there were many barriers of the release that got in the way.

First off, ‘Tomorrow X Together: Hyperfocus’ is a virtual augmented release. I think you are supposed to watch this with special VR goggles that can help you see the added effects to the scene. There are no goggles for this VR enhancement so what we see is a green screen CGI background behind the boys that looks fake and flat. Without the VR goggles, the intended effect doesn’t jump out.

Next, there are no subtitles and there are two spiels that happen between every two songs and then the finale. If you’re familiar with K-pop concerts, you know when to cheer and when to scream and the boys even react accordingly as if the audience does (in the cinema I was in, only one fourth of the audience knew when to make noise and did so obediently). Surprisingly, the five boys – Soobin, Yeonjun, Beomgyu, Taehyun, and Hueningkai – don’t have enough space for their personalities to really shine. They are relating to a camera and without the audience and the energy from a live crowd coming their way, they can only do so much to let their presence be felt. The fans in the cinema were enjoying it but as a newbie, I still didn’t get to see who they were.

And then the 4DX experience made it even harder to enjoy as the seats shook and jolted along with the choreography while the bass manifested as a pulsing vibration right at your back. This would actually take me out of the moment rather than immerse me into that world because my energy was being dictated for me. I’ve been to K-pop concerts and the joy and rush of energy from seeing my idols would force me from my seat and to stand up and cheer and dance along the beat. Here, I do not have that option. I’ll fall off, for sure.

Not exactly a concert film but not exactly a documentary that allows for new audiences to find their way into the fandom, ‘Tomorrow X Together: Hyperfocus’ is a peculiar release, especially without the subtitles and the virtual reality augmentation that would probably only serve to interest the true-blue MOAs of the country.

My Rating:

Tomorrow X Together: Hyperfocus is now showing in cinemas. Check showtimes and buy your tickets here.

January 15, 2025
MMFF Movie Review: Though the First Two Acts Are Messy, ‘And the Breadwinner Is…’ Lands Its Ending

There’s a whole landscape of Filipino movies about the OFW experience as this is a phenomenon that has struck our society so deep. At some point, they have been called our present-day heroes. Films like ‘Anak’ and ‘Transit’ and ‘Hello Love Goodbye’ and the documentary ‘Sunday Beauty Queens’ are just some examples of films that tackle the emotional landscape of this set of people. So when director Jun Lana (co-writing with Daisy G Cayanan and Jumbo A. Albano) and Vice Ganda team up to tackle this narrative in an MMFF entry, it’s bound to get a lot of attention.

This is my first Vice Ganda movie (I know, this is something I plan to fix by watching the rest of his filmography soon) so I wasn’t sure exactly what to expect. I’ve seen snippets of Vice on ‘It’s Showtime’ when it shows up on social media or when I’m on a bus and am familiar with his quick wit and razor sharp delivery of jokes. But to see it in action in a film is something else. The way the audience reacts to every punchline shows his mastery of comedy and that is unquestionable.

‘And the Breadwinner is…’ is the story of Bambi Salvador (Vice Ganda), an OFW working in Taiwan to help support her family in Pampanga. She works multiple jobs and has sacrificed their identity to build a house back at home that she and her family can truly call home. But the sudden death of one of her co-workers encourages her to return home early to be with the people that she loves only to find that her home has not been built and her family has wasted away all her money on failed businesses and frivolous things. In frustration and anger, she leaves home and is mistaken for dead. They discover that her life insurance would give the family ten million pesos and Bambi and her family decide that to pay off all their debt and start anew, Bambi would continue to pretend she’s dead.

The first two acts of the film is messy, firing at all directions. There’s a feeling that each scene is more a skit, a gag, before moving to the next. The narrative’s flow is broken by these moments of humor. Each family member – from the younger brother Biboy (Jhong Hilario) and his wife Mayet (Gladys Reyes), to her even younger siblings Boy (Kokoy De Santos) and Buneng (Maris Racal), and her eldest sister Baby (Eugene Domingo), who had abandoned the family to live and work in Italy – gets to have their own story and while it’s an ensemble piece, at 123 minutes, it makes the film seem bloated as each one has just the same amount of story time to play out. Adding upon this is the deception plot regarding the insurance money as an inspector, Anton (Anthony Jennings), is trying to find out whether Bambi is truly dead or not.

It’s a hodge-podge of scenes and gags that range from slapstick to witty comedy, bringing back characters from Vica Ganda’s filmography, and situational comedy that can hit or miss depending on the range of one’s taste. While the delivery is outstanding, there are jokes that make fun of fat people or ridiculing someone’s appearance and hurtful physical comedy that’s just not my cup of tea. But these elicit the most laughs because of Vice’s impeccable timing.

