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MMFF Movie Review: The Parts of ‘Isang Himala’ Are Stronger Than the Whole

I was scared coming into ‘Isang Himala.’ I love the original film by Ishmael Bernal and Ricky Lee. I teach in my classes in Philippine Film History, and it is truly a groundbreaking work that still holds the test of time. I’m also in love with the stage adaptation by The Sandbox Collective, directed by Ed Lacson Jr. and music and lyrics by Vincent De Jesus. That production turned the whole stage, including the audience, into the town of Cupang and it was filled with incredible performances by its incredible cast. While the same cast is brought into the film adaptation of the musical, I feared that what made the stage play so magnificent – the way by which the whole town of Cupang comes alive and all the audience immerses themselves into the longing and desperation of that place – would be lost as it moves into the screen. How does a camera make the audience part of that world?

But knowing that Pepe Diokno was coming in to direct gave me a little hope. After all, his ‘Gomburza’ was excellent. To differentiate his world from the stage play and the original film, Diokno shot the whole film on a studio, which allowed for full control of lighting and sound design and they could control the massive crowd scenes that inhabit this film. It gives the feeling of old school Hollywood musicals from MGM where the sets look too perfect, too manufactured and they bring this charming aesthetic to the narrative. I’m talking about ‘The Wizard of Oz’ or ‘Singing in the Rain’ or even ‘Seven Brides for Seven Brothers.’ There’s a leaning into the formalist tradition of cinema with Carlo Mendoza’s stunning cinematography turning the town of Cupang into the brilliant ochre shades that matches the film’s heavy tones and themes.

‘Isang Himala’ is about the town of Cupang, a town in need, ravaged by a drought, and the townsfolk believe that they are cursed. When Elsa (Aicelle Santos) proclaims she is having visions of the Virgin Mary and is seen healing a sick child, the town enters into a frenzy of religious fervor and zeal. A cult is quickly formed around her, tourists come from all over to receive Elsa’s blessings and healing, and the once-poor town suddenly gains a resurgence in economic growth. Factions are formed, as Elsa’s followers don’t take kindly to Nimia (Kakki Teodoro), who returns from Manila to open a cabaret while a documentary filmmaker, Orly (David Ezra), records Elsa’s movements, selling the footage and the photos he takes to newspapers in the city, while hoping to build a film about her. Elsa’s mother, Aling Saling (Bituin Escalante) is caught in the middle, a hapless observer as the town and her daughter are caught up in the madness of it all.

There are so much great things happening in this movie. Diokno’s ability to really move that camera through that madness is riveting. He creates these large set pieces as the two transforms over the course of a song from impoverished to booming in minutes. The crowds come in and make the whole set come to life. The singing is exceptional. With performers like Santos, Escalante, Ezra, and Teodoro in the cast, there’s no question that we’ve got incredible vocals to go with Vincent De Jesus’ score.

But I felt so disconnected from the piece – a narrative that I’m in love with from its original film and its stage adaptation – and I realised that I find the adaptation of the stage musical into a film needed space and width. Cupang’s design is enclosed in canyon, everything is bunched up together and claustrophobic. Everyone is in everyone’s business. There’s a mass of people entering and exiting the scenes and the camera can come in close for the close-ups to capture the drama that is unfolding in this story. But the script does not illuminate the characters and their motivations clearly enough for us to warrant these close ups. The stage adaptation makes the whole town the central character and the audience is witnessing the transformation that it takes from the distance of spectator. We can’t really know these characters because of that distance. Here, the camera can come close. It gets intimate, but the script never really explores these characters inner worlds. I am left with no real clue on who Elsa is aside from the push and pull of people’s desires for her benediction nor do I really, truly understand what motivates Orly’s interest in her. If these are done through the songs (as most of the film is sung-through), it can get lost in the production of the music.

The only character who truly shines and creates the film’s contrast is Nimia. While everyone is great, Kakki Teodoro fully embodies Nimia’s practicality and sense. Unlike everybody else, she believes in herself and is unafraid to stand up to her former friend. Teodoro brings this to the performance and sings the hell out of one of the best songs in the musical. Of all the characters in the film, hers is the clearest of what she wants and what she believes in. As I’m writing this, I heard that Teodoro won Best Actress at the MMFF Awarding and it is so well-deserved. Shes the one everyone is talking about when I left the cinema.

