After a two-week break from most local cinemas during the Metro Manila Film Festival, “Aquaman and the Lost Kingdom” will return to the big screen on January 8.
The James Wan-directed superhero sequel, which also stars Patrick Wilson, Yahya Abdul-Mateen II, Nicole Kidman and Amber Heard, has so far grossed more than $255 million at the global box office.
Producer Rob Cowan encourages fans to watch the movie on the big screen, for the best experience. “We were incredibly lucky on ‘Aquaman and the Lost Kingdom,’ being able to continue the story we began in a film that the world embraced,” says Cowan. “And on the page, we really had a super-sized project, pulling out all the stops, making everything as big as we could, charting a journey as varying and different as possible through multiple worlds we were visiting for the first time… This film really is something you need to experience inside a big theater with a huge screen… because there’s just so much to look at.”
Having failed to defeat Aquaman the first time, Black Manta, still driven by the need to avenge his father’s death, will stop at nothing to take Aquaman down once and for all. This time Black Manta is more formidable than ever before, wielding the power of the mythic Black Trident, which unleashes an ancient and malevolent force. To defeat him, Aquaman will turn to his imprisoned brother Orm, the former King of Atlantis, to forge an unlikely alliance. Together, they must set aside their differences in order to protect their kingdom and save Aquaman’s family, and the world, from irreversible destruction.
All returning to the roles they originated, Jason Momoa plays Arthur Curry/Aquaman, now balancing his duties as both the King of Atlantis and a new father; Patrick Wilson is Orm, Aquaman’s half-brother and his nemesis, who must now step into a new role as his brother’s reluctant ally; Amber Heard is Mera, Atlantis’ Queen and mother of the heir to the throne; Yahya Abdul-Mateen II is Black Manta, committed more than ever to avenge his father’s death by destroying Aquaman, his family and Atlantis; and Nicole Kidman as Atlanna, a fierce leader and mother with the heart of a warrior. Also reprising their roles are Dolph Lundgren as King Nereus and Randall Park as Dr. Stephen Shin.
Directed by James Wan, “Aquaman and the Lost Kingdom” is produced by Peter Safran, Wan and Rob Cowan. The executive producers are Galen Vaisman and Walter Hamada.
The screenplay is by David Leslie Johnson-McGoldrick, from a story by James Wan & David Leslie Johnson-McGoldrick and Jason Momoa & Thomas Pa’a Sibbett, based on characters from DC, Aquaman created by Paul Norris and Mort Weisinger.
Warner Bros. Pictures Presents An Atomic Monster / A Peter Safran Production of A James Wan Film, “Aquaman and the Lost Kingdom,” is now showing in cinemas.
Join the conversation online and use the hashtag #Aquaman
Anyone But You, which opened in the United States just before Christmas, opened in several overseas markets over the weekend, including in the United Kingdom and Australia, where the film is primarily set. Anyone But You has earned a total of $33.5 million dollars, with a few markets still lined up for the film’s opening, including Spain, France, Italy and the Philippines, where it opens in cinemas January 17, 2024.
“I think audiences want to see movies that are relevant, authentic, and cinematic – but most of all, fun,” says Gluck, a fan favorite in the genre, thanks to previous works including Easy A and Friends With Benefits.
In Anyone But You, Sweeney (Euphoria) and Powell (Top Gun: Maverick) play romantic enemies who have to put aside their personal vendettas and pretend to be a head-over-heels couple in order to keep the peace at a wedding they’re both attending. The film also stars Alexandra Shipp, Darren Barnet, Hadley Robinson, Dermot Mulroney, Rachel Griffiths, Michelle Hurd, Bryan Brown and GaTa.
About Anyone But You
In the edgy comedy Anyone But You, Bea (Sydney Sweeney) and Ben (Glen Powell) look like the perfect couple, but after an amazing first date something happens that turns their fiery hot attraction ice cold – until they find themselves unexpectedly thrust together at a destination wedding in Australia. So they do what any two mature adults would do: pretend to be a couple.
Directed by Will Gluck, co-written by Gluck and Ilana Wolpert. Produced by Gluck, Jeff Kirschenbaum and Joe Roth, and executive-produced by Sweeney.
Cast includes Sweeney, Powell, Alexandra Shipp, Darren Barnet, Hadley Robinson, Dermot Mulroney, Rachel Griffiths, Michelle Hurd, Bryan Brown and GaTa.
