Disney and Pixar have done it again! Moviegoers are feeling all the feels as Disney and Pixar’s “Inside Out 2” had a record-breaking opening day yesterday, June 12, scoring the third biggest film debut of all time in the Philippines! This impressive feat places it right behind the legendary openings of “Avengers: Endgame” and “Avengers: Infinity War.”
But that’s not all—this sequel to the beloved 2015 film has also set new records as the biggest opening day for an animated film and the biggest film opening of 2024 in the Philippines.
“Inside Out 2” takes us back to the mind of Riley, who’s no longer a little girl but a full-fledged teenager. Things are changing fast in her head, and Headquarters, the control center of her emotions, is undergoing a major renovation! But the surprises don’t stop there. To make room for the new, some familiar faces have to make way.
Just when things seem to be running smoothly at Headquarters, a sudden demolition makes way for an unexpected addition: new Emotions. Joy, Sadness, Anger, Fear, and Disgust find their operations disrupted by the arrival of Anxiety, Envy, Ennui, and Embarrassment. How will these new Emotions change Riley’s life?
A Fun, Emotional Adventure for All Ages
Inside Out 2 delivers a laugh-out-loud adventure packed with Pixar’s signature animation magic. But it’s also a film that will resonate with people of all ages. After all, who hasn’t felt overwhelmed by emotions, especially during those crazy teenage years? This movie is a heartwarming reminder that all our emotions are valid, and that even the most complex feelings can be understood and managed.
“Inside Out 2” is directed by Kelsey Mann and produced by Mark Nielsen, with Pete Docter, Jonas Rivera, and Dan Scanlon serving as executive producers. The screenplay, crafted by Meg LeFauve and Dave Holstein, promises a blend of humor and heart, enriched by the musical score of Andrea Datzman. The voice cast includes Amy Poehler, Maya Hawke, Kensington Tallman, Liza Lapira, Tony Hale, Lewis Black, Phyllis Smith, Ayo Edebiri, Lilimar, Grace Lu, Sumayyah Nuriddin-Green, Adèle Exarchopoulos, Diane Lane, Kyle MacLachlan, Paul Walter Hauser and Yvette Nicole Brown.
Join Riley and her emotions on this unforgettable adventure. “Inside Out 2” is now showing in cinemas nationwide. Don’t miss the chance to feel all the feels with this remarkable sequel. Be part of the excitement and share your thoughts on “Inside Out 2” using the hashtags #InsideOut2 and #FeelAllTheFeels. Join the conversation and let us know which new emotion resonates with you the most! Grab your tickets now and get ready for a trip inside Riley’s head that’s full of laughter, a few tears, and a whole lot of heart!
Looking for the perfect way to spend your Independence Day? This week’s movie releases have something for everyone! Whether you’re into animated comedies, thrilling mysteries, or heartwarming dramas, these five new films are sure to captivate. From the emotional journey in “Inside Out 2” to the interconnected stories of “Fruitcake,” the romantic action in “Love You as the World Ends,” the suspenseful twists in “Playtime,” the whimsical adventure in “Skye Hoshi: Anime Girl,” and more, there’s a film for every taste. Don’t forget, some fan favorites are still playing in theaters – catch them before they’re gone! So grab your besties, some popcorn (extra butter, please!), and see the movies hitting theaters near you!
Now, let’s take a sneak peek at what’s premiering this week:
2024 • PG • 1 hr 36 mins ADVENTURE, ANIMATION, COMEDY, DRAMA, FAMILY BUY TICKETS
Get ready to revisit the quirky world inside Riley’s head in Inside Out 2! This highly-anticipated sequel picks up with our favorite personified emotions – Joy, Sadness, Anger, Fear, and Disgust – as Riley embarks on the emotional rollercoaster of adolescence. But things are under construction in headquarters! A sudden demolition makes way for something entirely unexpected: new Emotions!
Anxiety joins the crew, and it seems she’s not alone. This influx of new characters throws the established emotional order into disarray, leaving Joy, Sadness, and the gang unsure how to navigate this uncharted territory. Will they be able to adapt and guide Riley through the emotional turmoil of teenage years? This heartwarming and hilarious adventure is perfect for the whole family, reminding us of the importance of embracing all our emotions, new and old.
2024 • R-16 • 1 hr 37 mins COMEDY, DRAMA, MUSIC BUY TICKETS
Craving a movie that captures the essence of life, with all its quirks and complexities? Set in the vibrant heart of Metro Manila, this heartwarming comedy follows the interconnected stories of a diverse groups. As their paths converge on a fateful train ride, we witness a tapestry of life’s highs and lows,woven together with humor and compassion.
