Will Smith and Martin Lawrence hosted the “On The Run Cadet Academy” at the Porsche Experience Center in Los Angeles on May 17, in anticipation of the upcoming release of Bad Boys: Ride or Die in June.
like Lawrence’s Marcus as well by participating in “Marcus’ Ultimate Snack Run,” a challenge course on foot themed around Marcus’ love of snacks, complete with prizes. Prior to the cadet academy, guests were treated to an advance screening of the film.
One of the lucky guests was US-based Filipino-American gamer content creator Dino Roman (dinocornel on social media), whose posts about the event even scored comments from Will Smith himself!
“Wtf bro I thought I was only watching an advance screening of Bad Boys Ride Or Die then Will and Martin showed up! I legit had to use my inhaler back at the hotel cause I was laughing too much it triggered my asthma. Catch it in Philippine cinemas June 5 and June 7 here in the US!” posted Dino.
To which Smith commented, “Damn, we shoulda been throwing out inhalers instead of skittles”
Smith also commented on Dino’s post about the “On The Run Cadet Academy,” where the content creator mentioned that the film will open in the Philippines June 5. “Philippines! Love that,” commented Smith.
In Bad Boys: Ride or Die, the world’s favorite Bad Boys are back with their iconic mix of edge-of-your seat action and outrageous comedy but this time with a twist: Miami’s finest are now on the run. Directed by Adil & Bilall, the film also stars Vanessa Hudgens, Alexander Ludwig, Eric Dane and Ioan Gruffudd.
Don’t miss out on explosive action and laugh-out-loud humor Bad Boys style when Bad Boys: Ride or Die, distributed in the Philippines by Columbia Pictures, local office of Sony Pictures Releasing International, opens in cinemas June 5. #BadBoys @columbiapicph
Set to creep into Philippine cinemas on September 4, this long-awaited sequel promises to deliver a blend of humor, horror, and the signature Burtonesque style that fans adore.
After an unexpected family tragedy, the Deetz family finds themselves back in Winter River. Lydia Deetz’s life takes a chaotic turn when her rebellious teenage daughter, Astrid, stumbles upon a mysterious model of the town in their attic, inadvertently opening a portal to the Afterlife. Chaos ensues as Beetlejuice is summoned once again, ready to unleash his unique brand of mayhem.
With a screenplay by Alfred Gough & Miles Millar (known for “Wednesday”), and a story by Gough, Millar, and Seth Grahame-Smith (“The LEGO® Batman Movie”), the film promises to stay true to the quirky, darkly comedic roots of the original. Tim Burton directs and also produces alongside Marc Toberoff, Dede Gardner, Jeremy Kleiner, Tommy Harper, and others.
The film is set to be a visual and narrative treat, with Tim Burton’s distinctive direction bringing the quirky and fantastical world of Beetlejuice back to life.
“Beetlejuice Beetlejuice” hits Philippine cinemas on September 4, 2024, and is distributed by Warner Bros. Pictures, a Warner Bros. Discovery company. Mark your calendars for this eagerly anticipated release!
Ishana Night Shyamalan, captivated by A.M. Shine’s novel “The Watchers,” found a wellspring of inspiration that ignited her debut feature film. Now, the enthralling horror-thriller, starring Dakota Fanning, unfolds the mysteries hidden within Irish folklore.
Perfect Pairing: A Book and Its Adaptation
Producer M. Night Shyamalan praises the natural synergy between Ishana and the novel. “Ishana—who wrote a lot of the episodes of ‘Servant’ and directed several of them—has a fantasy bent in her interests. ‘The Watchers’ is an amazing book for her to adapt. She read it and fell in love, and wanted to both write and direct it. It was a very wonderful, organic way that it came about.”
Embracing Irish Folklore
The film leans heavily into the Irish folklore elements that the novel embodies. “I think our basis was A.M. Shine’s inspiration and expertise in Irish folklore, which really informed and excited all of us—he was referencing ancient storytellers. We were taking his knowledge and then making it a contemporary thriller,” M. Night explains. “It was lovely to learn the origins were really in Ireland, with the kind of dark insinuations in them—I think the beautiful part about the Grimms’ fairy tales is the darkness underneath it.”
