The much-anticipated trailer for Disney and Pixar’s latest cinematic venture, “Inside Out 2,” is now available, inviting audiences into the evolving inner world of Riley Andersen as she navigates the complexities of teenage life. This sequel to the beloved original film introduces a dynamic cast of new Emotions, alongside the return of familiar faces, setting the stage for an unforgettable emotional journey.
A Diverse Cast of Emotions
The trailer reveals an expanded emotional palette in Riley’s mind, highlighting the introduction of new characters that resonate with the teenage experience:
Anxiety, voiced by Maya Hawke, bursts into Headquarters with a whirlwind of concern, preparing Riley for the myriad challenges of adolescence.
Envy, brought to life by Ayo Edebiri, encapsulates the yearning and jealousy that often accompany teenage years, with a keen eye on what others have.
Ennui, portrayed by Adèle Exarchopoulos, adds a layer of teenage apathy with her unimpressed demeanor and masterful eye-rolls.
Embarrassment, voiced by Paul Walter Hauser, personifies the awkward moments of growing up, with a tendency to stay out of the spotlight.
Riley’s World Grows Bigger
As Riley steps into high school, new characters join her journey, including Kensington Tallman as Riley herself and Lilimar Hernandez as Valentina “Val” Ortiz, a high school hockey star admired by many. The film also sees the return of Diane Lane and Kyle MacLachlan as Riley’s parents, enriching the narrative with familiar warmth and wisdom.
About “Inside Out 2”
Directed by Kelsey Mann and produced by Mark Nielsen, with a captivating score by Andrea Datzman, “Inside Out 2” explores the tumultuous changes in Riley’s mind as new Emotions emerge. The film promises to be a heartfelt exploration of growth, change, and the power of feeling. Mark your calendars for June 12, 2024, as “Inside Out 2” arrives in Philippine cinemas, promising a rollercoaster of emotions and an unforgettable cinematic experience.
There is an in-your-face manner by which prolific director and screenwriter Jason Paul Laxamana uses his filmmaking in his latest movie, ‘A Glimpse of Forever,’ so that he can talk about mental health, most specifically social anxiety disorder. It’s a style that comes off very literal, very straight-forward, and very unlike Laxamana’s older works. His past films like ‘Between Maybes,’ ‘To Love Some Buddy,’ or ‘The Day After Valentine’s’ tackled trendy subject matters but did them in an organic manner with a fully fleshed-out world and a solid dramatic premise. The thought that Laxamana would be directing his lens towards the concept of virtual dating and the prospect of dual lives in ‘A Glimpse of Forever’ is quite intriguing but the first ten minutes of the film, things just don’t feel like one of Laxamana’s stronger works.
https://youtu.be/oHFG7YE3jLI?si=HXgBcnUazr51TbVN
It opens in a very bare, brick themed office. Charles (TJ Valderrama) is asking his boss played by Andrea Del Rosario to let his friend Dante (Jerome Ponce) to take his place in the virtual dating company, ForeVR. So as to not be undermanned, Charles offers Dante, a trained theater actor, who unfortunately suffers from a severe case of social anxiety disorder. He has to cover his face (with a mask, and maybe a cap or a beanie) if he tries to socialize with others. But, at ForeVR, Dante would be working as a motion capture actor, acting alone in a green screen room, bringing to life virtual characters on a live “date” with their clients. It would be a perfect job for someone suffering from his condition.
What makes all this feel so inorganic and so unlike Laxamana’s stronger works in his filmography is how blatant the exposition is in this movie. The film begins in medias res and just as Charles mentions that Dante has a mental condition, Dante walks in and it’s in slow motion and the music becomes dramatic and it feels a little heavy-handed because nothing has happened yet. This happens a lot in the movie. The camera work gets dramatic as does the music for scenes that haven’t quite earned it just yet.
Dante proves himself to be great at playing any of the four characters that ForeVR offers their clientele – a bad boy, a classy and rich gentleman, a salt-of-the-earth laborer, and a bikini-wearing gigolo – and he slowly becomes a threat to the other motion capture actors already at the company. All of this unfolds in a straight-forward manner where all the ins-and-outs of the process is explained in an elementary manner. Immediately, you can see the subplot of Dante’s new co-worker’s jealousy comes to play and that – for someone who has no social capacity due to his condition – he seems to have a complete understanding of what women want.
And this is where the film is at its weakest. A quick montage shows the four characters in action, and the effect that it has on its clients. There’s no profound thought or understanding of what it seems that women want by this whole exercise. They come to a room to have a virtual date with a man that addresses archetypal, cliched ideas of what women want from men.
It’s not until twenty minutes have passed when Jasmine Curtis-Smith walks in (again with the slow motion and dramatic music) and breaks all the rules to book a virtual date with a character that is not on the menu: the boy next door called Kokoy (Diego Loyzaga).
Strangely enough, the staff assign Dante to take the role of Kokoy. None of the current roster can seem to get Kokoy right but in one try, Dante seems to have it down pat. So, even if it’s not on the menu, they allow Jasmine’s Glenda to book the date and the real story begins.