At two hours and forty minutes, I felt exhausted. The film is an intense roller-coaster of powerful songs that lean more towards opera than it does to musicals. A lot of the songs aren’t melodic, which is fitting because there’s no real rhythm or melody to suffering. In the play, on just a piano, it is haunting. Here, it’s loud and aggressive. Played by a full band that makes each song feel like a finale. It’s big and the film never gets quiet enough to process all of the madness that happens within this town.

The claustrophobia and the lack of true character moments makes this world feel small. Whereas Ishmael Bernal’s use of wide empty spaces and long shots help creates that distance for the viewers so what we see is the town. Here, I see Elsa. I see Orly. I see Nimia. I see Aling Sepang. I see the characters but except for Nimia, I don’t really get to know them fully. So, I’m impressed by the performances, by the aesthetics and the filmmaking behind ‘Isang Himala’ but I’m left struggling with what I’m supposed to feel afterwards. It’s a heavy movie to take in but wonderfully made.

My Rating:

Isang Himala is now showing in cinemas. Check showtimes and buy your tickets here.

December 29, 2024
MMFF MOVIE REVIEW: Julia Barretto and Carlo Aquino Can’t Save ‘Hold Me Close’ From Its Shallow Characters and Flimsy Premise

It’s fortunate that Jason Paul Laxamana’s ‘Hold Me Close’ has the combined star power of Carlo Aquino and Julia Barretto because they are working hard to try and make this movie, with its thin premise, work. Set in Karatsu, Japan, the magical romance teams up Aquino and Barretto two people with respective traumas who find each other and set the journey towards healing. The catch? Barretto’s Lynlyn has the ability to tell if a person is “positive” or “negative” (whether they will be the cause of joy or pain) by simply touching them.

Aquino plays Woody, a man searching for a place to call home. He seems to be independently wealthy, not having a job but taking on a lovely house in Karatsu. In the morning market, he meets Barretto’s Lynlyn, who sells squid at the market with her two brothers Tantan (Jairus Aquino) and Botbot (Migo Valid). It’s love at first sight. Woody ends up helping Lynlyn and her brothers after her power discovers one customer is a “negative” and sparks a strong reaction that causes a stir. For Lynlyn, she feels that Woody is safe because he is neither “positive” or “negative.” He begins to visit her every day and she tags along because he will not cause her harm. Woody is persistent and consistent and eventually Lynlyn is charmed and what seals the deal is that Woody is now a positive. They begin to date until, on a date, Woody suddenly becomes a negative. The two protective brothers try to keep them apart but Lynlyn, overcome with her feelings for Woody, gives him three chances to turn into a positive. She then helps him evaluate his life and his choice, delving into his past and encouraging him to fix his relationship with his family. In the process, she will soon discover that she must also face her own demons.

Image Source: Viva Films FB

What makes the film a frustrating watch is that Laxamana builds the thinnest characters here. Unlike the characters of his previous films, Woody and Lynlyn end up appearing one-dimensional no matter how much work Aquino and Barretto put into them. Woody arrives in the city, and he seems to not do anything except chase after Lynlyn. He has no job, no passions or goals. He’s just a man running away from his issues and no matter how charming Aquino can be, there’s not much there to root for. At some point, he laments that no one loves him, but we don’t actually see him being a part of the world in any meaningful way. Lynlyn, on the other hand, is completely defined by her ability. She panics when she’s electrified by a negative reading of a person but every customer she has, she holds on to them trying to find out if they are good for her or bad. She also seems to not have any other dream or goal than to sell squid with her brothers in the market. Not much is said about her background: why she and her brothers are there and what is their goal in life. It seems these characters are only there to exist for the purpose of this movie.

Image Source: Viva Films FB

It doesn’t help that the film takes a moment to showcase all the tourist spots of Karatsu, which ends up taking us away from the film to become a sort of travelogue. Yes, it’s part of the scenes when Woody and Lynlyn are falling in love. But the place doesn’t feel integral to the story. You can replace it with any location, whether local or abroad, and the story can still stand.

Image Source: Viva Films FB

Also, the film doesn’t seem to have a clear representation of what positive or negative means. At one point, Woody is a positive and then another moment he becomes a negative. The film doesn’t quite handle this properly. At one moment, even Tantan becomes negative and then only to turn positive again the next. The whole film’s conceit centers around Lynlyn’s gift but as Woody tries to make himself positive for her, one wonders why Lynlyn gets to determine one person’s worth based on a feeling that she cannot explain. It could be a great metaphor for red flags and green flags, but the film never brings it there. It feels literal in its presentation and that sort of brings down the film’s potential.