Themes of Womanhood and Family
In “The Watchers,” the intense themes of womanhood and family are seamlessly intertwined. “As a young woman, it’s kind of inevitable that the ideas of femininity, womanhood and motherhood are imbued into the things that I write. And that very much became the center of the story, which to me is a mother/daughter story between the characters of Madeline and Mina,” Ishana says. “But this is not just for a female audience; it feels very muscular, bold, fearsome and strong. All the women in this film are all of those things. They’re very powerful. I hope it transcends stereotypes a bit.”
A Universal Tale
Despite its specific Irish setting, Ishana aims to tell a universally relatable story. “There are family dynamics and human relationships at the center of everything. In the film, they’re really a family. Despite the fantasy, thriller and horror elements, and everything around them, I think it’s really about how people relate to each other and how to find a way to be connected in a world that’s really tough to be connected in,” she explains.
A Stellar Cast and Crew
The film stars Dakota Fanning, Georgina Campbell, Oliver Finnegan, and Olwen Fouere. It is produced by M. Night Shyamalan, Ashwin Rajan, and Nimitt Mankad, with executive producers Jo Homewood and Stephen Dembitzer. Behind the scenes, the talented crew includes director of photography Eli Arenson, production designer Ferdia Murphy, editor Job ter Burg, and costume designer Frank Gallacher. The music is composed by Abel Korzeniowski.
About “The Watchers”
From producer M. Night Shyamalan comes “The Watchers,” written and directed by Ishana Night Shyamalan, based on the novel by A.M. Shine. The story follows Mina, a 28-year-old artist stranded in a vast forest in western Ireland. Seeking shelter, Mina becomes trapped with three strangers, stalked by unseen creatures each night.
Prepare to be captivated as “The Watchers” unravels its secrets in Philippine cinemas on June 12. Engage with us online using the hashtags #TheWatchers and #AreYouWatching.
Garfield creator Jim Davis admits he was bowled over by Chris Pratt as the voice behind the beloved Monday-hating, lasagna-loving indoor cat in The Garfield Movie.
“Chris has great attitude in his voice and incredible timing,” says Davis. “I rate him a ten for funny. And one of the things he does is really bring the Garfield edge and attitude to the character, and so he really understood the character and absolutely nailed him. He’s great to listen to. You can sit back immediately and go, ‘Yeah, that’s Garfield.’”
In The Garfield Movie, the world-famous Garfield is about to have a wild outdoor adventure! After an unexpected reunion with his long-lost father (Samuel L. Jackson) – scruffy street cat Vic – Garfield and his canine friend Odie (Harvey Guillén) are forced from their perfectly pampered life into joining Vic in a hilarious, high-stakes heist.
After nearly 50 years of comic strip stardom and hilarious TV specials, The Garfield Movie brings together everything that audiences love about Garfield – plus a few things they never knew. For his part, Davis, who is one of the film’s executive producers, says he was thrilled to see an animated film break Garfield out of his three-panel confines. “It goes without saying that Garfield gets out and around more in animation. Otherwise, why animate him?” says the character’s creator. “Garfield has the same personality in both mediums. However, since animation is more than three frames, Garfield must get involved with a plot demanding that he leave his bed… In animation, you have the luxury of time to tell the story, plus you get to use music, sound effects, and audible dialog to execute the gags and drive the story.”
Davis says that he created the character to stand in contrast with the many dogs that were ruling the comics page at the time. “I saw a lot of dogs doing very well – Snoopy, Marmaduke, Fred Basset, you name it,” he says. “But there were no cats at the time. And I grew up on a farm with about 25 cats on average, and so I knew and loved cats. I thought, ‘Well, if dogs are doing that well, maybe I could use a cat.’ Cats are kind of standoffish – you know where your dog stands, but cats are aloof.”
Chris Pratt voices Garfield in “The Garfield Movie”
Because of that, he says, “it’s natural to attribute human thoughts and feelings to cats. Garfield is a human being in a cat suit.” Indeed, Davis says that Garfield’s staying power comes in the fact that his millions of fans recognize themselves in his foibles. Cats – they’re just like us! “I hold a mirror to the reader and show them back with a humorous twist,” says Davis. “We’re made to feel guilty for overeating, not exercising, and oversleeping. Garfield relieves our guilt by enjoying all of those things.”