From the rising star struggling to make it big to the seasoned musician facing the twilight of his career, Fruitcake explores universal themes of love, loss, and the enduring strength of the human spirit. Featuring a stellar cast including Joshua Garcia, Empoy Marquez, and Jane Ions, this delightful film promises to leave you laughing, crying, and feeling all the warm fuzzies.
If you’re in the mood for something a little more thrilling, then Love You as the World Ends might be your pick. This action-packed horror film follows Hibiki Mimiya, a man haunted by the loss of his beloved Kurumi. Determined to find their daughter Mirai, who has been kidnapped and taken to a supposed haven called Utopia, Hibiki joins forces with a group of survivors on a desperate mission.
But Utopia may not be the paradise it seems. As they navigate a world overrun by terrifying creatures called Golems, Hibiki and his companions must confront not only the monstrous threats outside but also the darkness that lurks within.Starring Ryoma Takeuchi, Fumiya Takahashi, and Mayu Hotta, Love You as the World Ends promises a thrilling blend of romance, action, and horror that will keep you on the edge of your seat.
Calling all thrill-seekers! Playtime weaves a suspenseful tale of three women whose lives become unexpectedly intertwined. Influencer Allyson, bride-to-be Roni, and newly single Patricia seem to have nothing in common. But when they all place their trust in the wrong man, they find themselves thrust into a terrifying situation where their very lives hang in the balance.
Forced to rely on each other for survival, these women must overcome their differences and tap into their inner strength. Playtime, starring Xanya Lopez, Coleen Garcia-Crawford, Faye Lorenzo, and Xian Lim will keep you guessing until the very end ,offering a heart-pounding exploration of trust, betrayal, and the power of female solidarity.
Calling all anime fans! Get ready for a fantastical adventure in Skye Hoshi: Anime Girl. When a slacker comic store employee named Atom encounters the impossible, his life takes a wild turn. The anime character Skye Hoshi mysteriously leaps out of her poster and into the real world! Now, it’s up to Atom to help Skye return home before her anime series is destroyed.
This delightful film, featuring Olivia Roldan, Hunter Kohl, and Chris Richards, blends fantasy with humor, creating a fun and imaginative experience for anime enthusiasts and casual viewers alike.
FAN FAVORITES STILL SHOWING
Meanwhile, don’t forget to catch up on some of the movies that are still captivating audiences in theaters. Here’s a list of fan favorites that are still showing in cinemas:
2024 • PG • 2 hrs 24 mins ACTION, ADVENTURE, SCIENCE FICTION GET SHOWTIMES
Get ready to elevate your movie-watching experience! With a diverse lineup of genres hitting theaters this week, there’s definitely a film (or two!) that will pique your interest. Whether you’re in the mood for adrenaline-pumping action, gripping suspense, or heartwarming romance, the selection of new releases and fan favorites currently showing promises something for every movie buff. So don’t miss out—grab your popcorn, round up your crew, and head to your nearest cinema to catch these must-watch films in action!
Feel the creeping horror of the unknown with the extended clip from the film, now available for viewing. Don’t miss out—get your tickets at www.thewatchers.com.ph.
From the mind of M. Night Shyamalan comes “The Watchers,” a horror-thriller that plunges you into a world where unseen entities observe your every move. Written and directed by Ishana Night Shyamalan, this film is based on the novel by A.M. Shine and follows the harrowing journey of Mina, a 28-year-old artist stranded in an untouched forest in western Ireland. Seeking shelter, Mina finds herself trapped with three strangers, stalked by mysterious creatures that watch them every night.
You can’t see them, but they see everything.
“The Watchers” stars Dakota Fanning (“Once Upon a Time in Hollywood,” “Ocean’s Eight”), Georgina Campbell (“Barbarian,” “Suspicion”), Oliver Finnegan (“Creeped Out,” “Outlander”) and Olwen Fouéré (“The Northman,” “The Tourist”). The film is produced by M. Night Shyamalan, Ashwin Rajan and Nimitt Mankad. The executive producers are Jo Homewood and Stephen Dembitzer.
Joining writer/director Shyamalan behind-the-camera are director of photography Eli Arenson (“Lamb,” “Hospitality”), production designer Ferdia Murphy (“Lola,” “Finding You”), editor Job ter Burg (“Benedetta,” “Elle”) and costume design by Frank Gallacher (“Sebastian,” “Aftersun”). The music is by Abel Korzeniowski (“Till,” “The Nun”).