My Rating:

Hold Me Close is now showing in cinemas. Check showtimes and buy your tickets here.

December 29, 2024
MMFF MOVIE REVIEW: Defying All Expectations, ‘Green Bones’ Casts a Hopeful Light in the Dark

A story about redemption and hope, ‘Green Bones’ plays out like a sort of dark fairy tale through the filmmaking choices of everyone involved, which allows the movie to play with form and structure in inventive ways that helps take us on an emotional journey about justice and redemption and really exploring the role of prisons in our society. Written by Ricky Lee and Anj Atienza (from a story by JC Rubio) and directed by Zig Dulay, the movie quickly recalls the film ‘Shawshank Redemption’ with Tim Robbins and Morgan Freeman but this film carries its own magic. Despite its subject matter, Dulay and Director of Photography Neil Daza manages to create an almost mythical world for this story about the penal system in the country to take place.

Lee and Atienza also manage to play with structure and form by telling two very different stories, though essential the same narrative, by spending the first act in seeing the world through one of its leads, the young officer Xavier Gonzaga (Ruru Madrid), who enters the prison as a new warden in the island of San Fabian. Gonzaga has lost his sister to murder, and he carries his bias with him. The prison colony in San Fabian is a more humane place where the prisoners are given more freedom than what we expect. They are allowed to stay outside to garden and cook and, in the afternoons, are allowed to leave the prison to work in the farm or the fisheries and sell their wood carving projects to locals and tourists. The idea behind this system is to encourage them to repent and get back to their lives. Unfortunately, Gonzaga does not believe that murderers can be rehabilitated, and he has his sights set on Dominic Zamora (Dennis Trillo), a man who does not speak and is incarcerated for murdering his sister and his niece. Gonzaga watches Zamora closely, knowing he’s about to finish his sentence early for good conduct, and when he sees Zamora and the other inmates planning something, he decides to step in and ensure Zamora never makes it out.

Image Source: GMA Pictures FB

The film then shifts focus on act two, as we see the story through Zamora’s perspective and details his world view and the story of how he killed his sister and his niece and how his life has changed since then. The story is quite different from Gonzaga’s take and the film manages to shift the way we look at the people that are in prison now knowing what we know about the systems that are in place in our country.

Image Source: GMA Pictures FB

There are multiple stories here: stories about the other inmates, the friends that Zamora had cultivated; the story of the NGO worker who is constantly visiting Zamora (Alessanda de Rossi), and the story of Zamora and his sister (Iza Calzado) and his niece (Sienna Stevens in the flashbacks and Sofia Pablo at present time). Dulay is able to manage exploring multiple themes through the careful interweaving of these characters and as we know more and more about Zamora and his past, we become just like Gonzaga that our eyes are suddenly opened to our own prejudices and misconceptions.

Image Source: GMA Pictures FB

Trillo and Madrid give out exquisite performances here. Trillo brings such a deep humanity to the character of Dominic Zamora. He is fearsome as Gonzaga imagines him to be, but he is also soft and warm and kind as we see his story play out in the second act. He is the foundation of this narrative, and he carries it so competently that the film succeeds because it has such a strong anchor holding it together. If Trillo is the foundation, then Madrid is the narrative’s driving force. Madrid embodies Gonzaga’s tunnel vision but roots it in his character’s past hurts and trauma. This is not a one-dimensional witch hunt. This is a person that’s hurting, and Madrid is able to layer his character with these stories that allows us to empathize with him even if we suspect he’s not holding all the cards. The rest of the cast is magnificent, from De Rossi and Calzado, to Michael De Mesa and Wendell Ramos (who play the other policemen in the prison) and the inmates played by Ronnie Lazaro, Royce Cabrera, Mikoy Morales, and two others whose names I wasn’t able to find.

Image Source: GMA Pictures FB

The heart and warmth that Dulay was able to deliver in last year’s ‘Firefly’ is in full display in ‘Green Bones.’ It’s a masterful work that plays with your expectations and takes a hard look at how we think of rehabilitation and how humane are we in treating those who have strayed. The film can get dark, but it has to, because the film shines a light of hope to those who seek redemption. By the end of the film, I caught myself crying along with other members of the audience.

My Rating:

Green Bones is now showing in cinemas. Check showtimes and buy your tickets here.