Glenda and Dante (as Kokoy) go through their first date, and it is hostile and violent. Glenda treats Kokoy mean but Dante handles it without missing a beat. He understands the boy next door as someone the client has known for a long time, there’s no pretension here so his approach to the character is not to baby her or flatter. Glenda gets so mad she storms off not finishing the session. Dante is about to lose his job except Glenda gives him the highest rating possible and a huge tip. And then she comes again.
What’s strange is that the film’s idea of a boy-next-door seems to be that of a slob (his room is a mess) and he seems to be a lazy slacker. What makes it work is that Diego Loyzaga plays him with such natural charm that I haven’t seen in any of his previous works that I’ve seen. As Kokoy, Loyzaga is attentive and oozes with natural charm. The way he confronts Jasmine Curtis-Smith’s hostility as Glenda creates very interesting sparks.
So interesting that Dante begins to fall for her. But Glenda is another curiosity as well. When the camera moves in to show her side of life, we can see that she’s in an unhappy marriage but she’s extremely wealthy (someone says she’s the daughter of an extremely wealthy family) but she sells tie-dyed t-shirts in an open store in a plaza. There’s a sort of disconnect by the world that she supposedly comes from and how it operates.
While the story tries to play out a love story/love triangle narrative complicated by the idea of fake and surrogate identities, as the story rounds up towards the third act, it reveals itself to really be a story about dealing with and trying to overcome extreme mental disorders – the social anxiety disorder of Dante and that of another character that plays off of Dante’s own struggles – it’s a bait and switch that doesn’t exactly transition well. Unlike Laxamana’s other works, ‘A Glimpse of Forever’ has no clever storytelling style that allows the story to play out organically. For Dante, his struggle is mediated by scenes with a psychiatrist (played by Katya Santos) that is so literal and prosaic that it feels like a public service announcement or a product placement.
And unlike his other movies, ‘A Glimpse of Forever’ has quite a number of one-dimensional characters. Even the leads can be quite monotone except that Ponce and Curtis-Smith are good enough to add a layer of humanity underneath them. Loyzaga is also quite strong but as Kokoy, for he plays another character (they try to keep it secret but it’s so obvious on its first appearance because Loyzaga’s physique is so evident) and that one he seems to struggle with.
There’s a way by which Laxamana trains his camera on all the dramatic moments of suffering from the condition. It’s effects and how it makes the characters suffer because of it is front-and-center and feels exploitative. Everything feels directed towards the struggles and not towards building a believable world where all these things come into collision – why women go into virtual dates, how people with these conditions live (we don’t see them in everyday normal situations, we only see them struggling with their disorder as if nothing else happens but that), or how the economics of a company like ForeVR exists. It’s an intriguing premise and it has all the elements needed to make it work. Unfortunately, ‘A Glimpse of Forever’ comes off as fantastical and as unrealistic as the virtual dates that was at the center at the start of the film and kind of disappeared by the second act.
See the combined forces of Kong and Godzilla like never before in the ultimate titan team-up, Godzilla x Kong: The New Empire. Kong’s journey to find his family leads to an undiscovered layer of Hollow Earth, and with it, the most dangerous threat to mankind yet.
Given the success of the previous film, the epic monster mash Godzilla vs. Kong, director, story writer and executive producer Adam Wingard decided to go another route for Godzilla x Kong: The New Empire. “I remember even as we were completing the last movie, that was the thing in the back of my mind. ‘Where do you go from here?’,” he says. “The characters—now that they’ve fought together, they’ve been in movies together—it’s pretty hard to imagine doing another movie without them. Once you put Godzilla and Kong together you can’t take them apart, but they’re never gonna get along really all that well. They both have too big of egos, and so what’s fun about them is that even when they do team-up, there’s always gonna be this sort of uneasy truce to it all,” he explains further, talking about what kind of relationship audiences will expect between the Titans.
As their relationship changes, audiences can look forward to Godzilla and Kong going through their own evolution as well. “In Godzilla vs. Kong, it was really important to me to make sure that there was continuity between the other movies—that Godzilla felt like the Godzilla that we had established in the Monsterverse, and Kong also felt like the same character. But for me, I was looking forward to having my opportunity to update the character, to give him a new look, and I didn’t want it to just be something that was just a random thing,” Wingard says, explaining his vision for the Titans’ updated look. “I wanted it to be driven by the story, and so I knew even at the early development phases, that I wanted to give Godzilla a new look, but I wanted to make sure that it was also motivated by something going on in the movie and that we would actually see the evolution happen within the film.”
The reason for the legendary team-up between the two Titans? A mysterious, powerful new villain: Skar King. “When you have a movie called Godzilla x Kong, you can’t just have another run-of-the-mill kind of situation for them to be in. You have to come up with something that is going to require a team to take it down,” says Wingard about how Skar King is going to shake things up for the duo. “Because of the humanity within Kong’s character, we were able to come up with a villain like the Skar King—it opened the door where we could tell that same ‘evil side of humanity’ story, but from the monster perspective, and that means creating an even bigger threat that the Skar King is in control of. In the way that humans have armies and weapons of mass destruction, the Skar King’s got his version of that, and it’s gonna take all the hero monsters in the world to band together to be able to stop him.”
