Tag: movie review

Movie Review: Family First: A Review of ‘Mujigae’

It’s great to see director Randolph Longjas back to making full-length features. I remember seeing ‘Star na si Van Damme Stallone’ many years ago and being absolutely moved by the film. His latest movie, ‘Mujigae’ is his first feature-length film since 2016, and the warmth and tenderness are still there. In ‘Mujigae,’ he tackles and explores the idea of motherhood, in all its many forms, while also navigating the complex emotions around family and how the Filipino family is affected by economic factors that trigger separation due to immigration and finding better opportunities abroad.

The movie is centered on a 5-year-old girl called Mujigae (Ryrie Sophia), who is orphaned in South Korea when her mother, Rainalyn (Anna Luna) passes away. Her Korean father (Kim Jisoo) is nowhere to be found and she moves back to the Philippines to live with her grandfather (Richard Quan) and her aunt Sunny (Alexa Ilacad).

While the film is centered on the titular character, the film’s true protagonist is Sunny. Sunny is young woman with a lot of anger in her heart. She has a strained relationship with her sister Reinalyn, and the sudden appearance and inclusion of Mujigae into her life is a stark reminder of a painful past and heavy emotions. Her relationship with her father is also strained and this weaves into everything. Her friends and workmates at a salon, played with such warmth and pitch-perfect tonality by Donna Cariaga and Kate Alejandrino, are both positive about their ideas on motherhood. Cariaga’s Sushmita has several children already and is pregnant with another. Alejandrino’s character is hoping to get pregnant after several miscarriages. On the opposite end, Sunny doesn’t want to have children, rooted on her own relationship with her family. And so, the arrival of Mujigae amplifies all these emotions.

Longjas, alongside screenwriter Mark Raywin Tome, take their time setting up the story and establishing the characters and the world of their film. They carefully build up Sunny’s character and her relationship with her father, her friends, and with her new niece and really focus on pushing every button on Sunny’s character pushing her to the brink. It can drag out quite a bit, but it is necessary because the moment Sunny finds a moment to set aside past hurts and to really reconcile her feelings about her sister does the story take a turn and Sunny and Mujigae’s new journey bring the film to a different path.

There’s a lot of twists and turns in the film, as the trailer suggests that even Mujigae’s father comes back to turn the film around all over again. Kim Jisoo’s performance, coming quite late in the movie, invigorates the film at its tail-end, adding a strong presence that adds to the complications. That third act is really the meat of the film, and I wish there was more of it. The first two acts – the arrival of Mujigae into Sunny’s life and Sunny and Mujigae forming a bond – could have been shortened so that it could really play out the third act’s more complex emotional beats. There’s guilt and remorse and regret and hope that’s found in that crucial third act and while it’s done well; I feel that it could have sped through the first two acts and really lingered in the third.

But aside from its slow pacing, what makes ‘Mujigae’ shine is how Filipino the film is – from its tone to the way it examines and questions its idea of family and family obligations – and how it is unafraid to make its statements about motherhood, which I am still 50-50 on, but I am impressed by the conviction that the film has on the matter. It’s also supported by such powerful performances. Alexa Ilacad is a star in the making. I’ve seen her captivate a whole theater in ‘Walang Aray’ and she delivers that same presence here. The best scenes are when Ilacad, Cariaga, and Alejandrino are together, just being women, and talking about their lives. It’s such a tender, intimate moment that feels natural and just right. It’s moments like these that are so relatable and honest and authentic.

‘Mujigae’ is set in the Filipino melodrama mode. It has a warm, beautiful heart that is meant to really reach out and touch the Filipino audience. It has things to say about motherhood and family and presents it in a story that is tailor-fit for the Pinoy audience.

My Rating:

Mujigae is now showing! Check showtimes and buy tickets here.

October 10, 2024
REVIEW: Unrestrained Absurdity: A Review of ‘Kinds of Kindness’

The director of captivating absurdist films such as ‘The Lobster’ and ‘The Favourite’ and ‘Poor Things,’ Yorgos Lanthimos goes deeper into the absurdity with his latest film, the triptych ‘Kinds of Kindness,’ which opened to limited release worldwide before finding its way to Disney+. At 164 minutes, the anthology of three loosely related short films (connected mostly by theme) feature actors that the director has worked with in the past – Emma Stone, Willem Dafoe, Margaret Qualley, Joe Alwyn – as well as Jesse Plemons, Hong Chau, and Mamoudou Athie all playing different characters in each of the three segments.

In the first segment, “The Death of RMF,” Plemons plays a man whose life is controlled down to its most tiniest details by Willem Defoe’s eccentric wealthy corporate overlord-type. The relationship between Plemons and Defoe is romantic, though Plemons’ character is married to Hong Chau and Defoe is living with a woman (Qualley). When Plemons is unable to carry out a task that he was instructed to do, he is cut off from Defoe and he finds himself lost and directionless until he meets Emma Stone’s character, who seems strangely familiar.

“RMF is Flying” is the second segment where Plemons plays a policeman who is distracted by the loss of his wife (Emma Stone) who is missing out at sea. But when she is found and returns home, Plemons begins to suspect that the woman who looks like his wife is not his wife. As the policeman tries to keep his distance, the wife will do anything to try and convince him that she’s really her. Things take a very bloody turn as the policeman makes unbelievable demands.