December 27, 2024
Eden Cheese and World Vision Partner to Complete the Joy of Christmas for 23,000 Filipino Families

Eden Cheese has long been a beloved part of Filipino holiday traditions, bringing its creamy, malinamnamflavor to Noche Buena dishes like Pinoy-style spaghetti, baked macaroni, leche flan, and pichi-pichi. This year, Eden Cheese took its commitment to making Christmas special one step further through its Bundle of Joy initiative.

The Bundle of Joy is a special multi-pack bundle of 160g Eden Cheese available exclusively through Shopee, Lazada, and Tiktok Shop. In partnership with World Vision Philippines’ annual Noche Buena Project, every purchase of a Bundle of Joy helped provide a Noche Buena pack to families in need.

Each pack was completed with a generous contribution of Eden Cheese, ensuring that over 23,000 families across the Philippines could enjoy a festive and flavorful Christmas Eve meal. These packs, filled with essential Christmas groceries, were distributed to beneficiary families by December 24, enabling them to celebrate the true spirit of Noche Buena.

Adding to the holiday cheer, Eden Cheese hosted festive busking events in key locations across the Philippines: Greenfield District in Mandaluyong (Nov. 16), Cebu IT Park (Nov. 23), and Ayala Azuela Cove in Davao (Nov. 30). These events featured live Christmas carols performed by local artists, including Eden Cheese’s own Christmas anthem. Attendees enjoyed festive music, delicious food, and quality time with loved ones while learning more about the Bundle of Joy initiative and World Vision’s Noche Buena Project.

“Pinoy Christmas is not complete without food, music, and sharing. The Bundle of Joy initiative is a showcase of Eden’s Christmas mission in a modern and sincere way,” said Mark Banawa, Marketing Manager of Eden. “This also aligned with the objective of World Vision’s Noche Buena Program to help kumpletuhin ang Paskofor many Filipino families.”

World Vision Philippines echoed the sentiment, stating, “Our partnership with Eden Cheese is meaningful as we share the same mission of spreading joy and hope to Filipino families who need it the most. This collaboration made the season brighter and more meaningful this Christmas season,” said World Vision Philippines National Director, Dr. Harvey Carpio.

Eden Cheese’s Bundle of Joy initiative successfully brought the spirit of “Saya ng Kumpletong Pasko” to over 23,000 Filipino families. “Thank you to all who participated via visiting the events and purchasing our Bundle of Joy. Together, we were able to help bring a feeling of ‘Saya ng Kumpletong Pasko’ to over 23,000 families around the Philippines,” said Mark Banawa.

Stay tuned for more Eden Cheese events, moments, and recipes that continue to serve fun and excitement to Filipino families in 2025. Follow Eden Cheese on social media for more updates.

December 27, 2024
The Ultimate Holiday Series Marathon: 6 Binge-Worthy Picks for Your Perfect Break

Holidays are for cozy blankets, warm drinks, and wrapping yourself in stories that transport you to another world. Lucky for you (and us), Lionsgate Play has a handpicked lineup of binge-worthy series that’ll have you glued to the screen faster than you can say, “Where’s the remote?”

From nostalgic drama to pulse-pounding action and heartwarming musicals, here’s your perfect streaming menu for the unforgettable holiday season. Grab your blanket, settle in, and let the binge-fest begin!

1. Mad Men

Start your binge fest with the moody brilliance of Mad Men. Set in the slick, whiskey-soaked advertising world of the ’60s, this series is a masterpiece of drama and questionable life choices. Don Draper (Jon Hamm), with his flawless suits and complicated personal life, will reel you in, but the show’s entire cast of characters will keep you hooked. Catch the style, catch the drama—and maybe pour yourself an Old Fashioned while you’re at it.

2. Paris Has Fallen

Need something to counteract the warm fuzzies of the festive season? Enter Paris Has Fallen. With explosive drama (and literal explosions), this action-packed series will crank up your adrenaline. Because nothing screams “holiday spirit” like saving the world one city at a time, right?

3. Zoey’s Extraordinary Playlist

What would you do if you could suddenly hear people’s inner thoughts through pop songs? That’s Zoey’s new superpower in Zoey’s Extraordinary Playlist, and honestly, we’re here for it. Quirky, emotional, and packed with epic musical numbers, this series will have you laughing, crying, and singing along before the credits roll.

4. Normal People

Feel like breaking your heart a little this holiday? Normal People understood the assignment. This beautifully told story of Marianne (Daisy Edgar-Jones) and Connell (Paul Mescal) is as raw and real as it gets. It’s about love in all its messy forms, navigating complex relationships, and growing with the pain of being human. Maybe grab tissues. Definitely grab tissues.