Finally, Wingard talks about what people can expect in Godzilla x Kong: The New Empire, being inspired by the monster movies of old. “[Because] ultimately, I wanted to make not just another Monsterverse film, but a thrill ride like you’ve never seen before. I wanted it to be a mic drop moment for monster movies. Whatever kind of movies I make in the future, as far as monsters go, I want this to say everything, and I want to be able to walk away knowing that we did everything… and the kitchen sink!”
About “Godzilla x Kong: The New Empire”
The epic battle continues! Legendary Pictures’ cinematic Monsterverse follows up the explosive showdown of “Godzilla vs. Kong” with an all-new adventure that pits the almighty Kong and the fearsome Godzilla against a colossal undiscovered threat hidden within our world, challenging their very existence—and our own. “Godzilla x Kong: The New Empire” delves further into the histories of these Titans and their origins, as well as the mysteries of Skull Island and beyond, while uncovering the mythic battle that helped forge these extraordinary beings and tied them to humankind forever.
Once again at the helm is director Adam Wingard. The screenplay is by Terry Rossio (“Godzilla vs. Kong” the “Pirates of the Caribbean” series) and Simon Barrett (“You’re Next”) and Jeremy Slater (“Moon Knight”), from a story by Rossio & Wingard & Barrett, based on the character “Godzilla” owned and created by TOHO Co., Ltd. The film is produced by Mary Parent, Alex Garcia, Eric Mcleod, Thomas Tull, Jon Jashni and Brian Rogers. The executive producers are Wingard, Jen Conroy, Jay Ashenfelter, Yoshimitsu Banno, Kenji Okuhira.
The film stars Rebecca Hall (“Godzilla vs. Kong,” The Night House”), Brian Tyree Henry (“Godzilla vs. Kong,” “Bullet Train”), Dan Stevens (“Gaslit,” “Legion,” “Beauty and the Beast”), Kaylee Hottle (“Godzilla vs. Kong”), Alex Ferns (“The Batman,” “Wrath of Man,” “Chernobyl”) and Fala Chen (“Irma Vep,” “Shang Chi and the Legend of the Ten Rings”).
In cinemas March 30, “Godzilla x Kong: The New Empire” is distributed in the Philippines by Warner Bros. Pictures, a Warner Bros. Discovery company.
Funnily enough, I have a soft spot for both ‘Kung Fu Panda’ and ‘Kung Fu Panda 2.’ I am a fan of Jack Black and his humor and I’m a sucker for the world of kung fu and martial arts. I’ve come to appreciate the characters from both films so it’s so funny to me that I remember watching ‘Kung Fu Panda 3’ but as I was stepping into the cinema to watch the latest installment, I could not for the life of me remember a single detail of ‘Kung Fu Panda 3.’ I don’t remember the villain. I don’t remember any fight scenes. I just know that Po (voiced by Jack Black) meets up with his family.
Luckily, I didn’t need to see the third movie to understand the fourth. Po is still the Dragon Warrior and he has not lost any of his fighting skills, his humor, his down-to-earth character, nor his appetite. He now has two dads – Mr. Ping, his adoptive goose father (James Hong), and Li Shan, his biological father (Bryan Cranston) – while Master Shifu (Dustin Hoffman) is still frustrated with him despite not questioning or diminishing Po’s stature and position. It’s a welcome dynamic that is familiar and yet honest. There is growth in Po and he has risen to the task of becoming the Dragon Warrior.
Po (Jack Black) in DreamWorks Animation’s Kung Fu Panda 4, directed by Mike Mitchell.
But as ‘Kung Fu Panda 4’ opens, we discover that he must now find a suitable successor to the role while stepping up as a spiritual leader for the Valley of Peace. This is a role Po does not feel ready for, especially since he loves being the Dragon Warrior. He’s not ready for change and this becomes the central theme of this movie.
(Center) Chameleon (Viola Davis) in Kung Fu Panda 4 directed by Mike Mitchell.
Ironically, the villain that comes to threaten peace and order is The Chameleon (voiced by the formidable Viola Davis). A sorceress with the ability to shape-shift, The Chameleon has climbed up the ranks to become a powerful criminal force and seeks to rule and plunder with an iron hand. Po must venture out of the Valley of Peace to the city where The Chameleon has her stronghold to stop her. Leading him to the fortress is a fox called Zhen (voiced by Awkwafina). Zhen is a petty thief and is the type to get under your skin and push buttons. Zhen constantly questions Po’s intentions and moral center and effectively becomes a foil for Po. Both are orphans and yet Po turned out moral because he was adopted by Mr. Ping while Zhen grew up amoral because she was raised in the streets and had to fend for herself.
(from left) Po (Jack Black) and Zhen (Awkwafina) in Kung Fu Panda 4 directed by Mike Mitchell.