The final piece, “RMF Eats a Sandwich” centers around Emma Stone’s character who is working for a cult, led by Willem Dafoe and Hong Chau. Stone, along with Plemons, goes around the city searching for a messiah-like figure but secretly, she takes trips to visit her home to leave gifts for her daughter. When she is spotted by her daughter and her husband (Joe Alwyn), one thing leads to another and she finds herself breaking the tenets of the cult just as she is about to come face-to-face with the messiah (Margaret Qualley).

All three stories are told with the signature style of Lanthimos, with the cinematography and musical score that is set to distort your experience of the story by highlighting the weirdness of each scene. The dialogue is more reminiscent with Lanthimos’ older work like ‘The Lobster’ and ‘Killing of the Sacred Deer’ as the film reunites him with his co-writer Efthimis Filippou, who has a gift for creating extremely stilted, awkward dialogue as evidenced by the movies aforementioned. In ‘Kinds of Kindness,’ the literal, non-nonsensical word and phrase choices are apparent, but the actors are able to deliver it with more emotion than in ‘The Lobster’ or ‘Killing of a Sacred Deer.’ But with all these cinematic elements working in conjunction, the film is intellectually demanding as one has to really peel off the layers of artifice to get at the meat of the films.

Hong Chau and Jesse Plemons in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

It’s the leaning into the formalist aesthetic that Yorgos Lanthimos is really an expert at and it makes his films so enjoyable because they come off as really unexpected and irreverent, which makes them really, really funny. It’s a deadpan humor that forces you to just laugh because otherwise you’d feel bad about yourself because what these movies have in common – the interconnected theme that weaves in and out of the three films – is the dangerous determination of the human spirit. In all three films, the main characters – Plemons in the first two movies, Stone in the final one – all are driven to the point of being blinded to anything else like logic, morals, dignity, rationality. There’s a passionate need that drives these characters forward and they come bulldozing into every moment and creates more havoc and chaos that creates a cynical and jaded look into modern human nature.

Willem Dafoe and Margaret Qualley in KINDS OF KINDNESS. Photo by Atsushi Nishijima. Courtesy of Searchlight Pictures. © 2024 Searchlight Pictures All Rights Reserved.

Lanthimos creates a satire with ‘Kinds of Kindness,’ and he is making fun of all of us with our unyielding loyalty to the things we hold dear: religion, idols, conspiracy theories. What makes it all work is that he never takes it too seriously but his actors manage to make it all feel so real without every losing the tonality of the film being a satire set in the absurdist mode.

I’ve been told, ‘Kinds of Kindness’ is Lanthimos’ English work that feels closest to his Greek work and I’m glad for a taste of it (as his earlier Greek films are hard to come by over streaming). I love his other works, though, with Poor Things being one of my favorite cinematic experiences last year. While watching Kinds of Kindness on my iPad via Disney+ may not be ideal, the fact that it is less of a spectacle and more of an intellectual exercise makes it suitable for the medium.

My Rating:

KINDS OF KINDNESS is now streaming on Disney+. Watch it here and experience the absurd brilliance of Yorgos Lanthimos!

October 9, 2024
Movie Review: Songs in the Key of Bleak: A Review of ‘Joker: Folies a Deux’

‘Joker: Folie a Deux,’ as expressed by director and co-writer Todd Phillips, is meant to put the focus on Gotham’s fascination with what Arthur Fleck did in the first film, a means to explore the dangers of turning news into entertainment and how his mental breakdown, captured in the public sphere through a televised trial is symbolic to the world’s current deterioration of morals and values. The film, the sequel to the massively successful ‘Joker,’ which won Joaquin Phoenix an Academy Award for Best Actor, follows the events of the first film and finds Arthur Fleck in Arkham Prison and Hospital, awaiting trial for the five murders he committed. He’s become sort of a celebrity, having killed a man on live television, Phillips imagines that he has awakened something among the desperate of the population. Trouble starts when Arthur meets Lee (Lady Gaga) at a rehabilitation program that uses music as a form of therapy, and he discovers that she’s a fan.

While there a number of scenes that supports Phillips intention to showcase the public’s fascination with Fleck and how his trial is stirring up the worst in people, most of the 138-minute running-time is spent on Arthur and Lee’s dangerous bond. Lee emboldens Arthur, makes him feel seen and loved and, by doing so, pushes him to be more confident, more like the Joker. Fusing the music program into Fleck’s psychosis, it drives him to sing – the musical numbers that play out in his head – and it seems that only Lee can hear it as she also sings along. ‘Joker: Folie a Deux’ is just as much a musical as it is a bleak commentary on mental health (and the lack of support for people who suffer from it), justice, and our twisted media representation that turns criminals into celebrities.

Just like the first film, ‘Joke: Folies a Deux’ is grounded by stellar performances. I may not have liked the first movie, but Phoenix had a transformative portrayal of Arthur Fleck, creating a mesmerizing study of pain and loneliness with his entire body. He does it again, and this time throws some incredible vocal performances in the songs. We know he can sing from his performance of Johnny Cash in ‘Walk the Line’, but he uses none of that bravado or vocal strength here. He sings as Arthur Fleck, not a trained singer and he can go hoarse, he can get caught up in the emotions and the effect can be chilling. Same with Lady Gaga. As Lee, she is unhinged, and she has been quoted in interviews stating that she had to unlearn how to sing because Lee was not a trained singer. But in certain songs, when Arthur was fully consumed by his fantasy, Lady Gaga could let it rip; but when she was being restrained in her vocals for the most part, she was giving it her all in every other part.