Opening in Philippine cinemas January 17, Anyone But You is distributed in the Philippines by Columbia Pictures, local office of Sony Pictures Releasing International. Connect with the hashtag #AnyoneButYou
Jason Momoa, the formidable King of Atlantis, storms back into cinemas, reigniting the cinematic wave in “Aquaman and the Lost Kingdom.” Following a brief hiatus during the Metro Manila Film Festival, the superhero sequel is set to make a triumphant return to the big screen on January 8. Directed by the visionary James Wan and featuring a stellar cast including Patrick Wilson, Yahya Abdul-Mateen II, Nicole Kidman, and Amber Heard, the film has already made waves, amassing over $255 million in global box office earnings. As the film continues to captivate audiences, let’s delve into 5 fascinating facets that illuminate the world beneath the waves and unravel the cinematic brilliance of this aquatic epic. Get ready to plunge into the depths of Atlantis and beyond, discovering the secrets that make this aquatic adventure a must-watch cinematic experience.
1. Sequel Triumph: What Sets “Aquaman and the Lost Kingdom” Apart?
Director James Wan and the stellar cast, including Jason Momoa, Patrick Wilson, Amber Heard, Yahya Abdul-Mateen II, and Nicole Kidman, reunite in the much-anticipated sequel to the highest-grossing DC film of all time. In “Aquaman and the Lost Kingdom,” the stakes are higher as Aquaman faces a more formidable foe—Black Manta. Fueled by the need to avenge his father’s death, Black Manta wields the mythical Black Trident, unleashing an ancient and malevolent force. Aquaman’s only hope lies in an unlikely alliance with his imprisoned brother Orm, the former King of Atlantis. This dynamic duo must set aside differences to save the kingdom, Aquaman’s family, and the world from irreversible destruction.
Returning to their iconic roles, the cast brings depth and intensity to the characters, with Jason Momoa navigating the dual responsibilities of being the King of Atlantis and a new father. Patrick Wilson steps into a new role as Aquaman’s reluctant ally, while Amber Heard, Yahya Abdul-Mateen II, and Nicole Kidman infuse vitality into their characters. Behind the scenes, Director James Wan leads a talented crew, including cinematographer Don Burgess, production designer Bill Brzeski, and editor Kirk Morri, creating a visual spectacle. With a compelling storyline, a stellar cast, and a creative team at the helm, “Aquaman and the Lost Kingdom” promises an immersive cinematic experience that surpasses expectations.
2. Crafting Aquatic Marvels: The Ingenious Octobots
Ever wondered how the mesmerizing Octobots came to life in “Aquaman and the Lost Kingdom”? A dedicated team of 12 skilled crew members invested four months constructing these extraordinary creatures. Comprising 45 meticulously molded parts supported by an internal metal frame, each Octobot is a marvel of engineering. Remarkably, there are three real-world Octobots, each designed with a specific purpose. One boasts a fully functional interior, while the second, tailored for underwater sequences, features a partly soft interior for stunt work. The third Octobot is reserved for background shots, with an exclusively dressed exterior. Maneuvered on six-axis motion bases, providing a wide range of movement, the Octobots delivered an immersive experience for the cast. Lead by First AD Lee Grummet, actors Yahya Abdul-Mateen II, Randall Park, Jani Zhao, and Dolph Lundgren embarked on Octobot adventures, describing the jolting motion as akin to a thrilling fairground ride. The result? A visually stunning and technically impressive spectacle that adds a layer of intrigue to the cinematic world of Aquaman.
3. Chasing Frost: Wax Shortage and Explosive Artistry
In the icy landscapes of “Aquaman and the Lost Kingdom,” even replicating ice proved to be an adventure. Unravel a cool film fact that involves a surprising twist. A nationwide wax shortage in the UK threw a frosty challenge to the Special Effects (SFX) team during filming. To authentically recreate the glacial scenes, the resourceful team had to think on their feet. When faced with a lack of wax, they embarked on an unconventional solution. Picture this: the SFX crew raided a local Swedish superstore, procuring hundreds of white candles. These candles became the unexpected heroes, providing the needed material to craft the illusion of ice in key scenes.
Adding an explosive touch to the movie, the SFX team conjured four large explosions for dramatic effect. Notably, the ice crevasse explosion in the Antarctica sequence stands out for its cinematic prowess. What’s even more impressive? The entire sequence was captured flawlessly in just one take, showcasing the skill and precision of the filmmaking team.
4. Crafting the Aquaman Universe Wardrobe
Costume designer Richard Sale took on the monumental task of updating Arthur’s iconic Aquaman costume for the sequel. Staying true to the original design, Sale and his team embraced innovation, incorporating lighter materials and constructing panels with a focus on practicality for Jason Momoa during stunt and fight sequences. The hero gold and green suit, adorned with countless scales, became a labor of love—three people spent three months individually crafting and placing each scale to perfection.