“Garfield’s frustrations are universal,” agrees director Mark Dindal, who helms our lazy and sarcastic hero’s first fully animated big-screen adventure. “He reminds people of their childhoods. The visual humor will always play. You can find Garfield comics from 15, 20, 30 years ago, and they don’t feel dated because they’re never really rooted in something specific to that time period.”
Says producer John Cohen, “It’s such an honor that Jim Davis entrusted us to be custodians of his creation – there’s nothing that has made me happier than to hear his joy and enthusiastic reactions to the film over the course of production.”
Join Garfield and his friends on their crazy adventure when The Garfield Movie, from Columbia Pictures, local office of Sony Pictures Releasing International, opens in cinemas May 29. #GarfieldMovie
Level up your humpday! Escape the daily grind and immerse yourself in a cinematic adventure this week. Get ready to be swept away by the adrenaline-fueled action of “Furiosa: A Mad Max Saga,” where Anya Taylor-Joy leads an epic battle against tyranny. Experience the power of community and resilience in “Ordinary Angels,” starring Hilary Swank and Alan Ritchson in a gripping drama set against the backdrop of a snowstorm-stricken town. Feel your heart race with laughter and terror in “Pee Nak 4,” a comedy-horror flick guaranteed to keep you on the edge of your seat. And if you dare, brace yourself for the spine-chilling thrills of “The Strangers: Chapter 1,” where a couple’s night takes a terrifying turn in a secluded rental. But that’s not all! Find solace in the enchanting romance of “When Magic Hurts,” or venture into the dark depths of the Hundred Acre Wood in “Winnie the Pooh: Blood and Honey 2.” So grab your movie crew and get ready to be entertained on the big screen this week.
Now, let’s take a sneak peek at what’s premiering this week:
The “Mad Max” universe roars back to life with “Furiosa: A Mad Max Saga.” This prequel delves into the backstory of the iconic Imperator Furiosa, played by the phenomenal Anya Taylor-Joy. Witness her journey from a powerless captive to a fierce warrior as she navigates a desolate wasteland ruled by ruthless warlords (played by Chris Hemsworth and Tom Burke). Expect heart-pounding action sequences, stunning visuals, and a deeper exploration of the “Mad Max” lore.
Need a heartwarming escape? Look no further than “Ordinary Angels.” Set amidst a brutal snowstorm, this drama follows hairdresser Sharon Stevens (the ever-impressive Hilary Swank) as she rallies her community to help a grieving father (Alan Ritchson) save his critically ill daughter. A celebration of compassion, resilience, and the power of human connection, “Ordinary Angels” reminds us that even in the darkest times, hope can shine through.
2024 • R-13 • 1 hrs 52 mins COMEDY, HORROR GET SCHEDULES
Looking for a good scare? Look no further than Pee Nak 4. When three friends venture into an ancient temple rumored to be cursed, they soon find themselves face to face with terror beyond their wildest imagination. Brace yourself for a rollercoaster of thrills and chills in this spine-tingling comedy horror.
Prepare for a night of terror with The Strangers: Chapter 1. When a couple’s car breaks down in the middle of nowhere, they seek refuge in a secluded rental, only to find themselves at the mercy of three masked strangers. With heart-stopping suspense and bone-chilling thrills, this horror thriller will keep you guessing until the very end.
Escape to the breathtaking mountains of Atok, Benguet, in When Magic Hurts. In this captivating tale of love and redemption, a wealthy man and a haunted young woman cross paths, finding solace in each other’s company. But as secrets unravel, they must confront their pasts and embrace the magic of the present.
Get ready for a twisted take on a childhood classic with Winnie the Pooh: Blood and Honey 2. As Christopher Robin grapples with PTSD, the beloved characters of the Hundred Acre Wood face a new threat that puts their lives in jeopardy. With a mix of comedy, horror, and mystery, this film offers a fresh perspective on a timeless tale.
