Tag: movie review

‘The Black Phone’ keeps it simple and puts the tension front-and-center

One of the best things about ‘The Black Phone’ is how it keeps the narrative down to its essentials. There are a lot of backstories implied or referred to but it never digresses from the main storyline to explore them. It stays focused on the main plot, about a young kid who is kidnapped and trapped in a basement, and keeps the camera on them and the kid’s sister, who is trying to find him. Another interesting point is that ‘The Black Telephone,’ based on the short story by Joe Hill, is a supernatural tale but the danger doesn’t come from the ghosts that you see in the trailer. That real danger here is another human being. And for some reason, that makes the film even scarier.

Directed by Scott Derrickson, with a screenplay by Derrickson and C. Robert Cargill, ‘The Black Phone’ is not your typical horror film. The source of fear comes from the anticipation that something bad is going to happen. From the trailer, you can tell that the ghosts are actually all the former victims of the kidnapper. While they do appear in gruesome forms, they are actually helping Finney, the latest victim, to try and get out alive. Instead of shocking you with images of violence, it is implied; that it is coming but not yet and that is what creates the tension that pervades throughout the film.

It’s a nice subversion of the genre, extending the suspense, building the anticipation, and creating moments of hope that Finney can get out in one piece. The film, then, isn’t so much as scary as it is thrilling, capitalizing on our hope that this story will end well for the protagonist and that’s what drives the film’s momentum forward.

Another interesting subversion, shared by one of the critics I got to see this with during the special screening, is how the voices of the victims are amplified in this movie and not the villain’s. There is no glorification or humanization of this kidnapper and after this was pointed out to me, I thought that was a welcome and necessary change.

_{Photo: The Black Phone Trailer}

Derrickson builds a very distinct world in this film. ‘The Black Phone’ is set in the late 70s so the lack of technology creates even more obstacles for our characters. Before Finney is kidnapped, we see the world he inhabits: a close relationship with his sister, their abusive alcoholic father, and the bullies at his school that have made life very challenging for him. The stronger one amongst the siblings is his sister Gwen, who might’ve been smart enough to not get kidnapped, but knowing Finney’s vulnerabilities makes us feel more attached to him as the victim.

Compounded by the narrative elements is the wonderful acting amongst all the kids. Mason Thames, who plays Finney, and Madeleine McGraw, who plays Gwen, do a great job at bringing their characters to life. For Thames, he instills so much fragility within his Finney but also shows his sparks and moments of cleverness, while McGraw makes tough and foul-mouthed Gwen such a spirited character. She juggles multiple emotions including a surprisingly genuine laugh-out-loud moment in the middle of the film that completely endears you to the character. While the adults like Ethan Hawke, as the kidnapper, and Jeremy Davies, as the alcoholic father, play a great role, this movie is really a showcase for all the child actors involved.

_{Photo: Universal Pictures PH Facebook}

There are minimal jump scares in this film and that’s perfectly alright because what ‘The Black Phone’ does is to put you right smack dab in the center of a very tense situation and then plays with your emotions and gives you characters and a goal to root and cheer for. You’ll find yourself tapping your feet anxiously hoping that things don’t turn out the way the film manages to illustrate through the presence and stories of these ghosts.

Derrickson does an amazing job at managing and playing with expectations and suspense and I’m excited to see what he’s up to next.

My Rating:

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The Black Phone opens in cinemas nationwide on Wednesday, July 20. Buy your tickets here.

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July 19, 2022
‘Ngayon Kaya’ is a moody romance drama that dwells in the feelings and revels in the nostalgia

There is a nostalgic appeal to Prime Cruz’s latest film ‘Ngayon Kaya’ starring Paulo Avelino and Janine Gutierrez. From its moody cinematography to its soundtrack of familiar OPM songs, from the way the story delves into the past to the vibrancy of pre-pandemic Philippines (the film was shot before the pandemic), ‘Ngayon Kaya’ is a film that is rich in its sentimentality. It reminds me of romantic films from five years ago.

It’s a story of what-ifs and how two friends, Harold and AM (played by Avelino and Gutierrez, respectively), reconnect at a mutual friend’s wedding and the weight of past choices weigh heavily on them. Both have arrived late to the church wedding and it’s the first time they have seen each other since Harold has moved to Canada and so they decide to head to the reception together. The awkwardness triggers memories of the past and the tight bonds of friendship that they once had unfolded before us through these flashbacks.