5. Killing Eve

If you haven’t yet dived into Killing Eve, where have you been?! This cat-and-mouse drama between Eve (Sandra Oh), a whip-smart MI6 agent, and Villanelle (Jodie Comer), a dangerously charming assassin, is nothing short of addictive. It’s sharp, funny, and just the right amount of twisted, with characters you’ll love and hate equally.

6. Power Franchise

Want your holiday streaming to last long into the New Year? Hello, Power Franchise. Created by The Good Wife writer Courtney A. Kemp in collaboration with 50 Cent (who plays recurring character Kanan Stark in the series), this gripping franchise follows the high-stakes world of crime. Starting with the hit series Power and followed by Power Book II, III, and IV, there’s plenty of story to go around. Plus, everyone knows it’s not the holidays without a bit of family drama.

Whether you’re in the mood to laugh, cry, or sit on the edge of your seat, Lionsgate Play’s catalog has you covered.

December 27, 2024
MMFF MOVIE REVIEW: Revenge Made Sweet: A Review of ‘Uninvited’

It’s only through fiction, be it literature or theater or film, that one can find true joy in brutal, eye-for-an-eye type of revenge. By all means, the world is such a complex place where there are no real shades of black and white. Everything is gray and we are all interconnected in some way or another. Other films tell us that. But in fiction, events and people can be black and white, and this is where Dan Villegas (with a script by Dodo Dayao) leans into the fantasy and manages to exact some level of catharsis for all the viewers of his latest film, ‘Uninvited.’

The story takes place in one night during the party of a wealthy criminal, Guilly Vega (Aga Muhlach) as he and his crew are the target of Eva Candelaria (Vilma Santos), a gatecrasher to the party who plans to take her revenge for the rape and murder of her daughter, Lily (Gabby Padilla).

Image Source: Mentorque FB

The story builds by use of clever flashbacks to help establish motives and blurs the moral lines and help us see the full range of Guilly’s transgressions; and not just to Eva Candelaria but also to his wife, Katrina (Mylene Dizon), and his daughter Nicole (Nadine Lustre).

Image Source: Mentorque FB

Everything about this film is slick and glossy from Paolo Orendain’s crisp cinematography to Mica Tatad-King’s exquisite production design. The film borders on camp but not as much as I originally thought from watching the trailer. There is a feeling of the hyper-real here so that the characters can exist as symbols of larger themes. Muhlach’s Gully Vega is downright evil, and he knows it and he is unafraid to posture and grandstand because he knows his money and power will protect him as they have this whole time. Dayao’s script and Villegas’ direction gives Muhlach a chance to really play and inhabit a dark and scary place for his character and as much as he comes off as a one-dimensional evil villain; there’s some truth to this character when one is aware of what’s happening all over the world with very rich men getting away with very awful crimes.

Image Source: Mentorque FB

The hyper-reality of the film allows us to fully support Eva Candelaria in her quest to exact vengeance on all who had ruined and killed her daughter and her boyfriend, Tofy (Elijah Canlas). That includes Vega’s right-hand man Jigger Zulueta (RK Bagatsing), bodyguard Batac (Cholo Barretto), his connection to the police, Randall (Gio Alvarez), and his recruiter, Jomar (Ketchup Eusebio). Vilma Santos is the only character who is allowed to settle into the gray areas of this dark fable. She’s resolute with her quest for retribution but she’s no cold-hearted killer. She is able to convey the range of emotions one feels in the middle of the birthday party of your daughter’s killer. She is angry and scared and the feeling of loss is so palpable in her every movements while she is trying her best to keep it together.

Image Source: Mentorque FB

As a suspense/thriller, the film takes a whole hour to really build the tension. Most of the brutal violence are committed through the flashbacks and early on, we are already on Eva’s side and everyone in the cinema with me, including myself, were waiting for Eva to make her first kill. But Villegas continues to juggle all the moving pieces of his film – the weary right-hand man, the sly wife, the daughter who hates her father, and many others – preparing us for a third act when all of the pent-up tension finally explodes, and it is as delicious as the film’s visuals and excellent casting choices. It’s a long wait but it feels worth it.