But the regal wardrobe extravaganza doesn’t end there. When it comes to Atlantis Council scenes, both Mera and Atlanna step into costumes fit for royalty. Atlanna’s bodice, a dazzling spectacle, boasts over 1,100 iridescent scales, meticulously hand-beaded by the wardrobe team. Meanwhile, Mera’s regal bolero showcases shells crafted in polyurethane, painted, and gold-leafed by hand, mirroring real-life counterparts. The attention to detail extends to every corner of the Aquaman universe. King Nereus’s gold under-suit, featuring a built-up screen print with 30 layers of printed gold, radiates majestic splendor. For the formidable Kordax, a blacksmith toiled for weeks, working with brass, hand-hammering it on a medieval anvil. The result? Impeccable armor, molded and made in polyurethane for comfort and reduced battle noise. Inspired by the pirarucu fish from Brazil, the costume team crafted scales from molded pirarucu leather, adding a touch of authenticity to the Ancient Atlantean soldiers’ attire. The costumes in “Aquaman and the Lost Kingdom” are more than garments; they’re works of art that bring the characters to life in a regal tapestry of craftsmanship and creativity.
5. Crafting the Weaponry of Aquaman’s Realm
Enter the arsenal of “Aquaman and the Lost Kingdom,” where the tridents are more than mere props—they’re feats of craftsmanship and ingenuity. Prop makers embarked on a monumental task, creating a total of 15 versions of Aquaman’s golden trident, 26 of Black Manta/Kordax’s dark trident, and five of King Nereus’ trident. Each trident, a work of art, was meticulously crafted with hero versions composed of fiberglass, rubber, and soft foam for stunts, all featuring a robust carbon fiber core for strength. Even with the super-strong core, some tridents met their match, snapping under the force of actors and stunt performers during the intense filming sequences.
The attention to detail reached new heights with a fully machined aluminum hero version of Arthur and Black Manta’s tridents. Notably, Black Manta’s trident showcased a unique feature—a deliberate break in half, concealing a bespoke bayonet fitting that revealed a hidden blade inside, adding an element of surprise to the character’s weaponry.
King Nereus’ trident took on an illuminating role, designed to light up. Prop makers seamlessly integrated this practical light feature into the trident, ensuring that actors had authentic lighting in the props, eliminating the need for post-production effects. The commitment to realism extended to other weapons in the movie, such as the Manta laser gun, the Necrusian spears, and Orm’s axe, all equipped with practical working lights.
Behind the scenes, a team of skilled craftspeople, including 3D designers, 3D printers, mold makers, prop modelers, and painters, collaborated to bring the tridents to life. A completed trident passed through the hands of at least ten pairs of skilled craftsmen, each contributing their expertise to create the iconic weapons wielded by heroes and villains alike in the immersive world of “Aquaman and the Lost Kingdom.”
“Aquaman and the Lost Kingdom” is more than just a superhero movie; it’s a testament to the power of storytelling, the magic of cinema, and the importance of environmental consciousness. With its blend of action, emotion, and cutting-edge technology, the film is poised to make a significant splash in the world of entertainment. Keep an eye out for these elements, and you’re sure to enjoy a richer viewing experience. Are you ready to witness the wonders of Atlantis once again?
Studio Ghibli, led by the legendary Hayao Miyazaki, presents its latest creation, ‘The Boy and The Heron‘. In a significant move, Encore Films (Ph) and Warner Bros. are set to release both the original Japanese and the English-dubbed versions across the Philippines. This dual-format release caters to the diverse preferences of Ghibli enthusiasts and ensures an immersive cinematic experience for all.
Accolades and Global Acclaim
‘The Boy and The Heron‘ has swiftly garnered international acclaim, securing nominations and victories in renowned film awards. It has triumphed as the Best Animated Film in prestigious circles including the New York Film Critics Circle and the Los Angeles Film Critics Association. Additionally, the film is a contender for the Best Animated Feature Film and Best Original Score at The Golden Globe Awards, and Best Animated Feature by the Critics’ Choice Movie Awards.
Critics’ Acclamation: A Masterpiece Unveiled
Critics worldwide have lauded Miyazaki’s latest venture. David Fear of Rolling Stone calling The Boy and the Heron proof that, “Hayao Miyazaki is the greatest animator alive.”. Erik Kain from Forbes talks about how the movie became an instant Ghibli favorite for him, “It’s a masterful work of gorgeous animation, powerful storytelling and absolutely bizarre magic and adventure that’s instantly become one of my favorite Studio Ghibli films.”
Record-Breaking Box Office Success
The film’s debut set a new benchmark for Studio Ghibli, earning a staggering US $13.2 million in its opening weekend, the highest in the studio’s history.
An Exclusive Premiere: January 6 Fan Screening Event
Ahead of its nationwide release, a special Fan Screening Event is scheduled for January 6 (Saturday) at SM Megamall Cinema 2, at 7:00 pm. This exclusive screening is priced at P1,200, offering attendees a special package including a desk calendar, a collectible ticket, and a mini-poster. Tickets are available on the SM Cinemas website.
A Diverse Voice Cast: Bridging Cultures
The film’s voice cast is a blend of talent from both Hollywood and the Japanese film industry. Notable names include Luca Padovan, Robert Pattinson, Christian Bale, and Florence Pugh in the English version, alongside Soma Santoki, Masaki Suda, and Ko Shibasaki in the original Japanese cast.