Distributed in the Philippines by Warner Bros. Pictures, a Warner Bros. Discovery company, “The Watchers” is now terrifying audiences in cinemas nationwide.
Join the Conversation Online!
Use the hashtags #TheWatchers and #AreYouWatching to share your experience and join the online community of horror enthusiasts.
Photo & Video Credit: “2024 Warner Bros. Entertainment Inc.”
I love the Indigo Girls. As a kid of 80s and 90s, I grew up to their music and while ‘The Power of Two’ would be their most famous song in the Philippines, it wasn’t my favourite. I found the song so sweet and sentimental in comparison to Emily Saliers other songs, which are more melodically clever and more profound or any of Amy Ray’s more passionate songs. A jukebox musical of their songs sounds like a complete joy (even if I hate jukebox musicals, on principle), added to the fact that the story features a gay love story makes it even more appealing. I was very intrigued by director Tom Gustafson’s ‘Glitter and Doom.’
What I was not expecting was a post-modern musical that plays out more like a queer fantasy than a traditional, conventional movie. My pretentious classic movie leanings made me resist the movie at the start. Every scene feels like a set – the way Gustafson and director of photography Cristian Solano uses the backdrop of Mexico City to make everything feel so magical and dreamy – and even the character designs of his two protagonists feel completely fictional and unreal. Their names, after all, are Glitter and Doom. Glitter (played by an extremely charming Alex Diaz) is a rich kid, flirtatious, and, of all things, wants to go to Paris to clown school. While filming an audition in the streets of their unnamed city, he meets Doom (Alan Cammish). Doom is a budding singer and songwriter, who is trying to audition to play a regular gig at a bar called The Fountain. They bump into each other and there’s an instant attraction. But while the bubbly, optimistic Glitter comes off too strong, Doom quickly builds his walls as a dark cloud seems to be floating over his head.
I was resisting the film at the beginning. ‘Glitter and Doom’ is unapologetically a musical and takes a more atmospheric and thematic approach to storytelling rather than centering the movie with its plot. The love story of Glitter and Doom doesn’t take the normal story beats to develop. They see each other, Glitter hits on Doom, Doom backs away, they sing a song – a mashup of ‘Shed Your Skin’ and ‘Touch Me Fall’ by Indigo Girls – and all of a sudden a understanding is formed. The film, written by Cory Krueckeberg, prefers to make impressions than to hunker down and tell a cohesive story.
Adding to the fantasy, Glitter’s mom (Ming Na Wen) is a high-powered executive, who wants the same for her son. But she used to be a circus performer (which is where Glitter probably gets the fascination to be a clown) and her home is constantly on party mode with hoop dancers and jugglers and members of the queer community. She’s open about her son’s sexuality (such a breath of fresh air) but she seems less enthusiastic about her son wanting to be a clown (understandable). While Doom is constantly surrounded by drag queens and queer people in full regalia. These supporting will suddenly appear when any of the cast members burst out into song (which is often).
It wasn’t until a good 20 minutes when I finally realised the film was taking a post-modern approach to cinema. The film’s structure and style were in conjunction to the non-traditional world of its characters. The moment I accepted the film for what it is rather than what I wanted it to be, I began to see the moments of beauty this film had to offer.
First of all, the new arrangements and mashups of the Indigo Girls songs used in the film is wonderful. It helps that Cammish and Diaz are excellent singers. They are not just singing, but acting through it so it really adds a depth to the songs. Secondly, Cammish is wonderful at portraying the tortured artist, afraid of not realising his dreams of becoming a singer and falling in love. As the songwriter, he gets to do a lot of the singing and he does it perfectly. But the real star here is Diaz, whose Glitter is so free spirited and spritely but there’s a fear that is hidden underneath that Diaz manages to portray in very subtle ways. Glitter is constantly taking videos and often, Diaz has to look straight into the camera and perform a monologue and he manages to do so with all the emotions both external and internal in full view. It requires a nuanced measure of fragility and verve that he articulates with his whole body. It’s a revelatory performance that’s quite difficult to do in a film that is so tonally whimsical.
And while the story flits from its neurotic romance between Glitter and Doom, it’s also about realising your dreams and facing your demons (in this case, it’s also related to both protagonists’ mothers). By not focusing on narrative beats but instead painting impressions of moods and emotionally charged moments, amplified by the gorgeous music of the Indigo Girls, the film manages to creep in and twist on your heartstrings. I was absolutely gob smacked, while watching this movie and falling in love with it, that at some point when Cammish starts singing a new version of the classic Indigo Girls hit ‘Closer to Fine’ (with a interpolation of ‘Everything in Its Own Time’) I just started crying.