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 • 1 hr 54 mins ACTION, ADVENTURE, SCIENCE FICTION GET SCHEDULES
Get ready to be thrilled! With a wide range of genres hitting theaters this week, there’s bound to be a movie (or two!) that will make you want to hit that “buy ticket” button. Whether you’re a fan of heart-pounding action or spine-tingling suspense, these new releases and fan favorites still showing have something for everyone. So grab your popcorn, gather your friends, and head to the nearest cinema to catch these must-watch films this week!
When George Miller, the visionary behind the “Mad Max” franchise, speaks about Anya Taylor-Joy, his words paint the picture of a relentless force of nature. In “Furiosa: A Mad Max Saga“, Taylor-Joy doesn’t just act; she embodies the essence of Furiosa, the indomitable warrior. This isn’t just a performance—it’s a transformation. Miller notes, “There’s something resolute and ferocious in her, seen vividly on the screen.”
From Early Recognition to Leading Lady
It was Taylor-Joy’s early performances that caught Miller’s eye—first in “The VVitch”, and later in a sneak peek of “Last Night in Soho” provided by Edgar Wright. What stood out was her fierce presence. “There’s something very compelling about her,” Miller recalls. “She’s not just present; she’s piercingly intense, even when dancing or singing. This physical precision she brings is, undoubtedly, a testament to her emotional depth as well.”
The Journey of Becoming Furiosa
For Taylor-Joy, Furiosa was more than a role; it was a personal odyssey. “The moment I read the script, I knew this role would blur the lines between character and reality for me,” she shares. Her connection to Furiosa was profound, making the fierce warrior not just a character she played, but a persona she lived during filming.
Training for Battle: Strength Beyond the Physical
The preparation for the role was rigorous. Taylor-Joy underwent intense training, which she describes as transformative, making her stronger than ever. “The real workout was the filming itself—maneuvering around the War Rig and performing stunts,” she explains. This physical ordeal wasn’t just about building muscle; it was about embodying strength, resilience, and determination.
A Cinematic Experience Like No Other
“Furiosa” promises to be a monumental film, not just in its action sequences, but in its emotional and narrative depth. “This film transcends the word ‘epic’. It’s a journey—intense, cathartic, and empowering,” says Taylor-Joy. She hopes the film will inspire, particularly young women, to realize their strength and potential.
The Saga Continues
“Furiosa: A Mad Max Saga” is not just a continuation but a new chapter in the storied “Mad Max” universe. The film, set against a post-apocalyptic backdrop, features Furiosa’s quest for redemption and survival amidst chaos. Directed by George Miller and penned alongside Nico Lathouris, this standalone adventure explores new territories, both geographically and emotionally.
Star-Studded Cast and Global Anticipation
Alongside Anya Taylor-Joy, the film boasts performances from Chris Hemsworth, Alyla Browne, and Tom Burke. As the film makes its debut, it is set to captivate audiences worldwide, distributed in the Philippines by Warner Bros. Pictures.
Join the Epic Journey
“Furiosa: A Mad Max Saga” is set to arrive in Philippine cinemas on May 22. Pre-order your tickets at furiosa.com.ph and join the conversation using #Furiosa.
This all-new original, standalone action adventure, directed by George Miller and co-written by Miller and Nico Lathouris, stars Anya Taylor-Joy in the title role, alongside Chris Hemsworth, Alyla Browne, and Tom Burke. Produced by Miller and his longtime partner, Oscar-nominated producer Doug Mitchell, under their Australian-based Kennedy Miller Mitchell banner, the film promises to be an unforgettable journey.
Don’t miss out on what is sure to be one of the most talked-about films of the year. Catch “Furiosa: A Mad Max Saga“ in theaters and experience the ferocity, the emotion, and the epic adventure that awaits.
Get ready for a heart-pounding journey of love and survival as “Love You As The World Ends” hits Philippine cinemas on June 12. This highly anticipated film, based on the hit horror-television series co-produced by Nippon TV and Hulu Japan, brings the intense story of a group of survivors navigating a zombie apocalypse to the big screen. Directed by Shintaro Sugawara, who helmed the original series that dominated Hulu charts for two consecutive years, this movie promises to be a gripping experience.