The Enchanting Storyline
‘The Boy and The Heron‘ narrates the captivating journey of Mahito Maki, who, after a personal tragedy, discovers a hidden, magical world. This tale of discovery and wonder is set to captivate audiences of all ages.
Get Ready for the Magic
The wait is nearing its end. ‘The Boy and The Heron‘ is poised to enchant audiences in Philippine cinemas starting January 8. Stay updated on schedules and ticket availability at your preferred cinemas and follow Encore Films (Ph) on Facebook and Instagram.
As the final film in the now defunct DC Extended Universe that was headed at some point by Zack Snyder, ‘Aquaman and the Lost Kingdom’ had a lot of expectations hanging on it. The first installment was extremely popular and grossed over a billion in box office receipts but as the last film of the DCEU, it is the last time we will see this iteration of this comic book universe. How it goes will be the lasting impression for that era of Warner Bros.
As ‘Aquaman and the Lost Kingdom’ opens and it catches us up to the five years between this film and its predecessor, I was surprised at how much the film’s essence and core has been greatly influenced by lead star Jason Momoa’s offscreen persona. The movie begins with a narration that Arthur Curry, known as the superhero Aquaman, is now a father and is juggling between his time on land with his family and his duties beneath the waves as the king of Atlantis. Here, the tone of Momoa’s persona permeates throughout the film. It’s almost as if there’s no difference between the Momoa we see in interviews – a fun-loving, family man with a big, boisterous personality – and the character in the film. Momoa’s Arthur Curry is a man who would prefer to be a dad and fight with pirates and people damaging the oceans than to deal with the politics of Atlantis, which he seems ill-suited for (and not particularly interested in).
There seems to be a positioning that having fun, being a “cool dad,” and busting up bad guys is better or the preferred choice than that of ruling Atlantis and working out its politics – not that the film presents the politics in a particularly complex way, either – and it all ends up feeling like a very bro movie all through-out.
The main villain, David Kane (otherwise known as The Black Manta) wants to destroy Arthur Curry for having killed his father in the first movie. It drives him to search the earth with the help of a marine biologist Stephen Shin for Atlantean technology to fix his suit when they stumble upon the lost kingdom of the title and a powerful Atlantean artifact that gives Kane a much-needed power boost to take on Aquaman.
This artifact, the black trident, opens Kane to old technology of Atlantis that threatens the safety of the whole world. To find Kane, Aquaman must free his brother, Orm, as he may be the only lead to finding Kane.
The film then pivots to a story of the two brothers – one who seems more suited to be king and the brother, who is king, who also seems more suited to be a superhero – and how they must reconcile with each other (Orm tried to kill Aquaman in the first movie) to save the world.
Throughout this movie, the narrative puts Momoa’s Aquaman at the preferential position. He doesn’t have a plan as he enters any situation, which Orm is against, but Aquaman always manages to punch his way through. He is best described as a brute who prefers to muscle his ways in and out of a problem as opposed to the more refine Orm, who is not above using his intellect to figure out a solution first. But, in every step of the way, the film is set to make Aquaman the better choice.
It is what hunkers this overblown film down. It feels so infused with Momoa’s personality – not surprisingly, he is given producer and story credit – that it feels less of a film than it does as a way for Momoa to have more fun with the character. There’s a lot of care placed in the big battle sequences that litter the film, but it makes no effort in deepening the relationship of both Orm and Arthur. It is made clear that they should reconcile because they are brothers, but it never deals with the harder questions of who should rightfully lead, whether the rift in their relationship was valid in the first place, and so on and so forth.
The bonding of the brothers is essential for this movie but as screenplay and the direction prefers to express itself via large action sequences and funny gags rather than really exploring relationships in a profound manner, the film ends up feeling very bro and lightweight.
Sure, it’s expensive and has some very interesting use of CGI effects and battle choreography. They manage to write Mera (Amber Heard) out of the film so that she is present but really not, giving more of the tender heart moments to Nicole Kidman’s Atlanna. There’s no depth Yahya Abdul-Mateen II to work on for his portrayal of Kane, he’s a one-dimensional character and the one who looks like he’s having as much fun as Momoa is Patrick Wilson as Orm.
It’s weird to watch an obviously made-for-sequel character and story play out knowing that there’s no continuation to this. The film doesn’t feel like a big finale (like, say, ‘Guardians of the Galaxy Vol. 3’) and so no matter how the film turns out, there’s no investment or attachment that it creates. The struggles of the DCEU overshadows whatever the film attempts to do, and it doesn’t help that the bro-ness of it all doesn’t appeal to audiences like me. I would like to have as much fun as Jason Momoa shouting “Woohoo” while riding a giant glowing CGI seahorse, but this isn’t how I imagine brother-bonding superhero tales should play out.