Image Source: Mentorque FB

The danger here is that as extreme as this story is, it’s not far off from the many real-world crimes that are committed by people in power today. And just like in the movie, these people are untouchable by the law. Much like the current new storm of the Health Insurance CEO killing in the United States by an ordinary citizen who has had enough, the fact that this film can create sympathy and empathy with Eva Candelaria and what she’s about to do is a powerful political statement about the current systems of the world today. Much like one lady behind me in the cinema said rather loudly in Tagalog, “I can’t wait for her to kill them already.”

Image Source: Mentorque FB

Aside from the savvy filmmaking involved, the performances by Muhlach and Santos and by the rest of the cast including Lotlot De Leon as Tofy’s mother really help make this world shine. It’s a dark and twisted story to tell but it does in a way that makes it fun and thrilling.

My Rating:

Uninvited is now showing in cinemas. Check showtimes and buy your tickets here.

December 27, 2024
MMFF MOVIE REVIEW: A Triumphant Reimagining: A Review of ‘The Kingdom’

I applaud Michael Tuviera (and screenwriter Michelle Ngu-Nario) for their vision and care to reimagine our country if it was never colonized. The writing and the world building of the film truly inspires and sparks the imagination and even if the film was bad, I’d be rooting for it just for its sheer vision and bravado. But the thing is, the film is not bad. Far from it. ‘The Kingdom’ is thrilling and filled with interesting characters and a world worth exploring. It’s what makes for good speculative fiction: an image of our country that could have been and by doing so creates a commentary about our country as it is today.

‘The Kingdom’ reimagines the Philippines as The Kingdom of Kalayaan. It is ruled by a succession of Lakandulas (or Lakambini, if it were a woman) and the royal family follows the belief that their line comes from Bathala. In the contemporary world, Kalayaan is besieged by political strife. There are citizens who are calling out the family for their greed and corruption while the current Lakandula, Lakan Makisig (Vic Sotto) has yet to choose between his three children who would succeed him in the throne. His only son, Magat Bagwis (Sid Lucero) is presented as a hot-tempered man more inclined to the finer things in life and is not that interested to lead. His eldest daughter, Dayang Matimyas (Cristine Reyes), shows political savvy and will, but there is tension between her and her father. The youngest, Dayang Lualhati (Sue Ramirez) is a loving child and is set to marry a prince from Thailand, which has the people divided.

Image Source: APT Entertainment, Inc. FB

But on her wedding day, Dayang Lualhati is kidnapped and Lakan Makisig must figure out if this is the work of the rebel forces or, as the babaylan suggests, someone from within the palace. Unbeknownst to him, Dayang Lualhati is rescued by Sulo (Piolo Pascual), a farmer with a past that connects him to the family and with his own opposition views regarding the monarchy.

Image Source: APT Entertainment, Inc. FB

The film plays out like a political thriller. It has action scenes to help play with the pacing and to heighten the sense of danger. But it is at its strongest with the way it lays out the systems of this world and the intricacies of the character’s relationships and the social dynamics of this reimagined country.

Image Source: APT Entertainment, Inc. FB

The first thing I noticed was the beautiful usage of fabrics and designs from the indigenous people of the country. Without colonial rule, there’s amplification of our own local and traditional attire. Guiding the royal family are babaylans and there is an air of spirituality and mysticism that surrounds this government, and it feels so fitting and true. The second thing I noticed was the language of the script. I picked it up almost immediately that the Tagalog that was used was deeper and more unfamiliar. I realised that they were avoiding any Filipino word with Spanish origins (I did catch one, where a character references the grandmother and calls her “lola” but I wasn’t able to catch anything else). The people are marked by tattoos that help align them with a clan or tribe, which calls out to our Filipino value of family.

Image Source: APT Entertainment, Inc. FB

And what a family! Vic Sotto gives a restrained performance, showing off what carrying the weight of a whole country on your shoulder feels like on the body. He’s stiff and cold but manages a loss of that control when he’s around his children, especially Dayan Lualhati. His humanity steps out in key moments that keeps his character from being one note. Sid Lucero and Sue Ramirez is always great, though Ramirez is doing the best she can with a tired character, the naive princess. Piolo Pascual is great during the quiet parts, when he is allowed to channel the character’s anger and rage but holding it in because he’s a good person through-and-through, but he doesn’t bring that rage to his fight scenes. Iza Calzado shines in a brief role, carrying the weight of an entire backstory that is never revealed in every look and small gesture. She’s reacting to something that we are not aware of, and it implies a whole backstory in a character that is so well-written despite having such a short screentime.