As the story unfolds, it’s very clear what is transpiring in the film. Narratively, it’s pretty predictable if you’ve seen enough fantasy and adventure stories. The twists and turns are nothing new. There’s a lot of physical and visual comedy, though, and some rambunctious fight scenes spread out through the film to keep it enjoyable and fast-paced.
There’s a really funny fight scene in a bar situated precariously at the edge of a cliff. The physical comedy on this fight alone is quite entertaining. The banter between Black and Awkwafina as Po and Zhen can get dry and overdrawn sometimes, but there’s a purpose to it as the film slowly sets up its pieces to create dynamics that are reminiscent to the first film. You can see the set-up miles away but there’s an earnestness and sincerity that carries it through.
(from left) The Chameleon (Viola Davis), (right) Tai Lung (Ian McShane) in Kung Fu Panda 4 directed by Mike Mitchell.
Interestingly enough, when Po and The Chameleon finally face off, we discover another layer of comparisons that are made – this time between the hero and the villain – and the theme of change and growth are finally fully realized. Like Zhen, Po and the Chameleon also have similar backgrounds and we see how the two are the opposite sides of the same coin.
Three bunnies in DreamWorks Animation’s Kung Fu Panda 4, directed by Mike Mitchell.Po (Jack Black) in Kung Fu Panda 4 directed by Mike Mitchell.
There are some very interesting new developments in the story and in the characters that it makes ‘Kung Fu Panda 4’ not feel like a tired franchise trying to go for a quick cash grab. While there is a glimpse (the description is apt) of the Furious Five in the movie, their absence is really felt (they were in other missions). A lot of the jokes land, there are a good deal of fight scenes that are fun to watch, and the story is set to push the franchise to new possibilities (as the producers have said they can extend the characters and narratives by two more films, completing the whole set at six). It’s a solid release that can stand on its own – I don’t remember the third film at all, but it didn’t hinder my enjoyment of this one – though it isn’t a grand slam and reinvents the wheel.
In Kung Fu Panda 4, Po, the Dragon Warrior (Golden Globe nominee Jack Black), is called upon by destiny to become the Spiritual Leader of the Valley of Peace.
“When Po steps into the shoes of Spiritual Leader, you get to see his whole internal struggle,” says Black, who himself steps back into Po’s shoes almost a decade after the third film. “He has the Staff of Wisdom, but he’s scratching his head wondering if he knows anything about wisdom at all. This chapter is like Po’s mid-kung fu-life crisis. More wisdom, fewer dumplings, but the same lovable Po.”
It’s the same lovable Po but in an entirely new adventure. “The Kung Fu Panda world continually evolves and expands,” DreamWorks Animation President Margie Cohn says. “Of all the journeys Po has been on, this story is his most emotional and exciting. As Po faces new challenges and characters like Zhen [played by Awkwafina], and the most menacing opponent the Valley of Peace has ever seen in The Chameleon, this film takes him, and in turn the audience, on a fantastical new adventure.”
Ensuring the continued success of this monumental franchise required the expertise of a director deeply immersed in its essence. Enter Mike Mitchell, a seasoned director with an impressive repertoire that includes iconic franchises Shrek and Trolls, and contributions to all the previous Kung Fu Panda films.
“My goal in any franchise, especially my favorites, is to remind everyone of what made the first film great,” Mitchell says. “Kung Fu Panda has a timeless quality, and we wanted to emphasize that. We wanted to infuse even more action, pushing boundaries with new camera techniques not explored in animation before. Think of cool GoPro-style action, typically seen in live-action films. We aimed to bring that dynamic energy into the animated world, and what better canvas than a Kung Fu Panda film? Our aim was to create the biggest and best installment of this franchise, with a grander scale, more humor and the best action yet.”
A spark in all of us
A lot of that action is thanks to all the trouble caused by this installment’s formidable new villain Chameleon, voiced by Oscar winner Viola Davis, who attributes the franchise’s enduring popularity to its characters being reluctant heroes. “I think that sparks something in all of us,” Davis says. “Po doesn’t necessarily look like a warrior, but it sparks the imagination and allows the viewer to envision what they can become. It feels great to be part of this group now. I’ve always wanted to do an animated movie, and with this film, I felt like the right character and the right group of people found me, and I’m just happy to be in their company.”
For Awkwafina (voice of Zhen), another newcomer to the franchise, joining the Kung Fu Panda family holds personal significance. “It means a lot to me because this isn’t just an animated franchise, it’s a beloved world that’s resonated with audiences for so many years. And being able to contribute to a film that pays homage to the beauty of Chinese culture adds an extra layer of personal significance.”
A must-watch for the entire family, Kung Fu Panda 4, also featuring the voices of Dustin Hoffman, James Hong, Bryan Cranston, Ian McShane and Ke Huy Quan and distributed by Universal Pictures International, opens in Philippine cinemas March 6. #KungFuPanda4Ph
It’s another exciting week at the movies with a diverse lineup of films! From spine-tingling horror to heartwarming romance, there’s something for every cinephile’s taste buds. Get ready to immerse yourself in the mysterious depths of “Imaginary,” feel the digital love in “A Glimpse of Forever,” uncover family secrets in “Apo Hapon,” laugh and cheer with “Brave Citizen,” embark on a kung fu adventure with “Kung Fu Panda 4,” and be moved by the timeless tale of “The Color Purple.” With such a diverse array of cinematic delights, the only question is: which one will you watch first?