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When the film slows down to become tender, especially when it’s geared towards the queer stories in the film; is when it gets touching. Joel Torre’s Popsie, the deceased patriarch of the family, has the most touching scenes in flashbacks. The way by which he adores Bambi is truly beautiful to see. The acceptance is something we need to see in films more to help normalize this. And the way by which Bambi returns that acceptance to Boy, who comes out to him creates a chain of kindness directed towards the community. It’s one of the more moving parts of this film handled expertly by Vice, Torre, and De Santos.

But as messy as the first two acts are, the final act is when all that chaos is channeled into the film’s shift into drama. All the gags and the jokes, all of the misunderstandings and snide comments against each other, funnel into a confrontation of the whole family and Bambi ends up delivering an almost ten-minute monologue that embodies a whole lot of unsaid resentments from the OFW community. It’s a litany of the things that, as a culture, we are afraid to say out loud because we put family first before our own selves. It’s a magnificent space for Vice Ganda to show his acting chops as he throws out every emotion that feels like it has been trapped there forever, for the fifteen years that Bambi had suffered alone in another country. It’s visceral. It’s explosive. It’s done in a one-shot that puts Vice’s acting front and center. The whole movie was pushing towards this confrontation and it’s the reason why you should see this film.

My Rating:

And the Breadwinner Is… is now showing in cinemas. Check showtimes and buy your tickets here.

December 29, 2024
MMFF Movie Review: The Parts of ‘Isang Himala’ Are Stronger Than the Whole

I was scared coming into ‘Isang Himala.’ I love the original film by Ishmael Bernal and Ricky Lee. I teach in my classes in Philippine Film History, and it is truly a groundbreaking work that still holds the test of time. I’m also in love with the stage adaptation by The Sandbox Collective, directed by Ed Lacson Jr. and music and lyrics by Vincent De Jesus. That production turned the whole stage, including the audience, into the town of Cupang and it was filled with incredible performances by its incredible cast. While the same cast is brought into the film adaptation of the musical, I feared that what made the stage play so magnificent – the way by which the whole town of Cupang comes alive and all the audience immerses themselves into the longing and desperation of that place – would be lost as it moves into the screen. How does a camera make the audience part of that world?

But knowing that Pepe Diokno was coming in to direct gave me a little hope. After all, his ‘Gomburza’ was excellent. To differentiate his world from the stage play and the original film, Diokno shot the whole film on a studio, which allowed for full control of lighting and sound design and they could control the massive crowd scenes that inhabit this film. It gives the feeling of old school Hollywood musicals from MGM where the sets look too perfect, too manufactured and they bring this charming aesthetic to the narrative. I’m talking about ‘The Wizard of Oz’ or ‘Singing in the Rain’ or even ‘Seven Brides for Seven Brothers.’ There’s a leaning into the formalist tradition of cinema with Carlo Mendoza’s stunning cinematography turning the town of Cupang into the brilliant ochre shades that matches the film’s heavy tones and themes.

‘Isang Himala’ is about the town of Cupang, a town in need, ravaged by a drought, and the townsfolk believe that they are cursed. When Elsa (Aicelle Santos) proclaims she is having visions of the Virgin Mary and is seen healing a sick child, the town enters into a frenzy of religious fervor and zeal. A cult is quickly formed around her, tourists come from all over to receive Elsa’s blessings and healing, and the once-poor town suddenly gains a resurgence in economic growth. Factions are formed, as Elsa’s followers don’t take kindly to Nimia (Kakki Teodoro), who returns from Manila to open a cabaret while a documentary filmmaker, Orly (David Ezra), records Elsa’s movements, selling the footage and the photos he takes to newspapers in the city, while hoping to build a film about her. Elsa’s mother, Aling Saling (Bituin Escalante) is caught in the middle, a hapless observer as the town and her daughter are caught up in the madness of it all.

There are so much great things happening in this movie. Diokno’s ability to really move that camera through that madness is riveting. He creates these large set pieces as the two transforms over the course of a song from impoverished to booming in minutes. The crowds come in and make the whole set come to life. The singing is exceptional. With performers like Santos, Escalante, Ezra, and Teodoro in the cast, there’s no question that we’ve got incredible vocals to go with Vincent De Jesus’ score.