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But the true star here is Cristine Reyes. Her Dayang Matimyas is competent, tough, and fearless but she softens when she’s around her siblings. She’s commanding without losing any bit of her femininity and the strain of her character’s relationship with her father is evident in her longing stares and quiet moments. She also has the most convincing fight scenes in the whole movie showing off a range we all know she has.

Image Source: APT Entertainment, Inc. FB

While the performances were strong and the music by Jessie Lasaten elevates the movie into an epic scale, the action scenes could be cleaner (except for the one in the bridge, that was really good and thrilling) and I think it could have been 20 minutes longer. I just wanted to be in that world for a lot longer. ‘The Kingdom’ showcases the true power of movies: it can reinvent the world and show us perspectives and possibilities through its carefully laid out fiction, and in the process, allow us to criticize and question how things are today. Even in this fictional world, the country is torn apart by class and tribalism and the film asks us to revisit the things that we believe define us and our country: the people who govern us, the things that separate us and keep us from being united, and the laws that we hold on to that allows the powerful to abuse the weak. All of this and more are tackled in the 133-minute film, and seriously, it was so well-done that it could have gone much, much longer.

My Rating:

The Kingdom is now showing in cinemas. Check showtimes and buy your tickets here.

December 26, 2024
MMFF MOVIE REVIEW: Mainstream Magic: A Review of ‘My Future You’

There’s something magical about director and screenwriter Crisanto B. Aquino’s ‘My Future You.’ It’s a film about the complexities of family but disguised as a magical romance story about a boy and a girl who are matched through a dating app despite their difference in time. There are elements here of the Keanu Reeves and Sandra Bullock film ‘Lake House’ or other films with similar conceits like ‘Frequency’ and the Korean supernatural thriller ‘The Call.’ But Aquino’s film is deeply rooted in its Filipino setting and characters and redefines our understanding of what defines a family through the perspective of the two leads.

Lex (Seth Fedelin) and Karen (Francine Diaz) are both fresh out of college with their lives ready to be conquered. As they both watch a rare twin comet sighting in the night sky one evening, they suddenly receive a dating app on their phones and laptops and are instantly matched. They talk, they flirt, they connect. It comes to a point that they decide to meet each other in Manila at kilometer zero at Luneta Park. On the given time, Lex discovers that Karen isn’t there. He waits for three hours but she never arrives. The next morning, he gets an angry call from Karen who tells him that he stood her up. Soon, they discover that they both were there at the agreed date and time. What they did not expect was the revelation that they live 15 years apart from each other. Lex is from 2009 while Karen is from 2024.

Image from Regal Entertainment Inc. FB

Aquino masterfully handles the first 20 minutes of the film to set up Lex and Karen’s meet-cute and the bonding that happens over time. The whole first act makes us fall in love with these two young people – performed with such verve from Fedelin and Diaz – that you get caught up in the whole romance. As someone who knew nothing about the film coming in, I was suspicious but still taken by surprise by the magical twist of the time difference that forms the barrier to the couple coming together. What’s even more clever is that during this time, the film had already begun to lay the foundations of the real goal of the film, which is to push the two youths into reimagining their family structure.

Lex is an only child of senior parents in Cebu. They are wealthy and while he wants for nothing and is loved by both and his yaya, his past has left a missing piece in his heart. Karen, on the other hand, is unhappy that her parents have split up and that their mom had moved her and her younger brother to live with her new boyfriend. The 15 years difference between Karen and Lex means that both can help each other with their issues of their family.

The romance aspect of the film is easy. The two characters have fallen for each other and it’s believable by the way Aquino directs their interactions using split screens and shooting them with match cuts to show that they are completely in synch even if they are 15 years away from each other. Vanessa De Leon’s editing is precise and on the mark allowing the two to be in the same moment despite their distance. The music by Decky Jazer Margaja is just perfect as it sets the mood from romantic to drama when the scene calls for it. The family drama opens up organically within the romance story and surprisingly takes center stage and the whole second act of the film as they two learn some valuable lessons about love and family and happiness.

Diaz is absolutely charming and she has a screen presence that calls for your attention. There are moments when she can sometimes over dramatize a feeling but when she uses restraint, there’s magic there. With more experience, she has the makings of a star. Fedelin, on the other hand, is a natural actor. Everything he does feel spontaneous and unscripted. He has a warmth that translates through the screen and he can easily shift from comedy to serious drama when needed. The two are electric together.

