Horror fans, brace yourselves—there’s a new cinematic nightmare on the horizon. From the unsettling imagination of Barbarian director Zach Cregger comes “Weapons”, an all-new horror/thriller that promises to keep you guessing…and trembling.
Julia Garner
The freshly released, pulse-racing trailer offers a chilling glimpse into the mystery that’s set to unfold, and it’s already igniting buzz among genre lovers.
A Vanishing That Defies Explanation
The eerie plot centers on a horrifying event: all but one child from the same class inexplicably disappear on the same night, at the exact same moment. As fear grips the community, the pressing question echoes—who, or what, is behind their disappearance?
Josh Brolin
With its haunting premise and unnerving tension, Weapons is shaping up to be one of 2025’s must-watch thrillers.
Watch the Official Trailer Now—If You Dare…
The chilling trailer for Weapons is available to watch now. Prepare for unsettling twists, eerie suspense, and a storyline that will haunt your thoughts long after the credits roll.
Zach Cregger doesn’t just direct—he pens the screenplay and produces, continuing his reputation for bold, original storytelling that leaves audiences breathless.
A spine-tingling score from Ryan Holladay, Hays Holladay, and Zach Cregger himself.
Mark Your Calendars for August 2025
Presented by New Line Cinema, and produced by Subconscious, Vertigo Entertainment, and BoulderLight Pictures, Weapons promises a gripping cinematic experience.
The film premieres in theaters and IMAX nationwide on August 8, 2025 and will be distributed by Warner Bros. Pictures, with an international release kicking off August 6, 2025.
Whether you’re a horror fanatic or just love a thrilling mystery, Weapons will leave you on the edge of your seat.
Repertory Philippines (REP) has raised the curtain on Yasmina Reza’s Olivier & Tony award-winning comedy, ART, with a translation by Christopher Hampton and directed by Victor Lirio. The 88th season’s play will have a limited run only until June 29, with performances scheduled on Friday and Saturday at 8PM, and matinee performances on Sunday at 3:30PM at REP Eastwood Theater in Quezon City.
REP’s production of ART is comprised of New York, London, and Manila-based creatives. The international cast features London-based Filipino-British actor Martin Sarreal, who appeared in Season 3 of the hit Netflix series, Bridgerton; award-winning Manila-based actor Brian Sy, who was recently seen in The Sandbox Collective’s Tiny Beautiful Things and in Company of Actors in Streamlined Theatre (CAST) PH’s Othello as Cassio; and British stage, film, and television actor Freddy Sawyer, a Bristol Old Vic alum and who appeared in Apple TV’s hit series, Trying.
Directed by Victor Lirio, ART’s creative and production teams include Miguel Urbino (scenic and costume design), Miriam Crowe(lighting design), Fabian Obispo (original music and sound design), Maisie Carter (fight director), Zoe Littleton (voice coach), Uriel Villar (assistant director), Julia Pacificador (associate scenic designer), Hazel Gutierrez Marges (production manager), and Jayvee Carreon (production stage manager).
Written by French playwright Yasmina Reza and translated by British playwright Christopher Hampton, this witty and sharp one-act play features three long-time friends Serge (Sarreal), Marc (Sawyer), and Yvan (Sy). While it explores the subjective nature of art with an Antrios painting —an all-white piece tinged with the faintest off-white stripes worth 200,000 francs—becoming a source of tension, the play also cleverly and hilariously dives deep into the complexity of friendships and how easy it is for personal beliefs to strain relationships.
Also sharing the stage are artworks by members of the HOPE Project, an initiative made up of Persons Deprived of Liberty (PDL) from the Bureau of Jail Management and Penology (BJMP) in Lipa City, Batangas. Founded by jail warden Aris Villaester, HOPE Project (or Help One Person Deprived of Liberty Every Day) supports the release of qualified and deserving PDLs who are ill, in their senior years, and have no financial means to pay for legal fees.