Very little is actually explored on Lee’s past or her own psychosis. She is merely a fan, unhinged, maybe even sociopathic, but all she does is really push Arthur to the point that he takes on the Joker mantle. Why? It’s never really revealed but Lady Gaga infuses her with so much bravado that it doesn’t need to be explored. It’s there in the way she looks at him, the way she sings along, and the way she shifts when the story begins to turn another way.

Also adding to the film’s world is Brendan Gleeson as a prison warden who has equal parts soft and warm and tough and brutal. He is given moments that really steal the spotlight from Phoenix (and that’s hard). Also, Catherine Keener also gives a solid performance as Arthur’s lawyer, who genuinely seems worried about him and hopes that he gets the help that he needs.

But other than Keener’s lawyer or the few moments of Gleeson’s prison warden showing his humanity, there’s very little joy here in Phillips’ ‘Joker: Folies a Deux.’ The world is grey and cold and dark. Even when they enter into their musical numbers, there is an air of dread that permeates the scene, especially when you know that it’s really all in Arthur’s head. The connection that Arthur and Lee have that is at the crux of the film is actually detrimental effect on our protagonist so it’s not even something for the audience to root for. For a large portion of the film, it feels like we are meant to feel sorry for Arthur; despite the fact that he has killed six people in the previous installment. Yes, he needs psychiatric help, but the movie also positions that there’s none that is available for him to get.

This heaviness that hangs upon the film never ever lifts, and with over a dozen musical numbers that pretty much repeats the same themes over and over, ‘Joker: Folies a Deux’ feels a little belabored and bloated. It spends a good three quarters of the film saying the same thing and by the time it shifts to try and say something new, the audience feels a bit exhausted already that the connection is lost.

The film is well-made. The cinematography and the score are incredible. The musical arrangements are just stellar with Phoenix and Lady Gaga at the mic, killing every song. But the movie is overdrawn, spending too much time talking about the same thing that all that emotions start to dwindle halfway through its extended running time. By the time it attempts to say something different – something about redemption – it’s far too late in the movie and then it undercuts it again with more of its cynical and bleak depiction of the world coming in to further push Arthur to the brink.

For all its big themes and daring to be a musical above what it has already done since ‘Joker,’ ‘Joker: Folies a Deux’ gives off the feeling that this was more a vanity project than a full-on meditation on mental health or crime.

My Rating:

Joker: Folies a Deux is now showing! Check showtimes and buy tickets here.

October 4, 2024
Movie Review: Bloody Beautiful: a review of ‘The Substance’

Aside from Demi Moore’s explosive performance or Coralie Fargeat’s razor-sharp screenplay or bold direction, what I really loved the most about ‘The Substance’ is how the film manages to criticize not just the obscene standards for beauty that we impose upon women (and that women impose upon themselves because that’s how society has programmed them) but–and this is me just digging deeper–also the way we idolize and praise people for their beauty and their looks and it’s really so shallow and worthless, the way ‘The Substance’ manages to position it within the frame.

‘The Substance’ is about an aging actress, Elisabeth Sparkle (Demi Moore), who has managed to stay in the public eye by hosting aerobics show. When she discovers her producer (Dennis Quaid) is replacing her with “someone younger” on her birthday, she gets distracted while on the road and suffers an accident. At the hospital, someone hands her a mysterious flash drive with a promotion for a drug called The Substance, a radical treatment that will create a younger, “better” version of the user who will stay active for seven days before having to switch again with the older body. Desperate to stay in the limelight, Elisabeth takes The Substance and finds her younger self to be played by Margaret Qualley who now calls herself Sue. As Sue, she auditions for Elisabeth’s old show and finds herself the hottest new face in Hollywood. With a new lease on life, she finds that balancing her life between bodies for a week each is too limiting, and Sue starts to break the rules to disastrous results for Elisabeth.

Image from CreaZion Studios FB

From the get-go, the movie leans on the formalist aesthetic and takes on an absurdist mode. Everything from the cinematography to the production design and sound design is exaggerated to the highest levels. Even the acting is almost comical, especially for Dennis Quaid. It’s only Demi Moore who can play grounded as she must deal with the struggles of society’s unrealistic expectations for women’s aging. Later, she shifts to the outrageous when the scene calls for it, but her fear is real; her portrayal of it is palpable and jumps off the screen.

But while Moore works her magic on the film’s heart, Fargeat is off having mad fun with the rest of the film. ‘The Substance’ is in the genre of body horror and she is unafraid to be gross and grotesque and brutal. The forming of the new, younger body is a violent act, where the old body is ripped open like a shell. There’s blood and organs and later on when things get really messy, there’s violence that is enhanced by extreme close-ups of flesh and blood and the sound of bones cracking and flesh on liquid. It’s a sensory assault that disturbs as much as it can amuse.

Image from CreaZion Studios FB

The other way by which Fargeat subverts the body horror genre is how the camera is as equally obsessed by beautiful bodies of women. As Sue, Elisabeth can reclaim the glory she had in her past and she’s out there gyrating and exercising and showing off every curve of her body: butt, cleavage, crotch. While it definitely objectifies the woman’s body but, interestingly enough, while this obsession for youth and beauty is imposed by men, it is framed by Elisabeth’s own obsession with her body. As much as it is the male gaze at work, it is also the female gaze who, by submitting to men’s wants and desires, wants to have this body and to show it off. The constant exposure of these body parts, where at first comes off as alluring, later on becomes a sort of prison. The perfection of Margaret Qualley’s body becomes part of the horror because it’s the symbol of Elisabeth’s own entrapment to the society’s unrealistic expectation of women’s body.