While it opens impressively, ‘GomBurZa’ struggles in its first act. It’s impressive because it opens with the story of Hermano Pule, an “indio” who was repeatedly denied entry into the priesthood. The film takes a theatrical approach to this telling: it exits in an impressionist oblivion space with no backdrop and only a few props and a lot of motion to create the world of the story. It struggles, though, because as we enter into the world of the people telling the story – of the Philippines nearing the end of the Spanish occupation in the late 1800s – the film then has to establish the history of the land and the people. It takes a whole 30 minutes to familiarize ourselves with the political struggle and who the main operators are in this period political drama.
Director and co-writer Jose Lorenzo Diokno III (with co-writer Rody Vera) takes us into the battle of secular priests, Spaniards who were born in the Philippines, and the full-blooded friars as they battle over who gets to run the parishes in the cities across the islands. Even if they are Spaniards, or carry Spanish blood, having been born in the Philippines has made them victims of discrimination by the Spanish who come directly from Spain.
In the middle of all of this is Father Jose Burgos (played by Cedrick Juan), a liberal secular priest who dared to challenge the discrimination of the Spanish church and ended up becoming a martyr that helped sparked the revolution that won our country its freedom. This is not an unknown story to us. We were taught about this in general terms, broad stroke terms in our grade school civics and Philippine history classes. What the film ‘GomBurZa’ sets out to do is to show the events – no matter how small or inconsequential – that lead up to the revolution. The movie also humanizes these characters and situates it into the realm of the human. The film turns history into something relatable.
What is most striking about Diokno’s direction is how universal he makes it all seem – that the persecutions and the corruption that plagues this era is still prevalent until now – and this is the true triumph of ‘GomBurZa’ as a movie.Holding this film together is the spectacular performance of Cedrick Juan as Burgos. He just recently won the Best Actor award for the MMFF and you can see why. Despite the film’s positioning of the events of this movie, Juan manages to infuse Burgos with so much humanity. He’s not some fictional character. As a teacher, you can see him beam up with pride when his students show off their brilliance. When he turns serious, there’s something turning behind the eyes as he is considering the bigger picture. As Burgos starts to become more popular with the people, you can see a bit of pride bursting from his chest; he likes the attention though he tries to hide it. He’s made Father Burgos someone real.
After the thirty-minute mark, when the world and the politics (and the stakes) have been established, Diokno and his crew – including the fantastic cinematography of Carlo Mendoza that plunges this world in a sort of medieval darkness) – then starts to unravel this narrative of rebellion and freedom. We see how one little battle over who gets to run the parishes – whether it’s the Spanish friars or the secular priests – builds up into the eventual Philippine revolution. Diokno handles this with care as he knows that all of this is inevitable, but he tries to set up each scene as if it were just in that moment – nothing bigger than what it is at that moment. No wonder he won the Best Director award at the MMFF awards night as well.
But at 112 minutes, I actually wanted more from this film. The story merely takes us to the classrooms where Burgos teaches, the meeting rooms between the friars or the secular priests or the upper class of rich Philippine-born Spanish, who are also suffering from discrimination having been born in the country instead of the colonizer’s homeland. What I felt was missing is the world of the indios – the Filipinos – who are absent in this story. And, yes, they were nowhere near active agents in this political game that lead to the martyrdom of the three priests, but to see Burgos or any other priests’ interactions with them would have helped create a stronger relation to the film’s finale. As an historical epic with such a grand scope and vision, it could have afforded another 15 minutes to bring the story to the people whose lives were radically changed by the events that happen in the film.
‘GomBurZa’ is a very well-made film that can be demanding to its audience – it plays out in three languages: Spanish, Filipino, and Latin – and situates the world in all its political turmoil. It boasts of fantastic performances: Cedrick Juan, Enchong Dee, as the charming and carefree father Zamora, Elijah Canlas and Tommy Alejandrino as students of Father Burgos, and Ketchup Eusebio as one of the rich, Filipino-born Spaniards, who becomes a key figure in the story. It’s an important film that reminds us to learn from our history – that we have within us the power to rebel and to fight back against any sort of discrimination or oppression that stops us from living our best lives. The film reminds us that the little things count – from the way schools are taught to the way justice is meted out to the people – and that we have the power to overcome our oppressors if we just woke up to it.
My Rating:
GomBurZa is now showing. Check screening times and buy tickets here.
There’s a simplicity in the story that pushes the narrative of ‘Rewind’ forward. It’s the story of a man that is so devoted to his work (and with anger management issues) that he pushed his family away and gets a chance to do it all over again after the tragic loss of his wife. It’s a story about not taking for granted what you have in cherishing the things that you are working so hard for and not forgetting them while they are still there in front of you. I love simple stories, really. Some of the best movies out there have very simple narratives and are just told extremely well.