There’s a beautiful way by which this film imagines a world where the biggest problems a queer person would have been whether their dreams can come true and if their own fears and demons won’t get in the way of making a sure play at love. It’s a beautifully shot fantasy world that’s tender and sensitive and, sure, it’s easy and it never sweats the hard stuff. But in the landscape of queer cinema, it’s wonderful for a film to just be so unapologetically celebratory of queer lives. As the film leans into its formalist aesthetics, it revels in its fictional tone and just allows the characters to navigate through the darkness of their lives to try and reach that which makes them happy. And for that, on Pride month of all times, is just what is needed.
Ongoing at Robinsons Manila and Robinson Magnolia, The Manila Film Festival is a showcase of student short films side-by-side by the short films of young, established filmmakers all working around the theme “Manila in Me.” These 12 short films create a tapestry that highlights the dynamic energy of the city of Manila and is a promise of the kind of movies that we will be seeing in the future as these are the filmmakers of the future.
The films of Set B
Set B opens with the short film ‘May at Nila’ by Sigrid Bernardo. This two-hander is heavily reliant on dialogue, and luckily for Bernardo, Elora Jaducana Espano and Veronica Reyes are up to par in being arresting throughout the film’s short run time. But it has a tendency to dawdle and extend. Bernardo’s ‘May at Nila’ explores the hiddenness of same sex relationships in the oppressive era of World War II. The two women discuss their past and present and try to reconcile their revolutionary activities with their own forbidden love. A lot of the film’s narrative potential is delivered in dialogue and this concept feels more suited to a full-length. It deserves breadth and for Bernardo to make use of her cinematic eye to truly situate the oppression of these women in the larger world rather than the tiny space of film’s singular location where the meat of the story happens.
What follows is ‘threefor100,’ which is an irreverent film of different kinds of unusual love stories all set in an ukay-ukay. Written and directed by Cedrick Labadia, the film is gutsy and bold and has a wonderful concept, but it doesn’t quite gather all of its dispirited elements together to tell a whole cohesive story. There’s Nida (Thea Marabut), who works at the ukay-ukay but seems distracted. Dino (Jayson Alcazar) is in love with her as is the fish that can only speak through a radio but she’s in love with a mannequin. Her boss, Aling Chichay (Carla Zarcal) is always at her case, but she’s stuck in love with the ghost of her husband. It’s a crazy bag of stories that should paint a world of irreverent love but fails to justify these love stories or even highlight what is so wonderful about them. The concept is there but as individual pieces, they all have to comment on each other which Labadia isn’t able to accomplish just yet. It’s almost there but not there yet.
Neither does the ‘The Ballad of a Blind Man’ by Charlie Vitug quite land its story about a young woman who is oppressed and held back by her almost blind father. There’s a scripted feel to the way the narrative unfolds, including some rather sentimental cinematic choices that keeps ‘The Ballad of a Blind Man’ from elevating itself from its tired genre. The film is more keen on trying to establish its tone that it forgets to establish the emotional weight of the story: the oppression and the protagonists conflict with her relationship with her father.
Adrian Renz Espino, the writer and director of ‘Ditas Pinamalas,’ on the other hand, goes way too far into whimsy that it never feels grounded enough to land its joke. Ditas (Gillian Vicencio) is an unlucky woman who finds her luck turning when she starts to wear the underwear of her late grandmother. Espino seems more focused towards his off-beat humor rather than making any real strong exploration about fortune and destiny. It could have been forgivable if it landed its jokes but there’s a self-consciousness in the delivery of the scenes that gives away the humor. It tries to hard that it doesn’t quite stick.
My favourite among all the student films, though, is ‘Bahay, Baboy, Bagyo’ by Miko Biong. A wonderful film that juxtaposes the innocence of youth versus the looming destruction of capitalism. It tells the story of Kulas and Gabo (played excellently by Don Rishmond Cerbito and Arkin Torres), who live on the outskirts of the city and their land is about to be taken and developed for gentrification. It’s taken from their perspective and how a simple children’s game can be a metaphor about the ways by which the systems of the world has taken from ordinary people. Biong, with Director of Photography Kinno Toogue do an amazing job at establishing this community. With editors Renjiro Bayani and Janelle Basalo, the camera not only shows us the world that needs to be preserved but the innocence that makes this world so ideal. It’s a simple film but with larger ramification just outside the screen, just outside what these kids are able to comprehend. It’s wonderfully directed and shows incredible restraint.