Now, let’s take a sneak peek at what’s premiering this week:
Prepare to be captivated by this chilling tale, where a seemingly innocent stuffed bear harbors a dark secret. DeWanda Wise delivers a tour-de-force performance as a mother fiercely protecting her family from a sinister entity. If you seek films that linger in your mind long after the credits roll, “Imaginary” promises a truly unforgettable experience.
Explore the possibilities of virtual dating in this captivating science-fiction romance. The film offers a unique perspective on the search for love in the digital age, with Jasmine Curtis-Smith and Diego Loyzaga captivating audiences with their undeniable on-screen chemistry.
Embark on a poignant journey of self-discovery with “Apo Hapon.” This drama delves into the past, following a Japanese vlogger as she uncovers the secrets of her family history in the picturesque Cordillera region. Be prepared to be transported by the film’s stunning visuals and the powerful themes of identity and legacy.
2023 • PG • 1 hr 52 mins ACTION, COMEDY, DRAMA BUY TICKETS
https://youtu.be/xEkEehH69Aw?si=28Pi9G-EM6XKDqFg
Experience the thrill of “Brave Citizen,” an action-comedy that packs a punch (both literally and figuratively). This film follows a former boxing champion turned teacher who takes a stand against injustice, becoming a masked vigilante. Filled with exhilarating fight scenes and moments of humor, “Brave Citizen” promises a rollercoaster ride of emotions.
2024 • PG • 1 hr 34 mins ACTION, ADVENTURE, ANIMATION, COMEDY, FAMILY BUY TICKETS
Po, the beloved panda, returns for another epic adventure! This time, he faces the challenge of finding a worthy successor to his Dragon Warrior title while battling a villain capable of conjuring past enemies. With its signature blend of action, humor, and heartwarming messages, “Kung Fu Panda 4” is the perfect choice for a fun-filled family outing.
Witness the enduring power of the human spirit in this powerful adaptation of Alice Walker’s Pulitzer Prize-winning novel. “The Color Purple” tells the story of Celie, a woman who overcomes numerous hardships throughout her life, ultimately finding strength and hope through the unwavering support of her sisters. This emotionally charged film is a testament to the human spirit’s ability to persevere.
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:
That’s a wrap for this week’s new movie releases. So, don’t wait! Secure your tickets, grab your popcorn, and immerse yourself in the excitement of these new releases. As always, we recommend booking your tickets in advance to avoid missing out on these must-see releases. Remember to check ClickTheCity for screening times and make your next movie-going experience unforgettable. Stay tuned for next week’s movie updates, and happy watching!
When it came to picking who would embody the role of his father Bob Marley for the movie Bob Marley: One Love, Ziggy Marley only had this to say about Kingsley Ben-Adir. “He was the best, simple,” Ziggy says. “But it was also about, ‘Who can hold this?’ Because it’s a very heavy burden. When I met Kingsley, I knew this was a man who could. He had the right spirit, energy, ability, respect and commitment.”
Undertaking the role was going to be a feat. “It was not an easy task, capturing the essence of Bob,” Ziggy says, “because Bob is not just a normal, everyday guy,” Ziggy admits. “He was somebody who was unique. We were making a Hollywood movie, but Bob is not a Hollywood person.” In turn, Kingsley Ben-Adir took the blessing of the Marley family very seriously. He was firmly against auditioning for the role if the family wasn’t part of the production. “Because it wouldn’t have felt right,” explains the actor.
Not only did Ben-Adir get the approval of the Marley family, but in preparing for the role, he got to hang out with them numerous times. On one occasion, as would be expected of someone who would play a notable football fan like Bob Marley, Ben-Adir watched a football match with Ziggy — a memory the actor says he will cherish forever.
For the role, Kingsley Ben-Adir would completely transform himself to fit the image of the legendary musician. He learned to play the guitar, and studied how to move and speak like Bob Marley. The greatest challenge was the voice, according to director Reinaldo Marcus Green. “There is patois [the dialect of a specific region; in this case Marley’s hometown of Nine Mile, Jamaica] and then there’s what Bob did,” Green says. “There are the intonations, the nuance of the language, how Bob arranged certain words and sentences. Kingsley spent eight months just listening to Bob Marley, like a record in his head.”
The team enlisted the help of another Jamaican icon to help with the complexities of the Marley patois: Fae E. Ellington. Her first-hand knowledge of the nuances of her country’s culture and the musician would be vital to the film. “My job was to make sure everyone in the movie talked with heart and authenticity,” Ellington says, who worked with Ben-Adir over months to coach the actor about the Marley patois. “Bob is a cultural icon, so we worked assiduously on it. In every language there are nuances, but I’m convinced that the Jamaican language has more nuances than any other. I really believe that. And I am so impressed with Kingsley. In Jamaica, we are very, very critical. But I think people are going to be very pleased when they see and hear him.”