But I felt so disconnected from the piece – a narrative that I’m in love with from its original film and its stage adaptation – and I realised that I find the adaptation of the stage musical into a film needed space and width. Cupang’s design is enclosed in canyon, everything is bunched up together and claustrophobic. Everyone is in everyone’s business. There’s a mass of people entering and exiting the scenes and the camera can come in close for the close-ups to capture the drama that is unfolding in this story. But the script does not illuminate the characters and their motivations clearly enough for us to warrant these close ups. The stage adaptation makes the whole town the central character and the audience is witnessing the transformation that it takes from the distance of spectator. We can’t really know these characters because of that distance. Here, the camera can come close. It gets intimate, but the script never really explores these characters inner worlds. I am left with no real clue on who Elsa is aside from the push and pull of people’s desires for her benediction nor do I really, truly understand what motivates Orly’s interest in her. If these are done through the songs (as most of the film is sung-through), it can get lost in the production of the music.

The only character who truly shines and creates the film’s contrast is Nimia. While everyone is great, Kakki Teodoro fully embodies Nimia’s practicality and sense. Unlike everybody else, she believes in herself and is unafraid to stand up to her former friend. Teodoro brings this to the performance and sings the hell out of one of the best songs in the musical. Of all the characters in the film, hers is the clearest of what she wants and what she believes in. As I’m writing this, I heard that Teodoro won Best Actress at the MMFF Awarding and it is so well-deserved. Shes the one everyone is talking about when I left the cinema.

At two hours and forty minutes, I felt exhausted. The film is an intense roller-coaster of powerful songs that lean more towards opera than it does to musicals. A lot of the songs aren’t melodic, which is fitting because there’s no real rhythm or melody to suffering. In the play, on just a piano, it is haunting. Here, it’s loud and aggressive. Played by a full band that makes each song feel like a finale. It’s big and the film never gets quiet enough to process all of the madness that happens within this town.

The claustrophobia and the lack of true character moments makes this world feel small. Whereas Ishmael Bernal’s use of wide empty spaces and long shots help creates that distance for the viewers so what we see is the town. Here, I see Elsa. I see Orly. I see Nimia. I see Aling Sepang. I see the characters but except for Nimia, I don’t really get to know them fully. So, I’m impressed by the performances, by the aesthetics and the filmmaking behind ‘Isang Himala’ but I’m left struggling with what I’m supposed to feel afterwards. It’s a heavy movie to take in but wonderfully made.

My Rating:

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

December 29, 2024
MMFF MOVIE REVIEW: Julia Barretto and Carlo Aquino Can’t Save ‘Hold Me Close’ From Its Shallow Characters and Flimsy Premise

It’s fortunate that Jason Paul Laxamana’s ‘Hold Me Close’ has the combined star power of Carlo Aquino and Julia Barretto because they are working hard to try and make this movie, with its thin premise, work. Set in Karatsu, Japan, the magical romance teams up Aquino and Barretto two people with respective traumas who find each other and set the journey towards healing. The catch? Barretto’s Lynlyn has the ability to tell if a person is “positive” or “negative” (whether they will be the cause of joy or pain) by simply touching them.

Aquino plays Woody, a man searching for a place to call home. He seems to be independently wealthy, not having a job but taking on a lovely house in Karatsu. In the morning market, he meets Barretto’s Lynlyn, who sells squid at the market with her two brothers Tantan (Jairus Aquino) and Botbot (Migo Valid). It’s love at first sight. Woody ends up helping Lynlyn and her brothers after her power discovers one customer is a “negative” and sparks a strong reaction that causes a stir. For Lynlyn, she feels that Woody is safe because he is neither “positive” or “negative.” He begins to visit her every day and she tags along because he will not cause her harm. Woody is persistent and consistent and eventually Lynlyn is charmed and what seals the deal is that Woody is now a positive. They begin to date until, on a date, Woody suddenly becomes a negative. The two protective brothers try to keep them apart but Lynlyn, overcome with her feelings for Woody, gives him three chances to turn into a positive. She then helps him evaluate his life and his choice, delving into his past and encouraging him to fix his relationship with his family. In the process, she will soon discover that she must also face her own demons.

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What makes the film a frustrating watch is that Laxamana builds the thinnest characters here. Unlike the characters of his previous films, Woody and Lynlyn end up appearing one-dimensional no matter how much work Aquino and Barretto put into them. Woody arrives in the city, and he seems to not do anything except chase after Lynlyn. He has no job, no passions or goals. He’s just a man running away from his issues and no matter how charming Aquino can be, there’s not much there to root for. At some point, he laments that no one loves him, but we don’t actually see him being a part of the world in any meaningful way. Lynlyn, on the other hand, is completely defined by her ability. She panics when she’s electrified by a negative reading of a person but every customer she has, she holds on to them trying to find out if they are good for her or bad. She also seems to not have any other dream or goal than to sell squid with her brothers in the market. Not much is said about her background: why she and her brothers are there and what is their goal in life. It seems these characters are only there to exist for the purpose of this movie.