My biggest issue with ‘Rewind’ is that the film lacks any sort of restraint – both in the direction and in the screenplay – and it detracts from the film’s simplicity. The script, by Enrico Santos and Joel Mercado, has a tendency of explaining everybody’s feelings and emotions and constantly repeats the values that the film wants to espouse. It’s overwritten and can use some toning down. While director Mae Czarina Cruz has an affinity for extreme close-ups and some crazy angle shots that distracts us from the emotions of the scenes. There’s a whole lot of really tight close ups of lead actors Dingdong Dantes and Marian Rivera that, while does an excellent job at bringing us closer to the characters, what it does is that it takes us away from the moment.
While ‘Rewind’ is about the profound effects of loss, and even hope, and how it can push people towards making some powerful changes, the film is also how it affects a person and his relationships with everyone around him. The film needs to go further than the interior world of its characters – Dantes’ John and Rivera’s Mary – and the film could use more medium shots and long shots to establish place and time. The script could allow more space for us to see the man that John used to be (aside from a short intro, the film immediately brings us to him as a workaholic, angry, resentful man) and to see the full extent of what Mary gave up for John.
The filmmaking in ‘Rewind’ is meant to highlight the pure star power of its lead actors and thankfully, Dantes and Rivera are more than enough to carry this movie by the sheer power of their performances.
Marian Rivera’s Mary is loving, nurturing, and attentive. She’s spontaneous in all her scenes and it adds to the depths of emotions that happens when John loses her mid-film. She embodies the heart of any Filipino home without being corny or cloying. Unfortunately, the film doesn’t give her too much to do or showcase more of what she’s capable of. We don’t get to live in her world for too long so we don’t see the person she could have been (it’s implied but never really shown). Mary is not a lead character here and doesn’t get to really develop and grow but it says so much about Marian Rivera’s presence and skill to create a character so whole and believable with what little she was given.
Dingdong Dantes, on the other hand, is so fully committed to the character and to the story that he doesn’t even try to earn our sympathy. His John is so single-minded in his attempts at forging success that he’s really forgotten about the people he is doing it for. He’s gruff and dismissive and it really helps that it’s a performance that is polar opposite that of his other MMFF film ‘Firefly.’ It shows his range. So much so, that when he is given the offer to do it all again, we can see in his eyes the desperation for this mystical offer to be true. He really doesn’t believe it but wants to believe and then the utter joy in his face when it does come true. It’s such a committed performance that it brings this film – unrestraint cheesiness and all – to a place that is honest and true.
There’s a lot in this film that I’m not comfortable with – the unrestraint filmmaking with its on-the-nose dialogue and how the musical score is working too hard to make us feel things that’s already laid out for us by the performances of the actors – but even still I felt something in that theater as the film’s story unfolded. From the sheer talent and commitment of Dingdong Dantes and Marian Rivera, the film still struck a chord with me and the people around me. We were crying when the movie wanted us to. I felt that the film is unambitious in its concept and presentation – it’s what I expected it to be when the film’s premise became clear after the first 20 minutes – but it was saved by the truth and honesty of Dantes and Rivera’s performances.
My Rating:
Rewind is now showing. Check screening times and buy tickets here.
There are a lot of things that I liked about director King Palisoc’s ‘Kampon.’ It’s a cerebral horror that is unafraid to get weird and strange or even silly. It’s highly stylized with a generous use of wide-angle lenses to distort the imagery and amplified with a discordant musical score to underline its horror genre roots. It’s a complex story in a world that is rich with lore and a hidden, unexplained world that shrouds the film in mystery. What is unfortunate is that it takes an artful approach to horror, choosing to hold back, to be restrained when the film is in need of sentimentality and emotion.
For some reason, as the film unfolds, I felt that this film was better suited for Cinemalaya or QCinema than the MMFF. While all the narrative elements that were needed to create an unapologetic horror film was present, it was never delivered and instead it presented us with a film that fell more into the independent film mode and required more from its audience than what they might be expecting from a film in this particular festival.
‘Kampon’ is the story of a childless couple, Clark (Derek Ramsay) and Eileen (Beauty Gonzalez), who are plagued by society’s demands of completing a family unit with children. The societal pressure that comes from all fronts is a touchy subject for the couple. One rainy evening, a child knocks on their door looking for Clark, the former police colonel, and asks him to help her. She claims that he’s her father and this sends the couple into a tailspin.
Clark is on a quest to uncover the truth – after all, how can he have a child, he’s sterile – while Eileen’s own desires for motherhood are triggered and activated by the young girl, Jade (Erin Rose Espiritu). But as these films go, the child is not what she seems to be and as she entrenches herself into the lives of the couple, she brings with her sinister and dark forces at play.