Image from CreaZion Studios FB

But the most ironic thing about all this is that Demi Moore, a woman in her early 60s, looks absolutely amazing. She looks just as good as Margaret Qualley when you consider her age and so when the film through Dennis Quaid’s character calls her old and undesirable, it underlines and amplifies the film’s message. Outside this cartoon world that Fargeat wrote and directed, Demi Moore is old and unfit for television but, in reality, she’s absolutely divine. And this idea plays out in Demi Moore’s performance that it adds an extra layer that makes the film so much fun to watch.

The film gets crazier and crazier as it unfolds. In fact, I found two scenes, two great moments when the film could have ended but it kept going, pushing the boundaries of taste and horror to its limits. I feel that the message was already made but the extra twenty minutes of blood and gore and violence is still a lot of fun.

My Rating:

The Substance is now showing! Check showtimes and buy tickets here.

October 2, 2024
Movie Review: An early reveal keeps ‘I, the Executioner’ a tense-filled movie that’s action-packed

While ‘I, the Executioner’ is the sequel to the 2015 film ‘Veteran,’ you don’t need to have seen the first movie to still find a lot to enjoy in ‘I, the Executioner,’ though the main characters’ personal story arcs are not in focus in this installment, and instead, it seems more focused on the suspense and social commentary that is proposed by its choice of plot.

In this film, the Violent Crimes Investigation Unit must solve a possible serial killer, whom online tabloid journalists have called “Haechi,” after a symbol of justice. Haechi’s victims are all murderers in their own right but have managed to avoid any harsh sentencing of the law through loop holes or, what is seen as, a weak justice system. Haechi murders them in the exact place and manner that they committed their own murders. While the Violent Crimes Unit, led by Detective Seo Do-cheol (Hwang Jung-min) must find the killer, they also face backlash from a public who sees Haechi’s brand of justice as righteous.

To my surprise, very early on, director Ryeo Sung-hwan, who co-wrote the screenplay with Lee Won-jae, reveals the identity of Haechi very early, and he is part of the team. Working alongside with the police, Haechi is always one step ahead of them and thus the film takes a more suspenseful route because you are just wondering how Seo Do-cheol and his team will outsmart someone who knows their every step and move.

Interestingly enough, Ryeo Sung-hwan adds another layer to the mix by giving a voice to some of the police who are actually thinking that Haechi is doing them a favour. The film manages to explore this discourse and express its disappointment in the South Korean justice system in-between all the suspense and the high-octane action that makes up for the movie. It’s this layer of political discourse that just lingers in the periphery that makes ‘I, the Executioner’ more than just a straight-up action/suspense commercial film.

Because it’s very enjoyable when taken for all its commercial elements. The opening sequence is surprisingly goofy and funny. It has hilarious timed-slapstick and other forms of physical comedy that brings in its mainstream appeal. But the moment Haechi strikes, the film gets really serious. The cinematography is dark and gritty, creating an atmosphere of dread and danger. And there are three major action sequences with great fight choreography (quite unrealistic, but very hard-hitting and enjoyable to see on the big screen) and tense moments when the cat-and-mouse moments are at play.

Hwang Jung-min makes for a fascinating lead. He’s not a nice guy but despite his brusque and rough manner, he does mean well, and you can still root for him, even when he chooses his work over his son (Byung Hong-jun) and his problems in school, which finds its way into the mess with Haechi later on. Joining the cast as a rookie cop is Jung Hae In, who once again proves that his acting range is unlimited by playing an eager young cop who is quick on his feet and smarter than he looks. A welcome surprise is a guest appearance by Ahn Bo Hyun, who makes full use of his physicality and his vulnerability for a character with an interesting connection to the crime.

‘I, the Executioner’ is a fast-paced, hard-hitting, and is clever in the way that it reveals what it needs to so that the film is just bubbling with tension all-throughout. Hwang Jung-min’s character feels like his growth from the last film is being tested in this one, so there’s not much character development for us to track here. Instead, we are presented with a moral dilemma that the film doesn’t really give an answer for. While it does paint Haechi as a criminal, the film makes no real stand on whether what he does is truly bad, which makes the film a little dangerous and a whole lot more interesting than it appears.

My Rating:

I, The Executioner is now showing! Check showtimes and buy tickets here.

October 1, 2024
Movie Review: Overblown and incoherent, ‘Megalopolis’ is more a manifesto than a movie

There’s a grandness to Francis Ford Coppola’s 138-minute sci-fi epic ‘Megalopolis.’ It’s got big stars, big set pieces, big themes, and a self-importance that asks you to take it seriously while being tonally all over the place; probably a product of Coppola’s decision to rewrite the script with the actors’ doing improvisations during a workshop before production and improvising new changes while in the midst of shooting. This makes ‘Megalopolis’ quite incoherent and an assault to the senses. It’s loud, it’s bombastic, and for the better part of the movie, it doesn’t really say anything truly compelling.