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It doesn’t help that the film takes a moment to showcase all the tourist spots of Karatsu, which ends up taking us away from the film to become a sort of travelogue. Yes, it’s part of the scenes when Woody and Lynlyn are falling in love. But the place doesn’t feel integral to the story. You can replace it with any location, whether local or abroad, and the story can still stand.

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Also, the film doesn’t seem to have a clear representation of what positive or negative means. At one point, Woody is a positive and then another moment he becomes a negative. The film doesn’t quite handle this properly. At one moment, even Tantan becomes negative and then only to turn positive again the next. The whole film’s conceit centers around Lynlyn’s gift but as Woody tries to make himself positive for her, one wonders why Lynlyn gets to determine one person’s worth based on a feeling that she cannot explain. It could be a great metaphor for red flags and green flags, but the film never brings it there. It feels literal in its presentation and that sort of brings down the film’s potential.

My Rating:

Hold Me Close is now showing in cinemas. Check showtimes and buy your tickets here.

December 29, 2024
MMFF MOVIE REVIEW: Defying All Expectations, ‘Green Bones’ Casts a Hopeful Light in the Dark

A story about redemption and hope, ‘Green Bones’ plays out like a sort of dark fairy tale through the filmmaking choices of everyone involved, which allows the movie to play with form and structure in inventive ways that helps take us on an emotional journey about justice and redemption and really exploring the role of prisons in our society. Written by Ricky Lee and Anj Atienza (from a story by JC Rubio) and directed by Zig Dulay, the movie quickly recalls the film ‘Shawshank Redemption’ with Tim Robbins and Morgan Freeman but this film carries its own magic. Despite its subject matter, Dulay and Director of Photography Neil Daza manages to create an almost mythical world for this story about the penal system in the country to take place.

Lee and Atienza also manage to play with structure and form by telling two very different stories, though essential the same narrative, by spending the first act in seeing the world through one of its leads, the young officer Xavier Gonzaga (Ruru Madrid), who enters the prison as a new warden in the island of San Fabian. Gonzaga has lost his sister to murder, and he carries his bias with him. The prison colony in San Fabian is a more humane place where the prisoners are given more freedom than what we expect. They are allowed to stay outside to garden and cook and, in the afternoons, are allowed to leave the prison to work in the farm or the fisheries and sell their wood carving projects to locals and tourists. The idea behind this system is to encourage them to repent and get back to their lives. Unfortunately, Gonzaga does not believe that murderers can be rehabilitated, and he has his sights set on Dominic Zamora (Dennis Trillo), a man who does not speak and is incarcerated for murdering his sister and his niece. Gonzaga watches Zamora closely, knowing he’s about to finish his sentence early for good conduct, and when he sees Zamora and the other inmates planning something, he decides to step in and ensure Zamora never makes it out.

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The film then shifts focus on act two, as we see the story through Zamora’s perspective and details his world view and the story of how he killed his sister and his niece and how his life has changed since then. The story is quite different from Gonzaga’s take and the film manages to shift the way we look at the people that are in prison now knowing what we know about the systems that are in place in our country.

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There are multiple stories here: stories about the other inmates, the friends that Zamora had cultivated; the story of the NGO worker who is constantly visiting Zamora (Alessanda de Rossi), and the story of Zamora and his sister (Iza Calzado) and his niece (Sienna Stevens in the flashbacks and Sofia Pablo at present time). Dulay is able to manage exploring multiple themes through the careful interweaving of these characters and as we know more and more about Zamora and his past, we become just like Gonzaga that our eyes are suddenly opened to our own prejudices and misconceptions.

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Trillo and Madrid give out exquisite performances here. Trillo brings such a deep humanity to the character of Dominic Zamora. He is fearsome as Gonzaga imagines him to be, but he is also soft and warm and kind as we see his story play out in the second act. He is the foundation of this narrative, and he carries it so competently that the film succeeds because it has such a strong anchor holding it together. If Trillo is the foundation, then Madrid is the narrative’s driving force. Madrid embodies Gonzaga’s tunnel vision but roots it in his character’s past hurts and trauma. This is not a one-dimensional witch hunt. This is a person that’s hurting, and Madrid is able to layer his character with these stories that allows us to empathize with him even if we suspect he’s not holding all the cards. The rest of the cast is magnificent, from De Rossi and Calzado, to Michael De Mesa and Wendell Ramos (who play the other policemen in the prison) and the inmates played by Ronnie Lazaro, Royce Cabrera, Mikoy Morales, and two others whose names I wasn’t able to find.