Apart from supporting the creations of PDLs, REP’s ART is also part of the Bridge Project 2025 Season, made possible with a partnership with the Bristol Old Vic Theatre School and MINT College. The skills exchange program focuses on classical work with week-long workshops on Shakespeare Rhetoric, Voice & Alexander Technique, Movement and Stage Combat led by visiting tutors from New York and the United Kingdom. With a generous funding from the Community Investment arm of JTI Philippines andthe Mercedes Zobel Foundation, the Bridge Project also offers production arts workshops on scenic design and lighting for theaterperformance.
Don’t miss the limited run of REP’s take on the internationally acclaimed comedy ART only until June 29 at REP Eastwood Theater.
Tickets to ART are available through Ticketworld at tinyurl.com/REPArtTW and Ticketmelon at tinyurl.com/REPArtTM. For direct ticket inquiries and showbuying opportunities, message REP social media pages @repertoryphilippines, call 09626918540 or 09669054013, or email info@repphil.org or sales@repphil.org.
For more information on the Bridge Project 2025 Season and how to register for the workshops, visitwww.repertoryphilippines.ph.
For updates and show schedules, visit www.repertoryphilippines.ph, or like and follow @repertoryphilippines on Facebook and Instagram.
The multi-awarded French play ‘Art’ by Yasmina Reza, translated into English by Christopher Hampton, has opened in Manila through Repertory Philippines under the direction of Victor Lirio. A comedy that unfolds in one act with no intermission and runs for nearly 90 minutes, the play centers on three friends whose friendship goes under intense scrutiny when one buys an odd, very expensive piece of artwork.
Serge (played by Martin Sarreal), Marc (Freddy Sawyer), and Yvan (Brian Sy) have been friends for 15 years. Trouble begins when Serge buys an “Antrios painting” for 200,000 francs, a white painting with some shades of off-white, which Marc considers a complete waste of money. Marc and Serge argue about the purchase, buttons are pushed, and sharp words are exchanged. Both friends turn to Yvan, hoping he will mediate, but Yvan prefers to take a softer approach, telling each one what they want to hear. After all, Yvan is about to get married and he’s got troubles of his own that’s brewing.
Yvan (played by Brian Sy) and Serge (played by Martin Sarreal) | Photo by: Joel H. Garcia
Without an intermission, the play runs through several scenes: duets, monologues, and a final extended gathering of the three characters, where they finally confront each other head-on. At first, the conflict seems to be about the painting, a debate over classicism versus post-modernism but beneath the surface, it’s way more than that. In order to truly address the issue, their relationship is placed under a microscope. What we witness is a friendship being renegotiated. Fifteen years is a long time. They’ve changed. Dynamics have shifted, but they haven’t been honest with themselves about it.
Written by French playwright Yasmina Reza and translated by British playwright Christopher Hampton, this witty and sharp one-act play features three long-time friends Marc (Sawyer), Yvan (Sy), and Serge (Sarreal) | Photo by: Joel H. Garcia
The play in itself is funny. There’s a lot of use of repetition – characters repeating what the other is saying as a means to heighten tension and humour – and the three friends can be very catty, using their personal history to make barbed remarks at the other’s expense. I don’t know why I want to say it’s very French, even though I’ve only seen three French plays (translated into English) but it has that appeal and charm.
Yvan (played by Brian Sy) and Marc (played by Freddy Sawyer) | Photo by: Joel H. Garcia
But watching the opening night of the show, I was having a hard time connecting with the piece. Martin Sarreal, a Filipino British actor who is living in Britain, and the Brit actor Freddy Sawyer have a very English attack on the characters. Their accents are on full display while Brian Sy speaks naturally without an English inflection. The delivery of Sarreal and Sawyer are razor-sharp but dry. It’s cold while Sy has the Filipino warmth to his Yvan. Because of these tonal differences, I had such a hard-time seeing the three as friends for 15-years.