‘Megalopolis’ is about a scientist, Cesar Catalina (Adam Driver), who has discovered a new element called Megalon that is versatile and powerful. It has given him the power to control time. He wants to build a utopia with it, but he finds himself the rival of the mayor of the metropolis called New Rome, Frankly Cicero (Giancarlo Esposito). There’s an ideological battle between the two and in the process, Cicero’s socialite daughter, Julia (Nathalie Emmanuel) falls for Cesar and joins his cause. Adding an extra layer of trouble are Aubrey Plaza and Shia LeBeouf as Wow Platinum and Clodio Pulcher, respectively. Plaza’s Wow Platinum is a journalist and girlfriend of Cesar while LeBeouf’s Clodio is Cesar’s cousin and a general troublemaker.

In truth, the film really plays out as Coppola’s manifesto as he tries to establish the ideals of the artist as civilization collapses while also detailing all of the obstacles in the way towards utopia. What makes all of this feel so unreal is that there’s a heightened theatricality to the proceeding, the unnecessarily verbose dialogue that attempts at some form of weighted lyricism to try and sound lofty and profound. Surprisingly, it fits well with Driver’s and Esposito’s performance, they seem to understand the craziness around them, while Plaza and LeBeouf go to town with it and play it to its full campy potential. It’s Emmanuel, who seems to be lost in all of this, that she feels like she’s in a completely different movie from Driver and Esposito or Plaza and LeBeouf. Considering she’s a ‘Game of Thrones’ alumnus, or maybe because of it, she tried to match the film’s writing’s ambitions and, much like the film, fails to capture any sense of profundity.

Adam Driver as Cesar Catilina and James Remar as Charles Cothope in Megalopolis. Photo Credit: Courtesy of Lionsgate

The reason why is that the film tries to give importance to Cesar’s plan to build a utopia but the film never takes the time to really show us what is it in the film’s reality that needs saving. The camera is so enamored by the images to excess and greed and indulgences, always pointed towards the rich and the corrupt; or when it’s on Driver, the capable and the visionary. Coppola never takes time to really sit down and show us what the fall of civilization, as he tries to insinuate, means to the common man.

The only time he really shows us the common man is when they easily fall for Clodio’s manipulations as he turns the people against Cesar and his promise of a utopia.

Kathryn Hunter as Teresa Cicero and Giancarlo Esposito as Mayor Cicero in Megalopolis. Photo Credit: Courtesy of Lionsgate

The film is huge but Coppola insists on a lot of practical effects and camera effects, which lends off an old-school vibe to the film. While supposedly set in “the third millennium” and at the tail-end of the 21st Century, the production design and sensitivities are all very retro, with several characters carrying capes and cloaks; while Clodio and his sisters are always in costume. For a film that is constantly talking about the future, it seems so stuck in the past without really making any serious criticism against it.

Writer/Director Francis Ford Coppola and Adam Driver as Cesar Catilina in Megalopolis. Photo Credit: Phil Laruso

It’s a bewildering piece. It’s long and indulgent, a whole sequence of Cesar getting high during a party that is both a chariot race and a circus performance while Clodio makes an attack at his reputation seems to go on forever and doesn’t really push the story forward. There are a lot of scenes like this that when I looked at my watch after feeling like three hours had already passed, was shocked to discover that we were just reaching the end of the first hour.

Adam Driver as Cesar Catilina in Megalopolis. Photo Credit: Courtesy of Lionsgate

For all the fine actors and the budget and the set pieces that they put together, it feels like such a shame because I felt no emotional attachment to any character or any action that happened within the film and the film’s whole message can be picked up from two monologues that happen near the end of the movie. I’m a fan of Coppola’s older works: the first two films in the ‘The Godfather’ series and ‘Bram Stoker’s Dracula’ and ‘Apocalypse Now.’ But ‘Megalopolis’ is way too indulgent. It has the bravado of Coppola’s older work but none of the temperament and restraint.

My Rating:

Megalopolis is now showing! Check showtimes and buy tickets here.

September 27, 2024
MOVIE REVIEW: Not taking itself too seriously, ‘Beetlejuice Beetlejuice’ finds its charm in its embrace of whimsy

I’ll be the first to admit that I did not want a ‘Beetlejuice’ sequel. I loved the film when it first came out in the 80s. It was weird and out of the box for that era. I saw the film again two years ago on a streaming site and I was so sad that I felt the film did not age well. The pacing was off, the story a little disjointed, and with only the Day-O (Banana song) sequence to be the only sequence to have kept its charm. 36 years since the last film, a sequel seemed like a cash grab. I couldn’t imagine what they could do with the movie to make it feel fresh and new, aside from the fact that I haven’t really liked anything Tim Burton has done since ‘Big Fish.’

To my utter surprise, ‘Beetlejuice Beetlejuice’ is a wild, crazy ride that is whimsical and left-of-center while somehow finding a grounded emotional core that keeps it from being just mindless fun. This is the best that Tim Burton has done in the past decade because he returned to old school aesthetics. Gone are the bright CGI effects that dominated his style like in ‘Alice in Wonderland’ or ‘Miss Peregrine’s Home for Peculiar Children.’ He opts for puppetry, low-tech green screen effects, and practical sets that gives the film a charm that matches toe-for-toe with the hilarity of the film’s tone.

Set 36 years after the events of the first film, ‘Beetlejuice Beetlejuice’ follows Lydia Deetz (Winona Ryder), a widow who works as a television host for a show about haunted houses. Her gift for seeing ghosts has given her a job but it has also created a rift between her and her daughter Astrid (Jenna Ortega). When her father dies, Lydia takes her stepmother, Delia (Catherine O’Hara) and her boyfriend and her show’s producer, Rory (Justin Theroux) to fetch Astrid and to return to Winter River to bury Lydia’s father and to pack up their old house where the events of the first film happened. Throughout this period, she is suffering from visitations from Beetlejuice (Michael Keaton), who is still in the afterlife, and still trying to get married to Lydia so he can return to the mortal plane.