A Tale of Love and Determination
The plot follows Hibiki Mimiya, portrayed by Takeuchi Ryoma (famous for his role as Shinnosuke Tomari in Kamen Rider Drive), as he embarks on a desperate mission to save his daughter, Mirai. Having endured the heartache of losing his partner, Kurumi Ogasawara, Hibiki is now fixated on rescuing Mirai, who has been taken to Utopia – a once-promising sanctuary now overrun by chaos and zombie-like creatures known as Golems.
The Fight for Survival
Hibiki’s quest leads him to infiltrate Utopia, where he discovers a group of researchers working on a cure, sequestered at the top of this dilapidated refuge. His daughter, Mirai, is believed to hold the key to developing a vaccine against the Golem transformation, making her capture all the more urgent.
In his journey, Hibiki forms a reluctant alliance with other men, each driven by their personal quests. Among them is Shibasaki Yamato, played by Takahashi Fumiya (the voice of Aruto Hiden in Kamen Rider Zero-One), who is determined to find his beloved Hatori Aoi, whose fate in Utopia remains uncertain.
Will Love Conquer All?
As these characters navigate treacherous terrain and face unimaginable horrors, their love and determination are put to the ultimate test. “Love You As The World Ends” offers a thrilling exploration of whether fate will reunite them with their loved ones amidst the apocalyptic chaos.
Don’t miss this edge-of-your-seat adventure when “Love You As The World Ends” opens in Philippine cinemas on June 12. This Encore Films production is distributed by Warner Bros., bringing an unforgettable cinematic experience to audiences nationwide.
There are several structural problems that is plaguing John Krasinski’s latest writing and directing effort, the family friendly ‘IF,’ which kind of makes the film feel like a major misfire from the filmmaker behind the brilliant ‘A Quiet Place.’ While the latter film was so cohesive in terms of its metaphor and the family dynamics, ‘IF’ suffers from a lack of any real backstory that can ground the characters to a plot line that can make you feel like the story is getting somewhere. It doesn’t help that the aforementioned IFs – an acronym for Imaginary Friend – plays out like a metaphor that isn’t representing anything really clear.
‘IF’ is about a young girl, Bea (Cailey Fleming), who goes to live with her grandmother (the brilliant Fiona Shaw) while her father (John Krasinski) prepares for an undefined operation. Bea has already lost her mom to what looks like cancer, so she is guarded, reserved; putting up a brave front. But while living in her grandmother’s apartment (where she grew up as a kid), she begins to see imaginary friends, animated beings who have been abandoned by their kids when they grew up. Her new neighbor, Cal (Ryan Reynolds) can also see them and together, they try to find new kids for the imaginary friends to bond to so that they don’t “disappear” or go away.
With a cast that includes such big names like Ryan Reynolds and John Krasinski, plus the voice acting of people like Steve Carrell, Emily Blunt, Phoebe Waller-Bridge, Sam Rockwell, and so many others; while wrapped up in the tender genre of a built-for-children family drama with lots of CGI characters, you’d think that this would be a sure-fire hit that would be impossible to not get right.
But there are a lot of holes that doesn’t quite get answered by this film that stops it from finding its stride. So, if the imaginary friends are all cut out from their kids because they grew up, how come those who are children now don’t seem to have any of their own? While Bea goes to visit her father at the hospital, she meets Benjamin (Alan Kim), who is recovering from an accident. He doesn’t have his own imaginary friends and becomes a potential new child to bond with the older IFs. But how come the current children don’t seem to have any?
And then, despite moving back to New York City, Bea can enter and leave her grandmother’s house without any fanfare. I’ve never been to New York, but I find it so distant from reality that a young girl could walk around the city streets – sometimes at night – without any adult situation in these scary, and dangerous times. Much more, with a stranger she just met that week. Sure, it’s Ryan Reynolds, but he’s a grown man who can also see IFs.