Palisoc, with writer Dodo Dayao, create a world that is dark and full of terrible, horrible things. Clark is consumed by a memory from his police days that haunts him so much that he sleeps with a loaded gun by his bedside and has installed multiple CCTV cameras all over his house that he checks constantly. Echoing Jade’s own past, her mother (Zeinab Harake) was subjected to a dark ritual after she was hurt by some unexplained tragedy. What makes these two events so striking is that they don’t occupy the same space in the narrative. They are too separate stories that come crashing together in Clark. This is a bigger world, with a bigger lore behind it and one that is fascinating to explore.
It is in the filmmaking that the film finds uneasy ground. Pushing more for style and a cerebral tone, the film keeps its distance from its characters, We never get too close to them to truly empathize or feel with them. The film keeps the energy and tonal strength at a steady level that we never feel drawn into these characters and their problems. While I’m usually a champion of restraint, I would have liked a few moments of tenderness between the couple, a moment for me to fall for them, to care for them, and for me to cheer them on. I think it’s telling that when Jade tells the couple that her father is Clark, the audience’s reaction to my screening was that of laughter and “bro, you got caught!” rather than shock, surprise, and “oh no! Did he cheat?” There’s a clinical way in which the dialogue is delivered, a tonal issue, where there are pauses and gaps between lines that makes it sound scripted. It works for films like ‘Killing of a Sacred Deer’ that feels off-kilter, but other than the visual representation with the wide-angled lenses on certain parts, the film feels leaning more into that of realism than formalism.
There’s actually a lot about ‘Kampon’ that I really liked. I liked when it got weird – and it does – where it presents a frightening substory that is never fully explained just for the sake of the frightening imagery it creates. I love that level of confidence. I love how it takes a nightmare sequence and fills it with the prophetic warnings of present and deceased characters in the film all shouting their calls for caution and they are accompanied by an animal mascot that showed in an earlier scene. The magic of the world is unexplained, and I love that about this movie. But the core of this film is that of Clark and Eileen and because it keeps a distance from its main characters, I feel that I was distant from the story itself. I was more interested in the world the film created than the story that runs through it. This makes for an interesting film for one of the independent film festivals, like Cinemalaya or QCinema, but for an MMFF film, it feels out of place.
My Rating:
Kampon is now showingCheck screening times and buy tickets here.
Aquaman fans, get ready for an underwater adventure like no other! The much-anticipated sequel, “Aquaman and the Lost Kingdom,” starring the charismatic Jason Momoa, continues to make waves in cinemas. This holiday season, from December 25 to January 7, immerse yourself in the stunning visuals and gripping storyline in IMAX theaters, 4DX, and the luxurious Uptown Tempur Cinema at Uptown Mall, Taguig.
Midnight Premiere and Ongoing Excitement
Kicking off with midnight screenings on December 20, the movie has been captivating audiences with its breathtaking visuals and compelling narrative. Directed by the visionary James Wan, the film also stars Patrick Wilson, Yahya Abdul-Mateen II, Nicole Kidman, and Amber Heard.
A Unique Atlantis Experience Awaits
For an added dose of excitement, visit “The Aquaman Tunnel Experience” at SM Mall of Asia, Level 3, South Entertainment Mall. Immerse yourself in the enchanting world of Atlantis, capture memories with life-size Aquaman and Black Manta displays, and enjoy a captivating video tour of the Kingdoms of Atlantis! This immersive experience is open throughout December and is not to be missed.
A Battle of Epic Proportions
In this sequel, Aquaman faces an even greater challenge. Black Manta, thirsting for revenge and armed with the formidable Black Trident, poses a dire threat to Aquaman, his family, and the entire world. To triumph, Aquaman must form an unlikely alliance with his once-enemy, Orm. The stakes are higher than ever in this battle to save the kingdom and the world from destruction.
Star-Studded Cast Returns
Jason Momoa shines as Arthur Curry/Aquaman, juggling his responsibilities as the King of Atlantis and a new father. The cast also includes Patrick Wilson as Orm, Amber Heard as Mera, Yahya Abdul-Mateen II as Black Manta, and Nicole Kidman as Atlanna. Dolph Lundgren and Randall Park reprise their roles, adding depth to this dynamic ensemble.
Behind the Scenes: A Creative Powerhouse
Directed by James Wan, the film is a product of collaboration among Peter Safran, Wan, and Rob Cowan, with a screenplay by David Leslie Johnson-McGoldrick. It’s a Warner Bros. Pictures presentation in association with Atomic Monster and The Peter Safran Production.
Join the Global Excitement
“Aquaman and the Lost Kingdom” promises an unforgettable cinematic experience. Be part of the global excitement and follow the conversation online using the hashtags #Aquaman and #TunnelExperience. Secure your tickets at aquaman2.com.ph and prepare for an epic journey under the sea!