Capping off Set B is Pepe Diokno’s ‘Lumang Tugtugin’ with screenplay by Guelan Varela-Luarca. This incredibly directed piece is about Angela (Therese Malvar), who returns home to take care of her grandmother (Lui Manansala) while dealing with her family’s past horrors that finds itself ingrained within the walls of the house. It’s a genre piece that bends style and form. It’s a psychological thriller but it is also a domestic drama. But Diokno, along with director of photography Tristan Salas and editor Ike Veneracion, create a dazzling tapestry using techniques of horror to help build the film’s growing tension until its reaches its climax that involves a terrific play of the mise-en-scene that made the whole audience (and myself) applaud with admiration. The film alludes to the past horrors of the house and manages to execute its revelation in such an amazing cinematic way that leaves you breathless. It’s a show stopping ending that reminds you that Pepe Diokno is one of the most exciting young directors working today.
Disclaimer: Please note that movie showtimes are subject to change without prior notice. We recommend checking the latest schedules before planning your visit.
My Rating:
The Manila Film Fest 2024 is happening now at Robinson’s Movieworld – Manila and Robinson’s Movieworld – Magnolia (Limited Screening) until June 11! Check showtimes and buy tickets here.
Despite the lush Irish forests as its backdrop and a rather cinematic bunker in the middle of the woods as the setting of this horror film, ‘The Watchers‘ quickly loses any of its mystery and appeal because of first-time feature film director and screenwriter Ishana Night Shyamalan’s inability to wrestle with the film’s massive lore. Based on the book by A. M. Shine, ‘The Watchers’ prefers to keep things hidden; allowing the dread to stem from what we don’t know. This only last for as long as the fear is constant, the characters we’re following are engaging, and the film points out to something bigger.
But that’s not what happens here in the film.
‘The Watchers’ is about an American, Mina (played by Dakota Fanning), who is living in Ireland and running from her past. When her boss at the pet store she works in asks her to drive to another city to deliver an expensive bird to the zoo, then she finds herself lost in an enchanted forest where she cannot find her way out. There she discovers what is called “The Coop.” It is a bunker in the middle of the forest where she is taken in by its current inhabitants – Madeline (Olwen Fouere), Ciara (Georgina Campbell), and Daniel (Oliver Finnegan) – and they tell her the rules to survive because out in the woods, when the sun goes down, the Watchers come and they will kill her if she’s not in the bunker by sundown.
All the elements are there to create an engaging story. Who are the watchers and what are they? There are rules to stay alive and, of course, Mina tries to break them because she refuses to be stuck there like everybody else. As some rules are broken, the four are put into danger. How will they get out? What do the watchers want? The list goes on.
But the moment the initial curiosity has set in, the film takes on a very by-the-numbers pace that slows everything down. While the rules are explained and while Mina tries to break them to find her way out, there’s no real sense of danger that sticks. Mina’s backstory is kept hidden from us until halfway through the movie, so we don’t feel that connected to her. It doesn’t help that Fanning, as good an actress as she is, is asked to be guarded and reserved. She’s put a distance between her and everybody in the film so she’s not the kind of lead character an audience can easily warm up to.
Madeline plays out as the older, wise woman character-trope, whose backstory I figured out quite quickly as the answers to the questions start pouring out by the third quarter of the film. Ciara and Daniel are functional but don’t have much to do to make you feel for them in any real way.
What makes the film even less scary is that all the important answers to the questions the film inevitably sets up by its premise is answered through a huge info dump in the third quarter of the movie. They learn the lore of the watchers in one big go that the already languid, tepid pace of the film is even stunted further. And regardless of how you feel about the revelation, without the mystery, the narrative starts to fall flat. What else is there to do now?
I can imagine what this narrative might be like in the form of a book. When you’re reading this story in the comfort of your home and taking the pace that you want, the story can work. The prose can cover up the variety of new information that happens near the end of the story. But for a film, as you near the end, you want the film to go faster to start moving towards its climax but instead ‘The Watchers’ ends up slowing down further to explain.
This has always been the problem of what some people call ‘the mystery box’ narrative. This is the trouble Ishana Night Shyamalan is struggling with in this film.