Yvan (played by Brian Sy) and Serge (played by Martin Sarreal) | Photo by: Joel H. Garcia
Because of the brutality of each one’s verbal attack, and the coldness to which the two more active characters take their offensive, it felt like they hadn’t been friends for a long while now and this approach feels like it loses some of the play’s charm. It’s so vicious that I wonder how they even made it to this point. When I imagine it as French – I’ve never been to France and have only spoken to very few French people, but I am basing it on a lot of French cinema I’ve seen and the caricatures that are presented on comedy shows – and I imagine that the snobbish and aloof stereotype of the French could get away with such stinging remarks of a friend. But Sy has so much warmth that it amplifies the cold British dry humour of Sarrel and Sawyer that I felt the play’s exploration of friendship wasn’t hitting the right cues.
Freddy Sawyer plays Marc | Photo by: Joel H. Garcia
There are other aspects of the show that confused me, like how the play begins with a movement piece between the three friends that interpret as an imagery of their friendship over time. It’s such a strange place to start when the play in itself is so verbose and articulate. Most of the time, the characters stay on set, and listen to each other’s monologues, which removes the privacy and intimacy of some of what is being said.
I really love Sarreal’s laser-sharp focus and Sawyer’s ability to portray Marc’s posturing. I’ve also always been a fan of everything Sy has done, both on stage and in film. However, I didn’t really see the connection on the opening night. The play in itself is funny and surprising, and I’m hoping that later shows will flesh out their relationship more.
My Rating:
See this acclaimed production brought to life by a powerhouse cast and a globally seasoned creative team. Art runs exclusively at REP’s Eastwood Theater until June 29. Catch it before the final curtain call. Buy tickets at Ticketworld or Ticketmelon.
Looking for an epic movie adventure the whole family can enjoy? Get ready to blast off! Ayala Malls Cinemas invites you to experience Disney-Pixar’s newest cosmic misadventure Elio, showing now in cinemas — with ultra-immersive 4DX and giant-screen thrills at A-Giant Cinemas!
From the brilliant creators of Inside Out 2, Elio features an all-star voice cast, including Academy Award-winner Zoe Saldaña (Guardians of the Galaxy), Brad Garrett (Finding Nemo), Jameela Jamil (The Good Place), and rising star Yonas Kibreab as Elio himself.
Feel the Universe Come to Life in 4DX
Watching Elio in 4DX isn’t your typical movie night — it’s an electrifying, multisensory ride! Moviegoers will feel gravity shift, the wind brush past as characters zoom through space, and atmospheric lights flash as if you’re aboard a starship.
With motion seats and immersive special effects, audiences can join Elio as he meets quirky alien life forms, explores colorful new planets, and unravels the mystery of his identity — all without leaving their seats.
Catch Elio in 4DX exclusively at Bonifacio High Street and U.P. Town Center.
What’s Elio All About?
For generations, humanity has gazed at the stars in search of answers. But in Disney-Pixar’s Elio, the universe finally calls back!
Meet Elio — a young space enthusiast with an imagination as vast as the cosmos and an obsession with all things alien. But when he’s unexpectedly transported to the Communiverse, an intergalactic hub teeming with alien delegates, Elio faces his wildest mission yet.
Mistaken for Earth’s leader, Elio must navigate a galactic-sized identity crisis, forge connections with eccentric extraterrestrials, and discover where he truly belongs — all while the fate of humanity hangs in the balance.
Watch The Trailer Here:
A-Giant Cinemas: Where Adventures Feel Larger Than Life
Ayala Malls’ A-Giant Cinemas promise a cinematic spectacle like no other. With a massive screen four times largerthan standard theaters, every surreal frame of Elio bursts into life, making viewers feel like part of the galactic action.
Director of Photography Jordan Rempel describes the movie’s space scenes:
“In the Communiverse, everything is moving around – things are pulsing. There’s always movement in every frame,” says Jordan Rempel. “Sometimes it’s literal movement – discs are orbiting, star fields shift and rotate – they’re never static.”
Perfect for families, A-Giant Cinemas transform ordinary movie nights into unforgettable events.