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The heart and warmth that Dulay was able to deliver in last year’s ‘Firefly’ is in full display in ‘Green Bones.’ It’s a masterful work that plays with your expectations and takes a hard look at how we think of rehabilitation and how humane are we in treating those who have strayed. The film can get dark, but it has to, because the film shines a light of hope to those who seek redemption. By the end of the film, I caught myself crying along with other members of the audience.

My Rating:

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

December 27, 2024
MMFF MOVIE REVIEW: Revenge Made Sweet: A Review of ‘Uninvited’

It’s only through fiction, be it literature or theater or film, that one can find true joy in brutal, eye-for-an-eye type of revenge. By all means, the world is such a complex place where there are no real shades of black and white. Everything is gray and we are all interconnected in some way or another. Other films tell us that. But in fiction, events and people can be black and white, and this is where Dan Villegas (with a script by Dodo Dayao) leans into the fantasy and manages to exact some level of catharsis for all the viewers of his latest film, ‘Uninvited.’

The story takes place in one night during the party of a wealthy criminal, Guilly Vega (Aga Muhlach) as he and his crew are the target of Eva Candelaria (Vilma Santos), a gatecrasher to the party who plans to take her revenge for the rape and murder of her daughter, Lily (Gabby Padilla).

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The story builds by use of clever flashbacks to help establish motives and blurs the moral lines and help us see the full range of Guilly’s transgressions; and not just to Eva Candelaria but also to his wife, Katrina (Mylene Dizon), and his daughter Nicole (Nadine Lustre).

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Everything about this film is slick and glossy from Paolo Orendain’s crisp cinematography to Mica Tatad-King’s exquisite production design. The film borders on camp but not as much as I originally thought from watching the trailer. There is a feeling of the hyper-real here so that the characters can exist as symbols of larger themes. Muhlach’s Gully Vega is downright evil, and he knows it and he is unafraid to posture and grandstand because he knows his money and power will protect him as they have this whole time. Dayao’s script and Villegas’ direction gives Muhlach a chance to really play and inhabit a dark and scary place for his character and as much as he comes off as a one-dimensional evil villain; there’s some truth to this character when one is aware of what’s happening all over the world with very rich men getting away with very awful crimes.

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The hyper-reality of the film allows us to fully support Eva Candelaria in her quest to exact vengeance on all who had ruined and killed her daughter and her boyfriend, Tofy (Elijah Canlas). That includes Vega’s right-hand man Jigger Zulueta (RK Bagatsing), bodyguard Batac (Cholo Barretto), his connection to the police, Randall (Gio Alvarez), and his recruiter, Jomar (Ketchup Eusebio). Vilma Santos is the only character who is allowed to settle into the gray areas of this dark fable. She’s resolute with her quest for retribution but she’s no cold-hearted killer. She is able to convey the range of emotions one feels in the middle of the birthday party of your daughter’s killer. She is angry and scared and the feeling of loss is so palpable in her every movements while she is trying her best to keep it together.

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As a suspense/thriller, the film takes a whole hour to really build the tension. Most of the brutal violence are committed through the flashbacks and early on, we are already on Eva’s side and everyone in the cinema with me, including myself, were waiting for Eva to make her first kill. But Villegas continues to juggle all the moving pieces of his film – the weary right-hand man, the sly wife, the daughter who hates her father, and many others – preparing us for a third act when all of the pent-up tension finally explodes, and it is as delicious as the film’s visuals and excellent casting choices. It’s a long wait but it feels worth it.

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The danger here is that as extreme as this story is, it’s not far off from the many real-world crimes that are committed by people in power today. And just like in the movie, these people are untouchable by the law. Much like the current new storm of the Health Insurance CEO killing in the United States by an ordinary citizen who has had enough, the fact that this film can create sympathy and empathy with Eva Candelaria and what she’s about to do is a powerful political statement about the current systems of the world today. Much like one lady behind me in the cinema said rather loudly in Tagalog, “I can’t wait for her to kill them already.”

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Aside from the savvy filmmaking involved, the performances by Muhlach and Santos and by the rest of the cast including Lotlot De Leon as Tofy’s mother really help make this world shine. It’s a dark and twisted story to tell but it does in a way that makes it fun and thrilling.

My Rating:

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

December 27, 2024