Once the big struggle is done, the film enters its resolution and then another twist is revealed (like father like daughter, because, yes, she is the daughter of M. Night Shyamalan). It is a twist I saw coming the moment the big info dump has occurred and the sad part is, at the film’s final conflict, it is once again done via dialogue. ‘The Watchers’ starts well with an interesting premise, but it does not keep up with all its elements as the film unfolds. If anything, this is a streaming movie for a dead weekend.
My Rating:
The Watchers is now showing! Check showtimes and buy tickets here.
Screening at Robinsons Manila and Robinson Magnolia until June 11, The Manila Film Festival offers two sets of short films, which explores the theme “Manila in Me,” and each set is opened and closed by a young but established filmmaker and in-between are four short films by student filmmakers. The six films in each of the two sets create an interesting tapestry that speaks about the variety and range of stories that are found at the heart of Manila, the seat of our country’s history.
For Set A, the films are prefaced by Dwein Baltazar’s ‘Nananahan,’ a gorgeous meditation on longing and waiting. Shot in black and white, the film is practically a silent film with the most minimal dialogue, if there’s even any. What keeps it from being silent is the exquisite music by Emerzon Tecson and the incredible sound design by Narra studios. The film is shot entirely in a furniture store at the heart of downtown Manila. It’s old and it feels abandoned and the people that hang around here are just waiting while the sounds of the city erupt all around.
It’s still and nothing happens yet a pervasive mood hangs upon the air and it tells the story of a city that is just waiting to be discovered all over again like the furniture in the store and the people that watch over it. Baltazar’s exquisite touch knows exactly how long to hold a scene and when to break it and when the finale comes and the realisation of what it is you’re really seeing hits you, it’s a magical moment that only film can truly capture.
Writer and director Vhan Marco Molacruz follows up after Dwein Baltazar with the road movie ‘Una’t Huling Sakay.’ While the story can be a little contrived, the pacing a little abrupt, what Molacruz does excellently is tell a vivid story about a life on hold. His main character (played by an arresting Gold Aceron) is a habal rider who had to stop his schooling to earn money for his pregnant girlfriend. Molacruz takes beautiful travel shots of Aceron on his bike while using the scenic backdrop of Manila as a means to symbolize the struggles and hopes and disappointment of his protagonist.
Following that is ‘An Kuan’ by writer and director Joyce Ramos. ‘An Kuan’ is tonally exquisite. It’s an absolutely charming film that manages to hit the right comedic tones as it details the struggles of a non-Tagalog speaking mom who is looking for a job in Manila. The film makes use of its rough edges to add a layer of grit that grounds the relationship of the mother (Louielyn Jabien) and her lesbian daughter (Zar Donato) that makes it both endearing and funny. It never takes itself too seriously and by doing so manages to tackles some really interesting themes while taking some very lovely shots of Manila’s coastal areas.
Phi Palmos and Precious Paula Nicole shine with a very nuanced, very powerful performance in Ronnie Ramos’ ‘Happy (M)other’s Day!’. It’s a simple film about a young girl who is navigating the difficulty of finding which parent can come to her school’s Mother’s Day event when she has no mom but two dads. It’s a small, intimate film with a lot of heart and propelled by excellent performances that includes Palmos, Nicole, and Amber Jeshley Gomez, who delivers an excellently matured performance. Unfortunately, Ramos needs to tighten his editing, allowing moments to linger when it should be snappy and manages to downplay the urgency of the story. This would be a stronger film if it had a tighter edit and some more dynamic cinematography that really helps bring you closer into the story.
Finishing off the student films in set A is ‘Pinalakang Tabingi’ by John Pistol Carmen. A lovely little love letter to cinema, Carmen’s short is about two kids who get caught up in a pirated DVD raid in their hometown in the province. The film manages to highlight the issues about accessibility to films while showing the effect a film can have on its young audience. It’s best when it’s playing at the fantasy, with Carmen also doing a really cute interplay between a fictional fantasy movie and the way the kids reenact the scene from this movie. By the latter half, the film dips into a public service announcement tone that can kill the energy built by the film’s first act but it’s charming all throughout.
Rounding up the first set is JP Habac’s ‘Shortest Day Longest Night.’ The film feels very now, very trendy. It has a pulse that belongs to the hip kids and their love for deep conversations and art and pop culture. The film is about safe spaces and how even the safe spaces that are inhabited by the queer community can be violated by members of its own community. Adrian Lindayag and Vaughn Piczon are excellent at embodying two lost souls finding safety in each other’s brokenness. It’s pretty to look at but I’m not a fan of the very didactic and verbose way that Habac approaches this story. So many of the film’s story points are articulated rather than dramatized and I really, really feel that this film is better as a full-length. There’s a world here that should be mined and sifted through and Piczon and Lindayag are excellent vessels for a story like this to unfold. As a short, I felt the story was hemmed in too much by its time constraints and I feel like it would just bloom if it had a full-length feature running time.