At the core of this film is the complex relationship of Lydia, Delia, and Astrid. Astrid doesn’t believe in the supernatural and is angry at her mom for being a medium on tv. Astrid thinks her mom is faking it because, if she could see ghosts, she wonders why she’s never seen or talked to her dead father. Delia, on the other hand, walks on eggshells around Lydia. They never had the best relationship even since the first film and now she doesn’t know how to be a stepmom to Lydia, when she obviously doesn’t approve of Rory.

Things take a turn for the worst Rory, in a foolish attempt to help Lydia exorcise her past trauma summons Beetlejuice, everything turns chaotic, and Lydia must face her past if she wants to save her daughter.

Interestingly enough, ‘Beetlejuice, Beetlejuice’ takes its time with its story, re-establishing us to the characters while introducing us to the new ones. It takes a whole hour before the multiple storylines come together. There’s a storyline involving Monica Belluci as Delores, the first wife of Beetlejuice, which is completely unnecessary to the whole plot and can be removed but everything else comes wonderfully together after the one-hour mark and we see Lydia and Delia and Astrid all grow from this crazy adventure.

The film is not afraid to be silly while tackling, albeit in a whimsical manner, topics like grief and complex family dynamics. It doesn’t take itself too seriously and allows all of its actors to have fun – including Willem Dafoe, for his hilarious take on a former B movie actor turned detective in the afterlife – that the effect is infectious. It leans on the 80s and 90s for its aesthetic and music and it manages audience expectations quite well that if you surrender to crazy antics, you’ll have a lot of fun.

I didn’t want this sequel but I’m very surprised at how much fun I had while watching it. It’s great to see Keaton and Ryder and O’ Hara having a ball.

My Rating:

Beetlejuice Beetlejuice is now showing! Check showtimes and buy tickets here.

September 4, 2024
MOVIE REVIEW: When Love Is Not Enough: a review of ‘Un/Happy for You’

The romance genre in the Philippines has taken a more realistic turn since Antoinette Jadaone’s ‘That Thing Called Tadhana.’ While the kilig is still the driving force that pushes these films, movies like ‘Never Not Love You,’ ‘Sid & Aya: Not a Love Story,’ ‘Alone Together,’ and similar blockbuster films in that same vein has pushed our romantic films towards a more realistic tone: fighting for the belief that one must fix themselves first before one even thinks about pursuing love.

Petersen Vargas’ ‘Un/Happy for You’ illustrates what happens when one throws themselves into a relationship before they have solidified who they are as a person. It plays off, first as a romantic comedy before shifting gears into a romantic drama as it navigates the truth of the history behind the breakup of the two leads, Juancho and Zy.

The two protagonists meet in Bicol during a chili eating contest. Zy is desperate to join but needed a partner and took with her the first person she saw, which was Juancho. Sparks fly as the heat of the spicy Bicolano food explodes in their mouths and the two share a passionate kiss. Then six years pass, and Juancho is now owner and chef of a popular restaurant in Naga City called Casa Rosa. While inviting a VIP to his restaurant that evening to invest in his expansion to Manila, he sees Zy again after all this time. He decides to invite Zy to the restaurant – in fact, he pretty much forces her to go – despite the fact that it seems they did not break up in the best of terms.

While preparing food for her, we discover that Juancho and Zy broke up two years ago and he has held a grudge for the way that she left him and plans to take his revenge. Zy is in town to research for an article she’s writing about Bicolano food for her writing job in New York. Juancho uses all his connections to make things difficult for her but in the process, his feelings are returning (or have they never left?) and it seems that Zy herself may be feeling the same way.

Vargas excellently uses the film’s tone and aesthetic to amplify the charm of Joshua Garcia and Julia Barretto to its fullest extent. Both actors have such powerful onscreen presence, and they can fill the cinema screen with their charisma. Garcia has that everyman quality while being ridiculously good-looking and Julia Barretto shines and commands attention, her beauty pushing through even though her make-up looks way too heavy in many scenes. There’s an electricity that jumps out of the two when they share scenes together and Vargas is masterful at setting up the camera to highlight this for its full effect. Noel Teehankee’s cinematography helps create the glossy sheen necessary to sell this love story.

But the script by Kookai Labayen, Crystal San Miguel, and Jen Chuaunsu (from a story by Kookai Labayan, Crystal San Miguel, and Simon Lloyd Arciaga) is tricky and clever. At first, Zy is completely framed from Juancho’s perspective so it attempts to justify Juancho’s unfair revenge, but things take a more painful turn when Juancho goes way too far, conflating his feelings of hate and love for Zy, and crossing the line.

And when the camera switches to show Zy’s side of the story, the film becomes an exploration of the toxic way that many immature people can love and hurt the people they care about the most. Following the trend of the smarter romantic movies that have come out in the past ten or fifteen years, ‘Un/Happy for You’ becomes another reminder that love is not always the answer and that love, when not managed by reason, can be such a destructive force.