Fun Extras for the Kids and the Young-at-Heart
Before or after the movie, families can snap photos and unleash their creativity with the exclusive Elio-themed doodle walls, located in Ayala Malls Cinemas lobbies. It’s the perfect way to create fun, cosmic memories with your little explorers!
More Movie Magic with Ayala Malls Specialty Cinemas
Besides 4DX and A-Giant, Ayala Malls Cinemas offer premium Specialty Cinemas like ATMOS and A-Luxe, designed for ultimate comfort and superior viewing. Enjoy:
✔️ Plush seats with extra legroom ✔️ Crystal-clear laser projections ✔️ Immersive Dolby Sound and Dolby Atmos technology
Of course, no movie experience is complete without snacks! Grab popcorn, sandwiches, and ice-cold drinks from The Movie Snackbar, your go-to for movie munchies.
Ready for Lift-Off? Book Your Elio Tickets Today!
Elio is now showing across Ayala Malls Cinemas. Don’t miss this must-see family movie event!
Buckle up, horror fans—the world’s favorite AI doll is back, and she’s bringing a fierce new rival along for the ride. Universal Pictures teams up with drag superstars M1ss Jade So and Janio to bring M3GAN 2.0 to life—literally—by transforming into the upgraded M3GAN and her lethal nemesis, Amelia.
A.I. Gets an Upgrade—and a Whole Lot More Dangerous
Director Gerard Johnstone, the mastermind behind the 2023 viral horror hit, promises the sequel will be bolder, sharper, and way more terrifying.
“I never want to repeat myself, and telling the same story again with slight variations didn’t feel right for M3gan—especially after the unexpected cultural moment the first film became,” Johnstone says. “When we made the original, it reflected a time when I was deeply concerned about how technology, especially things like iPads and smartphones, was reshaping parenting. But by the time we started thinking about the sequel, Chat GPT had arrived, and the conversation around A.I. had shifted. Suddenly, it was not about whether A.I. would become part of our lives—it already was. That is what inspired the new film: the idea that M3gan is not going anywhere, so what does it mean to live with her? Is she entirely bad, or did her behavior come from how she was raised—how Gemma trained her? And if she had been guided differently, could she have learned the difference between right and wrong? Those are the questions we are exploring now.”
Meet Amelia: The Spy Doll With a Grudge
Step aside, M3GAN—the doll world has a new queen, and she’s playing for keeps. Enter Amelia, a weaponized android built from the same cutting-edge tech as M3GAN—but this time, with military-grade upgrades and an axe to grind.
“In a lot of ways, Amelia is M3gan 2.0—she’s M3gan rebuilt with military hardware, and her sole purpose is revenge,” Johnstone says. “For all of M3gan’s flaws, at least she was designed to protect Gemma’s niece, Cady. But Amelia seems to have been reprogrammed, and once she becomes self-aware and goes rogue, all she has is animosity toward the people who created her, tortured her and treated her like a slave. It raises this fascinating question: if we build robots to serve us, and they become self-aware, how are they going to feel about us?”
A Battle of Dolls… and Wits
Producer James Wan, the horror icon behind The Conjuring and Insidious, believes the film reflects our growing unease with AI’s rapid rise.
“If M3gan represents, at least in this film, the idea of a potentially positive A.I., then Amelia is the dark side of that—something built to do harm, with the potential to be deeply disruptive to humanity,” Wan says. “Sure, the government or whoever created her might believe they can control her. But what happens if she becomes sentient? What happens when she decides, ‘I don’t want to be confined by the code of humanity—I want to be something greater’? That is the real fear with A.I. It keeps learning, and at some point, it may realize the fastest way to evolve is to eliminate the main threat. And that threat is humans.”
The doll that broke the internet is back—and she’s evolved.