Disclaimer: Please note that movie showtimes are subject to change without prior notice. We recommend checking the latest schedules before planning your visit.
My Rating:
The Manila Film Fest 2024 is happening now at Robinson’s Movieworld – Manila and Robinson’s Movieworld – Magnolia (Limited Screening) until June 11! Check showtimes and buy tickets here.
Humanity is at the brink of destruction, and the cure might entail the ultimate cost. Love You as the World Ends follows a group of survivors fighting for their lives and their loved ones as the Golem virus turns the majority of the human race into rabid zombies.
Hotta Mayu plays the role of Aoi, a nurse stationed at the top of Utopia, a refuge for survivors. The research team tasked to find the cure made their base of operations on the top levels, and Aoi is a witness to the horrible atrocities the scientists committed in desperate search for the cure. Her main task is to care for Mirai, deemed the “Miracle Child,” as she is suspected to contain the cure for the Golem virus ravaging humanity. Mirai is the child of the lead character Hibiki, who is on a mission to save her from her fate, at the cost of ending the apocalyptic outbreak. His partner, Kurumi, was infected and consumed by the Golem virus, but managed to give birth to Mirai before succumbing. This has led the researchers to believe that Mirai might have the right antibodies to fight off the deadly virus. Aoi is being pursued by Yamato, who is desperately climbing up Utopia to reach the girl he loves.
An exclusive model for “Non-no” magazine, Hotta Mayu started out in drama series. She’s known for her roles in manga film adaptations such as Ikumatsu in Rurouni Kenshin: The Beginning, and Serina Kanno in the film adaptation of Honey Lemon Soda. Hotta won Best Newcomer in the 4th Yokohama film festival for her role in Tsugaru Lacquer Girl, and is the 48th Elan d’or Awards’ Newcomer of the Year.
Watch them try to survive long enough to reunite with their loved ones as Love You as the World Ends opens in PH cinemas on June 12, an Encore Films film distributed by Warner Bros.
Disney and Pixar’s highly anticipated sequel, “Inside Out 2,” is set to hit cinemas nationwide next week, on June 12. Picking up from the last scene of the beloved 2015 film “Inside Out,” the new installment delves into the vibrant and tumultuous world of Riley’s mind as she steps into her teenage years.
A Journey Through Puberty
“Inside Out 2” begins with the ominous red button hinting at Riley turning 13, signaling the onset of the challenging and equally beautiful stage of puberty. The original film introduced viewers to the colorful characters representing Riley’s emotions: Joy, Sadness, Anger, Fear, and Disgust, as she navigated the significant changes that came with moving to a new city. It brought to light the complexity of emotions and the concept of ‘core memories,’ opening up meaningful conversations between kids and parents about feelings.
It’s Demo Day in Riley’s Mind!
Now a teenager, Riley’s mind undergoes significant changes. In the Headquarters, a demolition crew arrives, preparing to make room for new Emotions, concepts, and locations. The trailer hints at the excitement and chaos this transformation will bring. What new experiences and lessons await Riley? What fresh concepts will she discover?
Belief Systems and Sense of Self
Every demolition marks the beginning of new construction, much like Riley’s ‘Belief System.’ This sacred space, interwoven with strings connected to Riley’s memories, plays a crucial role in decision-making and navigating the world. As old beliefs crumble to make way for new ones, Riley’s Emotions will clash, reshaping her ‘Belief System’ and influencing her future choices.
Alongside this, Riley’s ‘Sense of Self’ will be introduced, symbolizing the essence of her true inner self. This core aspect of identity is central to understanding the person Riley is becoming.
The Chaos of a Teenage Mind
Capturing the essence of teenage chaos, Riley’s mind features the ‘Back of the Mind,’ a place where non-urgent thoughts are stored for later consideration, and ‘The Vault,’ a secure repository for all her secrets. These elements add depth and realism to the portrayal of Riley’s mental landscape, reflecting the complexities teenagers face.
A Relatable and Fun Experience for All Ages
“Inside Out 2” promises to be a chaotically fun and refreshing film that viewers of all ages can enjoy and relate to. As Riley navigates her expanding world and the intricate dynamics of her Emotions, audiences are invited to join her on this exciting journey.