With Joshua Garcia as the vessel of this, it softens the blow and gives the audience leeway to be forgiving. But when you take away Petersen Vargas’ excellent use of mainstream film language and the explosive chemistry of Garcia and Barretto, what we have is the story of a very toxic person who manages to ruin people’s lives in the name of love.

Being an ABS-CBN film (co-produced by Viva), there are safe places for these characters to land and so you can expect that the hardships these characters will face will be softer than what they deserve – though, in my opinion, Zy deserves better – but the film needs to be in that mode to catch the audience off-guard so that it can deliver its most striking messages with full impact. It has all the trappings one could ask for in a mainstream romantic movie but there’s a lot more that the film is trying to do underneath and except for the film’s odd final line (that doesn’t quite make sense, when you take into account everything that has happened) the film really hits all the right notes and is another showcase for Joshua Garcia and Julia Barretto’s talents and star power.

My Rating:

Un/Happy for You is now showing! Check showtimes and buy tickets here.

August 30, 2024
MOVIE REVIEW: The dark, twisted fairytale ‘Blink Twice’ is an explosive debut for director Zoe Kravitz

I absolutely loved the first half of Zoë Kravitz’ directorial debut film ‘Blink Twice.’ The movie plays off like a sordid, dark fairy tale when a catering server, Frida (Naomi Ackie), who is struggling to make ends meet, serves at a function funded by the charity run by her current obsession, the billionaire Slater King (Channing Tatum). With razor-sharp precision, Kravitz manages to telegraph Frida’s mental state when anything Slater King enters her mind from how she consumes media to how she acts when she finds herself near him. She’s so obsessed, she finds a way to sneak herself and her best friend Jess (Alia Shawkat) into the party and, just like a fairytale, she manages to capture the attention of Slater King, and he invites her for a weekend to his island with a few of his friends.

There’s a fabulous interplay here of imagery and circumstances that manages to amplify Tatum’s charm as he plays the humbled billionaire (the film opens with his character make a public apology for a vague wrongdoing) with such ease but it also manages to show how all of this – the island, the great food, the unlimited supply of alcohol, and the lack of worries – can seem so hypnotic and entrancing for Frida. It doesn’t help that Slater seems interested in her, even when the gorgeous Sarah (Adria Arjona) is also throwing herself at the billionaire.

Channing Tatum stars as Slater King in director Zoë Kravitz’s BLINK TWICE. An Amazon MGM Studios film
Photo credit: Courtesy of Amazon MGM Studios | © 2024 Amazon Content Services LLC. All Rights Reserved.

But while this unexpected, indulgent fairy tale of excess unfolds, there’s just something amiss, something just offscreen that feels wrong. We know it. Zoe Kravitz hints at it every chance she gets from the Mexican woman who is working in the island trying to catch the venomous snakes that Slater calls “pests” to the unending passage of time. How much fun can one person have before it starts to become redundant and boring?

The film takes a very slow pace before anything starts to reveal itself – a full hour, in fact – of non-stop partying with Kravitz slowly amping up the strangeness and the weirdness. When Jess suddenly goes missing, and no one seems to know who she is, Frida begins to suspect something is very wrong and that’s when the film shifts to his second half.

After the revelation, all of the dark fairy tale trappings is switched into the literal and the prosaic. Frida and one unlikely ally begin to talk openly about the film’s themes – though important, and very timely – but completely demystifies the film’s elegance that it had so easily built in the first half of the movie.

(l-r.) Levon Hawke stars as Lucas, Simon Rex as Cody, Liz Caribel as Camilla, Channing Tatum as Slater King, Haley Joel Osment as Tom, Trew Mullen as Heather, Naomi Ackie as Frida, Adria Arjona as Sarah and Alia Shawkat as Jess in director Zoë Kravitz’s BLINK TWICE, an Amazon MGM Studios film. Photo credit: Courtesy of Amazon MGM Studios
© 2024 Amazon Content Services LLC. All Rights Reserved.

What began as an excessive and overly indulgent dark and strange fairytale has now become a straight up psychological thriller with a lot of violence that speaks directly to the film’s themes.

I must admit, the second half is a fun albeit brutal and such a sharp contrast from how it started. It takes a more commercial tone at this point and plays for the full-on fantasy of the film’s theme, which finds itself in orbit with such concepts as retribution and accountability. It’s a twist that doesn’t feel too clever but fits so well in the narrative that the film has managed to weave.

Actor Channing Tatum and director Zoë Kravitz on the set of their film BLINK TWICE, an Amazon MGM Studios film.
Photo credit: Carlos Somonte | © 2024 Amazon Content Services LLC. All Rights Reserved.

For her directorial debut, Kravitz has managed to show great range, and I must admit that I love her choices. Everything I needed to see, the camera went there, and it even managed to defamiliarize some of the most mundane of scenes that it is frightening and funny at the same time.

Naomi Ackie stars as Frida and Adria Arjona as Sarah in director Zoë Kravitz’s BLINK TWICE, an Amazon MGM Studios film.
Photo credit: Carlos Somonte | © 2024 Amazon Content Services LLC. All Rights Reserved.

The performance from his magnificent cast is astounding with heavy hitters like Geena Davis and Christian Slater showing off why they are legends. But it is Naomi Ackie and Channing Tatum that really grounds this movie and anchors it into something real. Ackie manages Frida’s obsession over the billionaire with such authenticity that it is a scary mirror of how we tend to idolize these people we see on social media for whatever reason and Tatum manages to bring it to life. I feel that he is a heavily underrated actor and that when the film plays to his strengths, he always manages to make it work.