For Bob Marley’s unique movement and posture, Ben-Adir was coached by choreographer and head of movement Polly Bennett. From Rami Malek’s Freddie Mercury (in Bohemian Rhapsody) to Austin Butler’s Elvis (in Baz Luhrmann’s Elvis), to Naomi Ackie’s Whitney Houston (in I Wanna Dance With Somebody), Bennett has been teaching actors how to move like icons. “Everything Kingsley does is coming from an authentic place,” Bennett says of her and Ben-Adir’s process here. “It’s about excavating why Bob Marley moves the way he does, which means we can help the character development that comes from the physical side.”
Along with movement and voice, comes playing the guitar like Marley, and Ben Martinez was tasked on teaching Ben-Adir on how to play the guitar not only just like the musician would, but in his own words, “understand the role that Bob has within the band when he plays.”
As a result, Ben-Adir embodied Bob Marley in a way that captured his essence, without being just a copy. “We searched every corner of the world. What you’re looking for is someone to embody Bob Marley. You can never recreate him. You can’t bring him back. But you can bring his essence back. What Kingsley did was interpret Bob. An actor acting, not mimicking. It was masterful,” director Green says.
Watch the making of a worldwide icon as Bob Marley: One Love opens in Philippine cinemas on March 13.
About Bob Marley: One Love
Bob Marley: One Love celebrates the life and music of an icon who inspired generations through his message of love and unity. On the big screen for the first time, discover Bob’s powerful story of overcoming adversity and the journey behind his revolutionary music. Produced in partnership with the Marley family and starring Kingsley Ben-Adir as the legendary musician and Lashana Lynch as his wife Rita, BOB MARLEY: ONE LOVE is in theatres March 13,, 2024.
Paramount Pictures Presents
A Plan B Entertainment / State Street Pictures / Tuff Gong Pictures Production
Starring: Kingsley Ben-Adir, Lashana Lynch, James Norton, Tosin Cole, Umi Myers, Anthony Welsh, Nia Ashi, Aston Barrett Jr., Anna-Sharé Blake, Gawaine “J-Summa” Campbell, Naomi Cowan, Alexx A-Game, Michael Gandolfini, Quan-Dajai Henriques, David Kerr, Hector Roots Lewis, Abijah “Naki Wailer” Livingston, Nadine Marshall, Sheldon Shepherd, Andrae Simpson, Stefan A.D Wade
In Philippine cinemas starting March 13, Bob Marley: One Love is distributed in the Philippines by Paramount Pictures through Columbia Pictures. Connect with #BobMarleyMovie #OneLoveMovie and tag @paramountpicsph
Photo and Video Credit: “Paramount Pictures International”
The anticipation builds as “Exhuma,” the Korean thriller that shattered box office records upon its release, prepares to thrill Philippine audiences with its premiere on March 20. Featuring a star-studded cast including Choi Min-Sik, Kim Go-Eun, Yoo Hai-Jin, and Lee Do-Hyun, the film introduces a compelling narrative filled with suspense, supernatural elements, and deep emotional undertones. Accompanied by the release of its new trailer, “Exhuma” is poised to offer a cinematic experience unparalleled in its intensity and allure.
A Tale of Darkness and Discovery
In “Exhuma,” viewers are drawn into the eerie story of Hwa Rim (Kim Go-Eun) and Bong Gil (Lee Do-Hyun), two emerging shamans, who join forces with an elite geomancer, Sang Deok (Choi Min-Sik), and a skilled mortician, Yeong Geun (Yoo Hai-Jin). Their mission to locate a cryptic grave in a secluded village unwittingly frees a sinister force, setting off a chain of events that blurs the line between the material and the ethereal realms.
Crafted by a Visionary Director
Helmed by the acclaimed director Jang Jae-Hyun, renowned for his innovative approach in “Svaha: The Sixth Finger” and “The Priests,” “Exhuma” is a masterpiece of storytelling. It skillfully combines elements of horror, drama, and mystery, enhanced by breathtaking visuals and riveting performances by its cast, promising to captivate and thrill audiences from start to finish.
Engage with Us
Join the growing excitement around “Exhuma” by engaging with us online. Use the hashtags #ExhumaMoviePH and #Exhuma to share your thoughts, and don’t forget to check out the new trailer for a sneak peek into the mysterious and thrilling world of “Exhuma.”
Dive into the Supernatural
“Exhuma” extends an invitation to audiences to explore the unseen, to uncover the secrets hidden beneath the grave. With its outstanding ensemble, gripping plot, and the visionary direction of Jang Jae-Hyun, this film stands as a must-see event of the year. Experience the thrill, the suspense, and the supernatural as “Exhuma” debuts in Philippine cinemas on March 20. Distributed by Columbia Pictures, the local office of Sony Pictures Releasing International.