So, gather your barkada or family for a cinematic experience filled with laughter and the creation of new core memories. “Inside Out 2” premieres in cinemas nationwide on June 12!
I completely missed out on the third installment of the ‘Bad Boys’ series of films, the buddy cop action comedy starring Will Smith and Martin Lawrence. I remember seeing the first two films, but I have completely forgotten most of the details of ‘Bay Boys II’ and as the opening of ‘Bad Boys: Ride or Die’ reveals, there are many major events that happened in ‘Bad Boys for Life’ that are sort of needed in being able to follow this fourth installment in the franchise. The details aren’t that integral to the overall understanding of the movie, but you may be surprised (as I was) about certain things like the characters played by Vanessa Hudgens, Paola Nunez, and Alexander Ludwig and that Smith’s Mike Lowrey has a son (played by Jacob Scipio).
In this installment of the franchise, Will Smith’s Mike Lowrey and Martin Lawrence’s Marcus Burnett are caught in the crossfire as their former captain, Joe Pantoliano’s Captain Howard, now deceased, appears in the film as a video and dream sequence while being set up to take the fall by the cartel. Lowrey and Burnett will have none of it and as they try to uncover who in the Miami police department is working with the cartel to tarnish the name of the captain, they end up being framed as murderers and accomplices, along with Mike’s son Armando Aretas (Scipio). Aretas is key here because he’s the only one who has seen the villain’s face (played by Eric Dane).
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Now fugitives of the law, Lowrey, Burnett, Scipio, and the rest of their team must work to clear their names and stop the cartel from carrying out their plans.
To further complicate things, Burnett suffers a heart attack, an experience that leaves him feeling both immortal and spiritual. On the other hand, the newly married Mike Lowrey must also deal with his own mortality and the fact that his very dangerous life means that his new wife (Melanie Liburd) maybe a widow before the end of the film. These two aspects address the fact that both lead actors are in their 50s. It adds a layer to the proceedings, one that Lawrence mines for all its comedic potential (which is golden if Lawrence’s humor is up your alley) and creates a softness for Smith to chew on for his character.
Will Smith stars in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
But outside of this added layer for the characters to play with, the film operates like an old-school 90s action film. It has a vibe and morality akin to the original ‘Bad Boys’ from 1995. Smith’s and Lawrence’s antics are loud and explosive. There’s a macho/testosterone-driven comedy that pervades the film’s tone. The opening scene is Mike driving extremely fast as he appears to be late to a wedding (later on we discover it is his). For a policeman, driving this fast is highly unusual, but considering it’s Miami and it’s Will Smith, the comedic tone of the film asks us to forgive their recklessness. It’s America too, so some jokes involve Smith taking out his gun and pointing it to Lawrence’s Marcus, who is annoying the hell out of Mike with his pseudo-spiritual tirades and belief in his own immortality. Some people try to stop him and call him out (thankfully) but Lowrey quickly hushes them down. He’s a cop so he’s allowed.
Martin Lawrence stars in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
This 90s era morality and humor runs through this film but with the directorial styles of Adil & Bilall, it has a pace and an energy that is fit for the TikTok generation. The film’s editing is fast, leaving very little moments to ponder on mortality or morality. The film is jumping from plot point to plot point, from Martin Lawrence joke to Will Smith action pose. When the guns start blazing, it’s loud and geared for excitement. The best fight scenes, though, are given to the younger actors of the film. Jacob Scipio’s Armando engages in an exquisitely brutal fight scene in a prison involving weights, hitting hard and impressing. Meanwhile, Dennis Greene, who plays Marcus’ son-in-law, gets a really nice fight scene mid-movie that plays off like a video game.
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
In fact, aside from social media videos, ‘Bad Boys: Ride or Die’ also takes a lot from video games as it captures a segment of the final face off in the style of a first-person shooter game.
In all honesty, ‘Bad Boys: Ride or Die’ is not my kind of movie. It absolves its heroes of their most toxic traits because they are the good guys as well as it glorifies and romanticizes the violence that the good guys take to solving the problem. But as I was sitting in a packed theater while watching this movie, I also noticed the laughter from the people around me and the electricity in the theater that showed that this dynamic still has a lot of juice left in it. The fact that it takes the old-school route showed that they knew their market and what it took to keep them happy.
For what it was: a traditional, classic action comedy film, ‘Bad Boys: Ride or Die’ checks all the boxes. And just in case people have not forgiven Will Smith for slapping Chris Rock at the Oscars, well, that’s referenced in the movie too (and it got the loudest reactions from the audience).