As the festive season sweeps through the city, movie enthusiasts are in for a delightful treat! This week marks a special occasion in the Philippine movie industry with the grand opening of the 49th Metro Manila Film Festival (MMFF) on December 25. But before we delve into the heart of Filipino cinema, let’s not forget the international blockbuster hitting the screens today, December 20 – “Aquaman and the Lost Kingdom.” This week is set to be a spectacular mix of genres and narratives, ranging from the underwater heroics of Aquaman to the diverse and rich storytelling of the MMFF entries including “Becky and Badette,” “Broken Hearts Trip,” “Family of Two,” “Firefly,” “GOMBURZA,” “Kampon,” “Mallari,” “Penduko,” “Rewind,” and “When I Met You in Tokyo.” Each movie, distinct in its essence and storytelling, is set to captivate moviegoers of all tastes. Join us as we explore the vibrant and captivating lineup of this week’s new movie releases, highlighting the unique stories they bring to the silver screen.
2023 • PG • 2 hrs 4 mins ACTION, ADVENTURE, FANTASY BUY TICKETS
Prepare to be submerged in the depths of the ocean with “Aquaman and the Lost Kingdom.” Jason Momoa returns as the titular hero, facing off against his nemesis, Black Manta. This time, Aquaman must forge an unlikely alliance with his brother Orm to save the world from destruction. Expect a tidal wave of stunning visuals, heart-pumping action, and an exploration of the intricate world of Atlantis. It’s an undersea epic that promises to thrill and captivate audiences.
For those who crave a spine-tingling experience, “Nightmare Resort” is your destination. Follow Sakura’s journey from social outcast to an eerie resort where relaxation turns to terror. This horror flick, blending psychological thrills with supernatural chills, will keep you guessing and gasping till the very end.
Metro Manila Film Festival 2023: A Cornucopia of Filipino Talent (Opening December 25)
The much-awaited MMFF opens with ten diverse films, each offering a unique flavor of Filipino cinema. From laughter to tears, from spine-chilling horror to heartwarming drama, this year’s lineup promises something for everyone.
Start your MMFF experience with laughter! “Becky and Badette” follows two best friends whose humorous tales about a classmate inadvertently go viral. A comedy of errors ensues as their stories take a life of their own, making this film a delightful addition to the festival.
Join five brokenhearted LGBTQ individuals on a journey to heal amidst breathtaking landscapes. As they vie for a million-peso prize, the question arises: Can they resist the allure of love, or will their hearts find solace in unexpected places? Get ready for a heartwarming and hilarious ride.
“Famly of Two” explores the profound love between a mother and son. Maricar’s world revolves around her son, Mateo, who is moving to Singapore. As he plans for her care, emotions run high. This drama is a touching exploration of sacrifice, intentions, and the unbreakable bonds of family.
In “Firefly,” a young boy embarks on a magical quest inspired by his mother’s bedtime stories. With clues from an old notebook, he journeys to a mythical island to bring his mother back to life. Expect enchanting visuals and a tale of love, hope, and the extraordinary.
2023 • PG • 1 hr 52 mins DRAMA, HISTORY BUY TICKETS
“GOMBURZA” unravels the courageous story of three Filipino Catholic priests during a pivotal period in history. Mariano Gomez, José Burgos, and Jacinto Zamora’s struggles and sacrifices are vividly portrayed in this moving historical drama.
“Kampon” weaves a tale of the unexpected as a childless couple encounters a mysterious girl who claims to be their child. Dark secrets unfold, and eerie relations develop in this horror-thriller that promises suspense and spine-tingling moments.
Inspired by true events, “Mallari” delves into the horrifying story of Fr. Severino Mallari, a priest in the 19th century. His descent into madness and alleged acts of violence form the chilling narrative of this historical horror film.
2023 • G • 1 hr 49 mins ACTION, ADVENTURE, FANTASY BUY TICKETS
https://youtu.be/RNlhIuBdeoo?si=yaE1II9fvmU4kfWX
Join the adventure in “Penduko” as a young man, raised in the U.S., discovers a curse and evil forces threatening his Philippine town. This action-packed fantasy promises thrilling battles and supernatural encounters.
“Rewind” presents a poignant drama as a man, burdened by guilt, gets a chance to rewrite his life. The catch? He must trade his life for his wife’s, leading to a journey of redemption, love, and the complexities of choices.
Wrap up the festival with “When I Met You in Tokyo,” a touching romance-family drama. Azon and Joey navigate the challenges of aging and unconditional love, portraying the winter of their lives as overseas Filipino workers.
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 until December 24:
2023 • G • 1 hr 44 mins ACTION, ADVENTURE, SCIENCE FICTION BUY TICKETS
Get ready for a cinematic extravaganza this Christmas as the Metro Manila Film Festival 2023 takes you on a rollercoaster of emotions. From laughter-inducing comedies to spine-chilling horrors and heartwarming dramas, there’s something for every movie lover. Grab your tickets, gather your loved ones, and immerse yourself in the magic of MMFF. Happy watching!