The premise of ‘Baghead,’ the horror film by director Alberto Corredor and written by Christina Pamies, Bryce McGuire, and Lorcan Reilly, is actually quite promising. A young woman, Iris (Freya Allan), inherits a pub in Germany from her estranged father. When she signs the deed, she also ends up inheriting the entity that lives in the basement: the shapeshifting Baghead, who can turn into the dead. As the custodian of this malevolent being, Iris must keep Baghead in the basement but the temptation to speak with the dead – and make money while others communicate with the deceased – puts everything at risk.
It’s a great set-up for a horror film except Corredor and his creative team never take the time to really establish the aspects of the film that would give it its emotional weight. At the start of the film, Iris is seen breaking into her apartment, which she has been evicted from. Taking her things, she considers accepting her friend Katie’s (Ruby Barker) proposal to stay with her but then she receives the call about her father. We quickly learn that she hasn’t spoken to him since he had abandoned her, and she has been living in foster care after her mother passed away. With no attachments except for Katie and no money, she quickly flies off to Berlin and decides to keep the broken-down ruin of a pub. The film makes no effort to really show us Iris’ life before this story takes flight and she meets Baghead. Except for Katie’s offer to let her stay at her place “until she gets back on her feet” and the fact that Katie would drop everything and fly off to Berlin to help Iris out, we don’t actually see the bonds of the two girls for real.
In fact, the pub itself, situated in a dark, seemingly abandoned area of Berlin doesn’t even feel like Berlin at all. Throughout the film, there are several trips made from England to Berlin but it feels like no time has passed. The narrative never even really leaves the confines of the pub so you never actually feel the world of Berlin. It could be a pub in the outskirts of London or maybe in Wales or Scotland and it wouldn’t matter. It changes nothing on the DNA of the story and the script.
It is extra jarring because the way by which Iris and Katie discover Baghead is when a man, Neil (Jeremy Irvine) breaks into the pub and asks Iris to let him see Baghead. When he offers the broke Iris 2000 (they never even say euros or pounds, no denomination) to allow Baghead to let him speak to his wife, she instantly accepts.
This is where ‘Baghead’ manages some emotional heavy lifting. From the basement, Baghead can send visions and spells out of her prison. She tempts Iris with knowledge and information about her father (Peter Mullan) and it allows her to reconsider the reason for why he may have abandoned her. If he was responsible for Baghead then, maybe had no choice? The film explores the complexity of this quite well while the rest of the film flounders with a relatively weak investigation scene (from Katie’s perspective) of Baghead’s origins and a predictable subplot involving Neil.
When the plot starts to put everything together, forcing the characters to collide and Baghead’s machinations to come to fruition, the only relationship that is truly fleshed out is the one of Iris and her father, which has already pretty much resolved somewhere within the second act. The rest feels pretty much formulaic and by the numbers. There are some good moments of tension and fright but because you don’t really feel that invested in the characters, it’s hard for the film to muster up any real sense of fear or dread.
It’s also indicative of a very western approach to these supernatural premises. The lure of money and the fearlessness of such an entity feels so far removed from an Asian perspective. While the younger generation now do not believe in the supernatural, they do have the better sense to stay cautious when presented with it. Iris jumps straight into the fray without question after she realises the economic opportunities Baghead presents. Any Asian character would immediately find an exorcist or try and find a way out as soon as possible with as little interaction with the being as possible.
While floundering as a horror film, ‘Baghead’ presents quite an interesting discussion point about western approaches to the supernatural. It’s why – in my opinion – Asian supernatural horror always feels more grounded and more frightening. It’s because Asians fear and respect the supernatural. We grew up with it. We believe in spirits and ancestors and ghosts, to some degree. We know the dangers that lurk just around the corner when these beings are near. Westerners are sure they can overcome anything as long as they fight hard enough. They feel invincible in their own beliefs of the self. It is why a lot of the third acts of many western horror films – like ‘Baghead’ – don’t always work.
My Rating:
Baghead is now showing. Check screening times and buy tickets here.
“Dune: Part Two” takes the audiences back to the desert as the action-epic directed by Denis Villeneuve takes the story to greater heights. Timothée Chalamet returns as the hero Paul Atreides, the son of a Duke born into a destiny greater than his royal title. Paul is now fully entrenched in the epic adventure that has taken him across the galaxy to the barren and inhospitable Planet Arrakis, where even greater danger awaits at every turn. With his father dead, his mother on a journey of her own and Chani by his side, Paul must earn the respect of the skeptical local population, the Fremen, face his fears and, ultimately, face his most brutal enemies, in order to defend Arrakis and exact revenge upon the people who destroyed his family.
Timothée has received various accolades throughout his career, including nominations for an Academy Award, three Golden Globe Awards, and three BAFTA Film Awards. He rose to fame in his role in Luca Guadagnino‘s Call Me By Your Name, and recently starred in the musical film Wonka.
In the following interview, he talks about his thoughts on returning to the world of Dune, working with Zendaya once more and Paul’s relationship with Chani, and training for his action scenes, including his battle sequence with Austin Butler.