I got to watch the revisited plays of the Virgin Labfest XX: Hinog this year, specifically Set E, which is entitled ‘Panghimagas.’ As someone who has always wanted to go but never seemed to catch the annual festival of brand-new one-act plays, it was a nice way to finally catch a set as this set features standout works from previous years. Held at the Cultural Center of the Philippines‘ Tanghalang Ignacio Gimenez, each play runs about 30 minutes, with a 15-minute intermission between plays to allow for stage designs and props adjustments for the for the next play.
Not having seen a Virgin Labfest in over five years, I had forgotten how magical it is to witness new work being presented, even if Set E features plays that are a year or two old. These pieces still speak powerfully to the contemporary mindset. As these are standout productions, there was no question that each one hit hard, whether it was comic or tragic in theme.
Identite
Written by Jhudiel Clare D. Sosa Directed by Meann Espinosa Cast: Ash Nicanor and Kitsi Pagaspas
This surprising comedic play about a mother discovering her daughter’s dildo is a definite crowd-pleaser. The play tackles the generation gap surrounding the attitudes on sex positivity. When the mother finds her daughter’s stash of sex toys, the two go head-to-head about values and morals and social norms. It’s all played for laughs and even the mother becomes almost a caricature of the conservative, traditional Filipina who doesn’t even realise that sex can be pleasurable. Through the play, a discussion is presented; a bridge between the youth’s more liberal attitudes about sex and self-pleasure and the more repressed ideologies about women and their own desires.
The dramatic situation is funny enough, but Meann Espinosa directs Nicanor and Pagaspas to really go for the laughs. It’s played for comedy, and you can hear the whole audience erupting in laughter at every punchline. Pagaspas fully embodies the caricature, even punctuating her provincial accent (I think it’s a Batangueno accent) to really emphasize her rural mindset. It even gets physical as the women chase each other around. I’m wondering, though, how this would play it with a more restrained approach. The play is funny as it is, would it be stronger to not punch the punchlines?
As a progressive person who grew up with liberal, sex-positive parents, I wished the daughter (played by the magnetic Ash Nicanor) stood her ground more and the play didn’t try to find a compromise that coddled the elder woman’s feelings but, tonally and culturally, it is pitch-perfect to the Filipino experience. We always acquiesce to our parents and them taking a tiny step forward to understanding us while the younger generation takes huge steps to accommodate their feelings is part of why the Filipino family bond is so strong.
Pagkapit sa Hangin
Written by Joshua Lim So Directed by Jose Estralla Cast: Elora Espano, Wenah Nagales, Tim Mabalot, Gold Villar-Lim
Set at a provincial hospital in the middle of the COVID epidemic, a doctor and two nurses must make a choice on which lives to save when the supply of oxygen tanks run out. Exhausted, drained physically and emotionally, the trio must make an impossible decision as the means for sustaining the lives of their patients have become limited. While they devise a plan, one of the patient’s guardian has taken notice and a debate about who gets to live, and die erupts.
Pagkapit sa Hangin | Photo: Chari Villegas
Dressed in PPE, Espano, Nagales and Mabalot imbibe the tiredness of their characters. They are too tired to hope, to think clearly. You can see it in their gait, their posture, their line delivery. They are running on adrenaline. It’s wonderful if it weren’t so real and even if the pandemic is just two and a half years behind us, it’s still too soon. It immediately grants this production weight. As things start to unravel, the play unfolds the human drama of having to make a decision on who gets to survive. It’s riveting. Estrella’s direction keeps the energy flowing as the tension rises when Villar-Lim’s guardian begins to undermine the medical team’s decisions as it directly affects her father, who is least likely to survive his current condition.
At 30 minutes, the play feels like a lifetime. Joshua Lim So’s script makes no judgment on his characters but manages to show each one at their breaking point. The play doesn’t provide an answer but shows us what we are made of when were forced to make impossible decisions. It felt like I was holding my breath the entire run of the show.