We don’t know much about Bea and her dad and her mom, though we understand by the implications of flashbacks and quick montages that the loss of the mom had a profound effect on her. It’s why Bea seems so mature and old at the start of the movie. She echoes Ryan Reynold’s Cal in the way he seems so bothered or frustrated by this whole IF business but the moment she is introduced into their world, she suddenly makes a 180 degree turn and does a full-on dance number (to a Tina Turner song) that includes all the abandoned IFs and to annoy Cal even more. It’s tiny shifts like these that create an inconsistency of character and plot that pervades throughout the film that does not allow it to land any of its emotional moments.
In fact, there’s an overuse of a lovely score by Michael Giacchino that relentlessly plays over everything, trying to underscore what should be emotional moments but they don’t quite get there.
Other than the inconsistency, the biggest issue is that the Imaginary Friends are supposed to serve as a metaphor for never losing your inner child – something that can be related to Bea’s father’s inability to take anything seriously – and while that makes for a good premise of a movie; the imaginary friends and their goal for finding new kids to connect with doesn’t quite figure into the overall theme the movie is trying to push. When the theme finally does come through, the whole story pivots but it doesn’t really play out the rewards and consequences of this realisation in any significant manner. There’s a lot of happiness and congratulating happening – as one would expect as the film serves as a family-friendly affair – but we don’t know why, and we don’t know what for.
At a hundred and four minutes, close to two hours, this movie never managed to find its stride and never really managed to pin down their characters or the world-building to a place that allows you to enjoy what is happening. For a filmmaker who managed to score a home run in his first outing with ‘A Quiet Place,’ I feel the marketing may have been too generous with its hyperboles when they were selling this movie. This isn’t the charming little family comedy it’s dressed up to be.
My Rating:
IF is now showing. Check screening times and buy tickets here.
There was a peculiar realization to watching the trailer of ‘Monkey Man’ on the big screen that made me a little nervous about watching the film. When I first saw the film’s trailer on social media, I watched it in the little screen of my phone and found the visuals absolutely stunning. The gritty images compounded by the dark color schemes that are suddenly punctuated by bright flashes of light or color; the hard-hitting action scenes that is amplified by the fast-cuts and stirring use of music: I was spellbound by what I saw and couldn’t wait for the release. But the moment I saw the same trailer on the big screen, something was diminished. The shots were so close to their subject, everything was in extreme close-up, the power that was emanating from my cellphone screen was gone in the big screen.
When I finally saw ‘Monkey Man’ in the big screen, it has a similar effect, but it creates a tension in the film that somehow adds to its magic.
Directed and co-written by Oscar nominated actor Dev Patel, ‘Monkey Man’ is the story of a man who is hell bent in taking revenge for the destruction of his home and the murder of his mother. Patel (with co-writers Paul Angunawela and John Collee) follow a sort of mold of revenge films that creates context through its relentless violence. On the top of my head, I can think of films like ‘Kill Bill Part One’ (as I’ve not seen Part Two), the first ‘John Wick,’ and just recently ‘Boy Kills World’ that represents this genre of moviemaking. The story starts with the Monkey Man, who earns a living fighting in an underground fight club wearing a monkey mask (hence the name), already making his moves to take down the corrupt chief of police, Rana Singh (Sikandar Kher), who beat his mother and set her on fire while his men torched his village.
The film takes its time to show us Monkey Man’s motivations, showing us just flashes of imagery triggered by sights and sounds that he experiences on his path of vengeance. He discovers that Rana (and his boss) frequents a high-end brothel called Kings. He makes his way to find work there and get inside so he can get closer and closer to his target. Along the way, his mission allows him to witness the harsh class disparity between the rich and the poor in the city of Yatana, and how the elite class has corrupted the city with their greed, drugs, corruption, and prostitution. Through his journey, he will see the growing popularity of a populist leader disguising himself as a spiritual guru rallying the people to his side while the marginalized groups are harassed and abused much like the farmers of Monkey Man’s home and another set of outcasts: a transgender community living in a temple.
The extreme close ups I was complaining about runs rampant through this film and it gives a sense of claustrophobia and an absence of scale and size, for a film that has such large themes adjunct to its main story. And that’s when I realized, as the film goes on, and Monkey Man’s purpose seems resolute and single-minded in its fury, that the film’s framing of this world is so tiny because the protagonist’s on view is so small. He can only see his revenge.