On returning to the world of “Dune” for “Dune: Part Two”… Timothee Chalamet: “It was a dream to return to the world of ‘Dune,’ not only returning to castmates I had a beautiful working experience with the first time, but also getting to see their characters expand, like Chani. And getting to work with new, super-talented actors, like Austin Butler, and Florence Pugh, who I’d done a film with before. And of course getting to see Denis bring his full vision to life.”
On Paul’s journey within the story… TC: “This part of the story, for Paul Atreides, is about a young man not wanting to accept his destiny, or fate, that’s unfolding before him—a duty, a responsibility to lead that feels greater than what he’s capable of, and what he wants to do. It will require so much of him that his immediate preoccupation, his immediate desire to love and be loved by Chani, will be superseded by this responsibility. And because of what happened in the first movie, he’s struggling with what it is to become a man without a father or father figure, without his friends and family, who have been obliterated by the Harkonnen. Also, what it means as an outsider to be chosen, whether by destiny or by people, to lead.”
On Paul’s evolution within the Fremen… TC: “Paul is meant to go down a path that he’s reluctant to. He still has visions, which are not entirely clear to him, but which are destructive; he doesn’t want to go anywhere near them. As he becomes more a part of the Fremen, he becomes the Muad’Dib—a namesake he chooses for the desert mouse that lives on Arrakis. This is actually one of my favorite parts of the book and of the film because often we see the lion or tiger or cheetah as the animalistic metaphor for our leaders, our heroes. And there’s something apt about this small desert mouse that moves in the cracks and is self-sustaining with its moisture— barely—that works for this young man whose circumstance is so beyond him, whose life story is something of a tragedy, having lost his father and his people, but he has to persevere. It’s not Paul the Braveheart or Paul the Lionheart, it’s Paul the Muad’Dib. There’s something that I always found powerful about that.”
On connecting to Paul having to accept his destiny… TC: “Paul is reluctant. He’s not a person who has delusions of grandeur and power. So, I had to think, what would that actually mean, if that was your fate? What would that actually feel like? What would it be like to stand in the middle of a room and declare yourself a leader, and be entirely within your rights doing so? And what would that entail?”
On Paul’s changing relationship with Chani… TC: “Chani is sort of Paul’s moral compass. Her strong ethics add to her great character, and Paul feels that he’s similar to her, that he’s worthy, ethically, and he’s trying to become a partner to her, the man he wants to be to her, and they grow incredibly close. Chani’s so sure of herself, so on her heels. She knows who she is, her heart’s in the right place.”
On working with Zendaya again… TC: “Zendaya is strong, like Chani, in many ways. We only had a couple of days working together on the first film, but we became quite close and good friends after that. But I think the friendship that had grown between the films helped us grow Paul and Chani for this one. It was a wonderful experience to get to work with the actor she’s become—she’s firing on all cylinders! She was a real partner in crime and I’m grateful we had such a great experience.”
On working with Florence Pugh again… TC: “Florence Pugh is amazing in this movie. She brought a steeliness, a fierceness, to this role that is just incredible. It was inspiring to be working with her.”
On training for his fight scene with Austin Butler in the film… TC: “Training started from day one. I started learning the fight choreography in Los Angeles, I think Austin was already in Budapest. So, as soon as I got there, we were working on the fight. He was a dedicated scene partner and fight partner. Not only is he an incredible actor, he’s a super hard worker, he really cares about the work. And that whole sequence was just epic—no other way to put it.”
On the sandworm riding sequence and its significance in the film… TC: “The sandworm sequence—scene 62!—was shot over the course of three months. There was an entire worm unit dedicated to it that our producer Tanya Lapointe, who was also our second unit director, directed, and she was hugely passionate about it. It’s such an important moment in Paul’s entry to the Fremen world, his acceptance by them—other than Chani and Stilgar, of course—and it was so important to get it right. It was incredibly complex. Paul learning how to ride the sandworm is akin to coming of age. It’s a rite of passage and one of the main reason Paul is accepted amongst the Fremen, because someone who wasn’t one with Shai-Hulud, which is the Fremen word for the sandworm, would have died in that predicament, and Paul doesn’t. He rides the worm.”
Distributed by Warner Bros. Pictures, Dune: Part Two is now showing in Philippine cinemas
About “Dune: Part Two”
“Dune: Part Two” will explore the mythic journey of Paul Atreides as he unites with Chani and the Fremen while on a warpath of revenge against the conspirators who destroyed his family. Facing a choice between the love of his life and the fate of the known universe, he endeavors to prevent a terrible future only he can foresee.
Denis Villeneuve directed from a screenplay he co-wrote with Jon Spaihts based on Frank Herbert’s novel. The film is produced by Mary Parent, Cale Boyter, Villeneuve, Tanya Lapointe and Patrick McCormick. The executive producers are Josh Grode, Herbert W. Gains, Jon Spaihts, Thomas Tull, Brian Herbert, Byron Merritt, Kim Herbert, with Kevin J. Anderson serving as creative consultant. Oscar-winning composer Hans Zimmer is again on hand to create the score.