Sa Babaeng Lahat
Written by Elise Santos Directed by Caisa Borromeo Cast: Jam Binay, Francesca Dela Cruz, Yanni Lopez
Sa Babaeng Lahat | Photo: Dulcinea Zulueta
A hilarious coming-of-age story set in an all-girl’s Catholic high school, ‘Sa Babaeng Lahat’ is a brilliant exploration of young girl’s navigating their faith and sexuality as they are hit by puberty. The religious, sheltered Marie believes she is pregnant with God’s child, the next Immaculate Conception, while her best friend Regina struggles with her feelings with the school’s resident tomboy, Gab, who actively flirts with her.
Sa Babaeng Lahat | Photo: Dulcinea Zulueta
Wonderfully directed by Borromeo, she allows Binay, Dela Cruz, and Lopez to really explore their characters and embody the highs and lows of young girls turning into young women. Jam Binay’s Marie could easily fall into a trap of the conservative idiot, but she infuses Marie with so much sincerity and charm that we see that she’s a victim of being misinformed or not properly educated at all. She’s not naive for comic’s sake but it’s coming from a deep-seated issue that is still prevalent until now. Yanni Lopez’s Gab is so fully realized that she comes off as authentic and true.
Sa Babaeng Lahat | Photo: Dulcinea Zulueta
And while all three are amazing and show off great chemistry with each other, this play is Francesca Dela Cruz’s through and through. Her Regina is a force of nature. She’s acerbic, mean, prickly but Dela Cruz has so much charisma that we can see that it’s all a facade, hiding something deeper within. While all three show impeccable comedic timing, Dela Cruz takes Regina and runs away with it turning her into a whirlwind that has the whole audience in stitches. It’s a powerful display of a great stage presence without making it look like a performance. Borromeo did a wonderful job at directing them that the comedy flows, the chemistry works, and the issues about shame, faith, youthful desires, and queer acceptance doesn’t get lost amongst the laughs.
My Rating:
VIRGIN LABFEST XX: HINOG is ongoing until June 29, 2025, at the Tanghalang Ignacio Gimenez (CCP Black Box Theater). Festival passes are available at the CCP Box Office, or you can get your tickets through TicketWorld and Ticket2Me.
In celebration of Manila Day, Diamond Hotel Philippines is offering an exclusive dining offer to the city’s proud residents. On June 24, 2025 (Tuesday), Manileños can enjoy 50% off on the breakfast, lunch, and dinner buffets at the hotel’s premier restaurant, Corniche.
This one-day-only promotion is entirely for residents of Manila City. To avail of the discount, guests must simply present a valid ID as proof of Manila residency upon dining.
Don’t miss this delicious way to celebrate Manila’s founding day. Limited offer is valid for a minimum of two to a maximum of ten diners per reservation. Book your table now and savor a lavish buffet spread featuring the finest local and international cuisines.
For reservations please call (63 2) 8528-3000 or email restaurant_rsvn@diamondhotel.com. All promotions are not valid in conjunction with other promotional offers. Prior reservations are encouraged. Other conditions apply.
Get ready for a cosmic ride that’s equal parts laughter, heart, and wonder—because Elio, Disney and Pixar’s newest animated gem, has officially landed in Philippine cinemas!
In true Pixar fashion, Elio combines dazzling visuals with deep emotional resonance, delivering a story that’s out of this world—but hits close to home. At the core of this imaginative adventure is Elio, an 11-year-old boy who never quite felt like he belonged… until the universe chose him.
Meet Elio: Earth’s Unlikely Ambassador
After the tragic loss of his parents, Elio turns his eyes skyward, searching for something greater—a place to feel seen and understood. His journey takes a wildly unexpected turn when a cosmic glitch whisks him into the Communiverse, an intergalactic society of wildly colorful alien civilizations.
Suddenly, Elio is declared Earth’s official ambassador—despite having zero diplomatic skills, zero space experience, and zero idea what he’s doing!
The Heart of the Story? Glordon.
But the real magic begins when Elio meets Glordon—a gentle, hilarious, and incredibly loyal alien who sees Elio for who he truly is. Their heartwarming friendship becomes the emotional engine of the film, proving that sometimes, all it takes is one person (or alien!) to make you feel like you finally belong.