The supporting cast of Bodjie Pascua, Peewee O’Hara, Christian Vasquez, and Almira Muhlach help make this world so believable and authentic despite its magical realism setting. There are no out of place dramatics. It’s just simple and natural performances that makes these characters come alive.

‘My Future You’ is a lovely mainstream movie that is filled with the magic of love and warmth. It’s a perfect movie for the MMFF that really fits in with the Christmas spirit and, more importantly, I love the way that it normalizes non-traditional family structures.

My Rating:

My Future You is now showing in cinemas. Check showtimes and buy your tickets here.

December 26, 2024
“Lightshop Keeper” Shines Bright as Disney+’s Biggest Korean Original Premiere of 2024
The Emotional Series Grips Global Audiences With Its Riveting Storyline and Star-Studded Cast

Disney+ sets a new benchmark for Korean original content with the release of “Lightshop Keeper,” a breathtaking series that has captured hearts worldwide.

Breaking Records and Winning Hearts

Lightshop Keeper, the brainchild of Moving creator Kangfull, debuted on December 4, 2024, and quickly soared to unparalleled heights. In just 12 days, the series became the biggest Korean original premiere on Disney+ globally in 2024, and the second biggest Korean original debut of all time, trailing only behind Moving.

The show’s record-breaking success showcases the global appetite for compelling Korean storytelling, further solidifying Disney+ as a hub for premium Korean content.

A Story That Speaks to the Soul

At its core, Lightshop Keeper follows six strangers, each wrestling with traumatic events from their past. As their daily routines unravel, an unshakable feeling of unease propels them toward a mysterious light shop hidden in a shadowy alleyway.

This enigmatic shop holds the answers to their questions, leading to a deeply emotional journey that intertwines their past, present, and future. With its gripping plot, Lightshop Keeper promises not just suspense but a poignant exploration of humanity, healing, and connection.

Star-Studded Cast

The series boasts a stellar cast, including:
- Ju Jihoon (Kingdom)
- Park Boyoung (Strong Woman Do Bong Soon)
- Lee Jungeun, the award-winning actress from Parasite
Their captivating performances elevate the series, leaving viewers deeply invested in every twist and turn.

The Future of Korean Content on Disney+

The triumph of Lightshop Keeper follows an electrifying announcement at the 2024 Disney APAC Content Showcase: Moving Season 2 is officially in development!

Looking ahead to 2025, Disney+ promises an exciting slate of Korean originals, including:
- Unmasked, featuring Kim Hyesoo, Jung Sungil, and Joo Jonghyuk
- Hyper Knife, starring Park Eunbin and Sul Kyunggu
- Knock-Off, with Kim Soohyun and Cho Boah
- Nine Puzzles, starring Kim Dami and Son Sukku
This growing lineup reflects Disney+’s commitment to showcasing exceptional stories from South Korea’s finest talents.

Don’t Miss Out!

Experience the mystery and emotion of Lightshop Keeper. All eight episodes are now streaming exclusively on Disney+.
December 26, 2024
Holiday Festivities, Delicious Platters  with El Pollo Loco

This season,  look forward to spending time with important people over crazy good treats from El Pollo Loco. Share them  in-store or to-go; you’re sure to go loco!

Festivo at El Pollo Loco!

Bring your friends and family because the all-new party packages at El Pollo Loco are perfect for sharing! Starting at P 595/head for the Grande Party Package, you can host a minimum of 30 pax at El Pollo Loco! The packages include a varied selection of their famous flame-grilled meats, sides, drinks, and desserts!

Select from the following Packages: Grande Party Package (595): Fiesta Party Package (695) and the Loco Party Package (795):

Flame Grilled Chicken Feast

The Festivo Party Packages, meanwhile,  include three (3) hours of free use of the venue, are exclusive of service charge, and cannot be combined with other discounts or promotions (including BFF Card). Customized menus and buffet setups are also available upon request.

Frito Platter

Ribs and Frito Feast

Take the Loco with you this holiday season with a perfect spread to share with a small group. Four new platters that serve 3-4pax are available exclusively for take-out and include El Pollo Loco’s signature flame-grilled chicken and ribs. Select from the following platters: Ribs & Chicken Feast at P 1885, Flame-Grilled Chicken Feast at P 1395. and Ribs & Frito Feast at P 1495 that comes with One tray of Loco Rice. Fresh-out-of-the-fryer options are also available, try the Frito Platter at P 495.

Follow @elpolloloco_ph

December 23, 2024