Patel wanted to create an action thriller with a lot more to offer, including his own culture, and he does in droves. He opens his film with a story of Hanuman, a deity who appears in the shape of a monkey. The imagery and his stories are interspersed into the narrative and Monkey Man takes on this mantle, but he does not envision himself as the hero that a film in this genre may set him up to be. It’s all there, really. But, no, Patel infuses Monkey Man with such a ferocious, singular desire and that’s for revenge. It’s why I feel the camera does not open up. It’s why the social commentary this film makes about the corruption and brokenness of Indian society – in the reality created by the film – never feels addressed or judged. It’s there. It’s present. It causes such suffering, but the film only merely follows Monkey Man.
It’s such a confident, purposeful directorial vision for the first-time director. There’s such a wonderful texture that he creates on screen with the juxtaposition of the worlds of the rich and poor – the neon, luxurious excess of the brother Kings and how it compares to the alleys and side streets that Monkey Man escapes too when it all gets too much. At one moment, you’re listening to dance music from the club and the next moment, you are watching a hard-hitting fight scene to heavy metal music. I’m not an expert in South Asian films or the Bollywood aesthetic but from the little I know; the indulgence of style is heavy in this film and I’m all for it.
It’s visceral experience that revels in its blood and gore with no real intent for redemption or grace or reason. ‘Monkey Man,’ as a movie, is a sort of cynical and jaded hero’s journey with no real catharsis waiting for you at the end. It’s a hell of a ride if you’re up to it.
My Rating:
Monkey Man is now showing. Check screening times and buy tickets here.
Filipinos were in for a wild ride as Warner Bros. Pictures, in anticipation of the opening of “Furiosa: A Mad Max Saga,” unveiled the Furiosa jeepney, which offered free rides to commuters on Labor Day, May 1, as a celebration of all workers who use the essential vehicle in their daily commute to work. The one-of-a-kind ride is a concept that explores both the post-apocalyptic look of the Mad Max vehicles and the ingenuity of the Filipino design. The jeepney activation pays homage to the iconic Philippine mode of transport, and hopes to honor it by giving it a global spotlight.
The jeepney had pick-up and drop off points at the LRT Buendia station and SM Mall of Asia, from 8AM to 3PM. Riders who hopped on the jeep also received exclusive “Furiosa: A Mad Max Saga” freebies.
Watch the Furiosa jeepney give out rides and tour around Metro Manila:
The Furiosa jeepney also traveled throughout Metro Manila during the weekend, with the help of partner exhibitors SM, Ayala, Megaworld, and Gateway. On May 4 the tour started, covering the southern area with stops at the Venice Grand Canal Mall, and Ayala Malls Manila Bay. The jeepney made its final stop for the day in front of the SM Mall of Asia Globe, ending the first leg of the tour.
On May 5 the jeepney blazed through the rest of the region with stops at SM Megamall, Robinsons Galleria, Eastwood, and SM North EDSA. The Furiosa jeepney tour ended at Gateway 2, with the jeepney being showcased along with the trailer for the highly anticipated new Mad Max film playing across the Quantum Skyview.
“Furiosa: A Mad Max Saga,” tells the tale of how the legendary Furiosa came to be, and how she rampaged through the Wasteland to return from where she was taken. Watch the action unfold as “Furiosa: A Mad Max Saga, starring Anya taylor-Joy and Chris Hemsworth, storms into Philippine cinemas on May 22. Pre-order your tickets at www.furiosa.com.ph .
About “Furiosa: A Mad Max Saga”
As the world fell, young Furiosa is snatched from the Green Place of Many Mothers and falls into the hands of a great Biker Horde led by the Warlord Dementus. Sweeping through the Wasteland, they come across the Citadel presided over by The Immortan Joe. While the two Tyrants war for dominance, Furiosa must survive many trials as she puts together the means to find her way home.
This all-new original, standalone action adventure was directed by George Miller, script by Miller and “Mad Max: Fury Road” co-writer Nico Lathouris. The film was produced by Miller and his longtime partner, Oscar-nominated producer Doug Mitchell (“Mad Max: Fury Road,” “Babe”), under their Australian-based Kennedy Miller Mitchell banner.