There’s a lot to love in ‘Blink Twice.’ Another fun and whimsical film that questions the existence of the ultra-rich and their proclivities. It’s something that we are seeing often now on social media and I’m glad it’s coming to our cinemas.

My Rating:

Blink Twice is now showing! Check showtimes and buy tickets here.

August 22, 2024
MOVIE REVIEW: ‘Alien: Romulus’ gives justice to the aliens and still finds time to get weird

You don’t need to see the six films in the ‘Alien’ franchise to understand the story but ‘Alien: Romulus’ takes its time to pay tribute to the first four films in the franchise that a quick watch of those films would be a pleasant treat before catching this installment. Directed and written by Fede Alvarez and co-written with Rodo Sayagues, ‘Alien: Romulus’ is a classic creature feature that takes its time to set up the dramatic situation before it starts delivering on its promise of thrills and spills. It makes full use of its science fiction and horror genre to deliver a story that still manages to stay true to the essence of the franchise’s underlying message that capitalism, in the form of the megacorporation known as Weyland-Yutani Corp, is still our biggest threat, even in the face of one of the most terrifying creatures ever created on fiction.

The film follows the story of Rain, played by the versatile Cailee Spaeny, who has transformed after such breakout performance in ‘Civil War’ and ‘Priscilla.’ Rain is trapped in a mining colony, trying to finish off her contract with the corporation so that she can leave and move to a planet where she can actually see the sun. The mining colony is an unforgiving place that has taken the lives of her parents, and she now lives with her “brother,” the busted synthetic Andy, played excellently by David Jonsson. When she discovers that her contract has been extended, she decides to take an offer by an old friend, Tyler (Archie Renaux) to fly to space to hijack an abandoned ship floating in orbit around the planet. The ship contains cryogenic sleep pods that will allow Tyler, Rain, and the rest of their crew to make it to a more hospitable planet several lightyears away.

Cailee Spaeny as Rain Carradine in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

Everything goes according to plan until they discover that the ship is not just a ship but a space station and that something very bad happened inside leaving the whole crew dead. As they reboot and repower the space station, a vessel so big its partitioned into two areas and called Romulus and Remus, they end up waking the alien lifeforms that the ship has been carrying all this time.

(L-R): Archie Renaux as Tyler and Cailee Spaeny as Rain Carradine in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

With the alien lifeforms known as xenomorphs now awakened, Tyler, Rain, Andy, and the rest of the crew are now trying to escape with their lives.

Director Fede Alvarez on the set of 20th Century Studios’ ALIEN: ROMULUS. Photo by Murray Close. © 2024 20th Century Studios. All Rights Reserved.

Alvarez takes his time to let us get to know the characters: to imply the possibility that Rain and Tyler may have had a relationship before; the reason why Bjorn (Spike Fearn), one of Tyler’s crew, hates synthetics and treats Andy badly; that Tyler’s sister, Kay (Isabela Merced), has a secret of her own; and the nature of the bond between Rain and Andy and why she calls him her brother.

Isabela Merced as Kay in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

In fact, it is Rain and Andy’s relationship that serves as the heart and soul of the film. The moment the xenomorphs are awakened and are out for the kill, the story becomes one big chase sequence, the crew just trying to survive but what keeps it from becoming just shlock is that Rain and Andy’s relationship turns complex as realizations are discovered in the attempts to survive. This becomes the emotional core of the film and by questioning the humanity of an AI and our ability to empathize with it adds another dimension to the film and widens the scope of the film’s genre.

(L-R): Cailee Spaeny as Rain Carradine and David Jonsson as Andy in 20th Century Studios’ ALIEN: ROMULUS. Photo by Murray Close. © 2024 20th Century Studios. All Rights Reserved.

On the horror side of things, Alvarez knows exactly how to set up a scene, how to use his framing to create tension and fear. He pays wonderful tribute to Ridley Scott’s mise-en-scene in ‘Alien’ with the way he sets up his horror sequences while taking cues from James Cameron’s ‘Aliens’ when the film goes full-on action mode. From David Fincher in ‘Alien 3,’ he manages to adopt the sense of claustrophobia in the setting and the weirdness of Jean-Pierre Jeunet of ‘Alien: Resurrection.’

Cailee Spaeny as Rain Carradine in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

While managing to pay homage to the films prior, Alvarez goes a little crazy in the last twenty minutes of the film, throwing in the kitchen sink and creating dramatic situations that are so big that they feel somewhat ludicrous already but the steady build up to this was so well-paced that it feels earned. The fact that it gets weird, much like Jeunet’s installment in the franchise, bordering on campy, feels right and not out of place.

Xenomorph in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

(L-R): Xenomorph and Cailee Spaeny as Rain Carradine in 20th Century Studios’ ALIEN: ROMULUS. Photo courtesy of 20th Century Studios. © 2024 20th Century Studios. All Rights Reserved.

‘Alien: Romulus’ is an enjoyable addition to the franchise that truly respects and honors the idea of the xenomorph while staying true to its goal to question the ways by which capitalism, in the form of mega corporations, would choose technology and profit over human lives. That is still embedded in the DNA of this film and I’m all for it. If this film manages to get people to watch the older films in the process, then that’s the added bonus. As a sci-fi horror film, ‘Alien: Romulus’ does the job and then some.

My Rating:

Alien: Romulus is now showing! Check showtimes and buy tickets here.

August 15, 2024