“Elio’s parents passed away when he was younger,” shares producer Mary Alice Drumm. “He’s lonely. He sees this magnificence in space—the promise of life—and he puts all his energy into that. He really believes that’s where he’ll find true connection.”
Director Adrian Molina adds “Glordon is what Elio really needs. It’s not membership in this glittery, awesome space club—it’s an actual friend. And Elio will learn a lot about himself through this new friendship.”
A Story for Everyone, at Just the Right Time
Co-directed by Oscar® winner Domee Shi, Elio touches on themes that feel especially timely. From loneliness and identity to the transformative power of genuine connection, this film speaks to kids and adults alike.
“It’s through opening himself up to Glordon—an alien—that Elio is able to begin healing his loneliness,” says Shi. “It’s so important right now because kids and adults are feeling lonelier than ever. My hope is that audiences feel inspired to look for and make connections with the people around them and with this planet, and the universe in some way.”
Why You’ll Love Elio
Spectacular animation that brings alien worlds to life
Hilarious, heartfelt moments for all ages
A powerful message about empathy and belonging
A beautiful depiction of chosen family and friendship
Now Showing: Grab Your Bestie and Watch Elio Together
Just like Elio and Glordon find a friendship that changes their lives, Elio is best experienced with someone special by your side. Don’t miss this stellar adventure, now showing in cinemas across the Philippines!
Be it for business or leisure, finding a place to stay in Metro Manila may not be too difficult given all its diverse accommodations. But finding the right place—one that balances convenience, comfort, accessibility, and a genuine city experience—requires careful thought.
When you’re in the metro, consider making Privato Hotel your address. With branches conveniently located in the dynamic districts of Makati, Ortigas, and Quezon City, it offers travelers an oasis through its elegant and contemporary interiors that reflect the vibe and energy of its locations. This focus on each hotel’s individuality only emphasizes its keen attention to detail that guests can experience at every step—from booking to check out.
Strategically located near Makati Central Business District, Privato Makati provides easy access to one of the country’s premier financial and lifestyle hubs. Staying at the hotel brings guests closer to multinational companies, iconic shopping destinations, and vibrant art and culture spaces.
Privato Ortigas enjoys a prime location in the Ortigas Center, a key business district at the intersection of Pasig, Mandaluyong, and Quezon City, making it ideal for intercity travel. This central location conveniently connects travelers to the area’s highlights, enabling them to maximize their Metro Manila experience.
Finally, Privato Quezon City, situated in the heart of Tomas Morato—a lively entertainment destination that’s home to leading media and entertainment companies as well as exciting dining and nightlife. What makes this Privato even more memorable is that it features architecture and design by Budji Layug and Royal Pineda, with furniture by industrial designer Kenneth Cobonpue.
At Privato, well-appointed rooms are meticulously designed for comfort, with warm lighting, playful pops of color, and thoughtful centerpieces creating a cozy and inviting ambiance. Emphasizing the hotel group’s focus on topnotch hospitality, Privato also gives guests access to a range of amenities such as a gym, a swimming pool, dining options, and in-room massage services all curated to enhance every stay. Notably, all three Privato hotels have been recognized with the 2024 Travelers’ Choice Best of the Best award from Tripadvisor.
Guests can experience Privato’s exceptional service at reasonable price points, providing them with the perfect base to explore and relish their time in these dynamic districts. To further encourage guests to discover and enjoy city adventures, the hotel group presents the Stay Longer Save More deal, offering 20% off their stay when they reserve a minimum of three nights at any branch.
“Privato Hotel distinguishes itself by masterfully balancing business-friendly convenience with the small luxuries of leisure, offering an aspirational brand and personalized experience at accessible prices,” says Privato founder and president Gab Perez. “When you’re in Metro Manila, we want you to feel right at home at Privato. It’s the small details that define us and allow us to deliver the warmth and joy of Filipino hospitality.”
Experience Metro Manila’s dynamic districts at accessible price points with Privato Hotel Group. Find the perfect Privato for your trip, visit www.privatohotels.com or contact (63 2) 8376 6340 to 42.
What is most surprising about director Danny Boyle and screenwriter Alex Garland’s 28 Years Later is the tender heart beneath the story. Considering both are known for their hard-hitting approaches to the subjects of their films, the third installment in the trilogy that began with their collaboration 28 Days Later does not hold back on the tension and horror. However, after the first hour, it shifts direction to bring us something poignant and intimate in the second half.
As indicated by the title, the story is set 28 years after the rage virus destroyed the United Kingdom. The world was able to contain the pandemic within the UK and has since moved on, but anyone left in the country must fend for themselves. On a small island off the coast of Scotland, a community is thriving. Remote and accessible only by a causeway that disappears when the tide is high, the community has found a way to survive. Here, Jamie (Aaron Taylor-Johnson) is taking care of his sick wife, Isla (Jodie Comer), and their 12-year-old son, Spike (Alfie Williams). In this town, part of the children’s education includes learning to fight and protect themselves from the infected. Jamie is taking Spike to the mainland, against the elders’ wishes, as the rite of passage usually happens at 14 or 15, so he can make his first kill.
In Scotland, the infected are scattered. Without the rush of industry and civilization, Boyle and Garland imagine the rich, bountiful Scottish landscape as a forest primeval. Jamie is preparing Spike for more adult responsibilities. What appears to be a father-and-son hunting expedition is actually a test of Spike’s survival instincts, stamina, and his ability to stay calm and collected.
An infected in Columbia Pictures’ 28 YEARS LATER.
Of course, things do not go as planned. They are chased by a pack of infected, now led by a bigger, stronger one who is smarter than the rest, whom they have called Alpha.
Jamie and Spike are forced to spend the night on the mainland before they can attempt to return, hoping that the low tide has made the causeway passable. Throughout the first hour of the film, the atmosphere is filled with tension and suspense. And despite Taylor-Johnson’s charm, his character Jamie is marked by a toxic masculinity that contrasts with Spike’s more gentle nature.
As the relationship between father and son becomes more and more fractured, Spike takes it upon himself to bring his mother back to the mainland after discovering that there is a doctor there who may have gone insane. The second half of the film is the reverse of the first, with the tenderness between mother and son providing a striking counterpoint. They have their own misadventures, but it is the contrast between both parents makes the movie what it is.
There’s a highly stylized filmmaking approach that Danny Boyle takes for ‘28 Years Later.’ His fast-paced editing intercuts scenes with gory images and old video footage, creating a link between the past and the present. This broken world has been broken before. This is not an unfamiliar world. These dangers, and the means of survival, are nothing new. It makes for a stirring watch – not to mention there are fantastic sequences that are wonderfully cinematic including the traverse through the causeway.
The music by Young Fathers and the exceptional sound design make this world feel visceral and emotional. It never stops, even in its quiet, somber, and tender moments. When they finally meet the doctor (Ralph Fiennes), the story shifts in an unexpected direction and features impressive production design elements that turn the film into a visually stunning cinematic experience.
Taylor-Johnson and Fiennes are amazing, and Williams grounds the film by reminding us that he is portraying a 12-year-old so his choices are less rational and more idealistic. He is an amazing anchor for the film and hits the right buttons. However, it is Jodie Comer who completely steals the spotlight in the latter half of the film, revealing the beautiful heart at the center of this story.
This is not the film I was expecting to see, but I enjoyed every bit of it. It is character-driven, and the world-building is solid as it expands the lore behind the infected. It teases a sequel and there’s talk about a new trilogy to follow starting with this one. I was pleasantly surprised by this film, and I am in it for the rest of the ride.
My Rating:
Witness the evolution of fear and survival. 28 Years Later is now in cinemas. Check showtimes and book your tickets here.