The story plays out in two timelines – the past and the present – and we see two friends who bond over trivial things like being late to the same class at the start but as they get closer, they become each other’s anchors. They share similar interests, after all, both are into music, but they come from different worlds.

Harold and his family are struggling financially and his goal is to move to Canada to earn a lot of money to help support his mother, his two younger siblings, and their struggling fish pond. AM is an only child of parents, who are both doctors, and while she’s on a pre-med course, her dream is to make music and sing in a band. AM immediately latches on to Harold and brings him with her in her dreams of making it big in the music industry but as the story unfolds, it seems that their priorities and their intentions were not aligned.

Reality kicks in and kicks them hard and we see and understand why the present-day relationship between the two reunited friends is so strained.

But this is also a love story but one that is bogged down by the hesitation of its principal characters.

Screenwriter Jen Chuaunsu infuses Harold’s and AM’s conversations as youths with the realistic unconscious meanderings of that age, of dreams and ideals, and then shifts it to this awkward mess in the present day as the two are unable to connect, their past serving as a wall to rebuild their relationship. This is another way in which the film feels like a throwback, it has the same verbose dialogue as films like ‘Meet Me in St. Gallen’ and ‘Mr. and Mrs. Reyes.’ The first half of this film is centered around these conversations and the contrast between the past and the present.

What’s amazing about these contrasts is that the problem is still present, it persists: Harold and AM talk a lot, but they aren’t saying what it is they really want to say, which is how they feel about each other.

This is the magic of the second half when the slow, languid pace of the film picks up as the present-day Harold and AM find an opportunity to reclaim the energy and vibrancy of their youth and the possibilities open up for these two.

‘Ngayon Kaya’ is a delicate film that is built carefully around the nuances of the characters. While Paulo Avelino takes a completely understated approach to Harold, which diminishes the character’s strength (oftentimes, I want him to do more, give more as he does at the end of the film), it is Janine Gutierrez who really steals the show. Gutierrez’s AM is so un-self-conscious, so naive of her effect on people, and breathes life into the film. It is her dreams and passion that push the story forward and Gutierrez manages to make this film hers.

‘Ngayon Kaya’ is more reserved and withdrawn as a romance film, focusing more on the mood and the nostalgia than it does on the drama of an unrealised relationship. The pace and energy is unlike director Prime Cruz’s other works like ‘Isa Pa With Feelings’ and ‘Can We Still Be Friends.’ He takes his time, sometimes even dwelling on a feeling, which is a brave move for a Filipino romance movie but it feels apt for this film.

I wish that the dialogue was more conversational, instead of the dialogue-pause-dialogue delivery that happens between Avelino and Gutierrez. That staccato works in the present day but didn’t in the flashback scenes. It’s as if the couple can’t seem to fully connect because of the things not said, while the world behind them is so rich and full of life. But everything comes together in the final act, an extended scene set to the music of the band Mayonnaise is the catharsis that the film is pushing towards. I just hope the audience has the patience for it.

My Rating:

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‘Ngayon Kaya‘ is now showing in cinemas nationwide. Buy your tickets here.

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WATCH: The Teaser to ‘Ngayon Kaya’, Starring Paulo Avelino and Janine Gutierrez

June 23, 2022
The bombastic Baz Luhrmann turns ‘Elvis’ into an epic rock musical that’s nothing short of explosive

From the director that brought us ‘Moulin Rouge!’ and ‘Gatsby’, Baz Luhrmann lends his unmistakable genius of cinematic spectacle to the life of American rock and roll legend Elvis Presley in the musical biopic ‘Elvis.’

Luhrmann (with a screenplay by Luhrmann, Sam Bromell, Craig Pearce, and Jeremy Doner) takes broad strokes and focuses on the phenomenon of Elvis – how his persona and music changed the fabric of America – and his relationship with his manager Colonel Tom Parker. Told in the point-of-view of Parker, as he is recalling the rise and fall of Elvis in a delirious state of a morphine high near his death, Parker narrates the story completely aware of the audience, with Tom Hanks (playing Parker) looking straight at the camera at some point and even referring to us as ‘you.’

The self-awareness of the film’s approach creates a space for Luhrmann to go all-out with his filmmaking techniques. He splices live footage with his film, uses multiple frames, jumps back and forth through time in a dazzling fury, and even infuses contemporary music production techniques when Elvis sings to seamlessly jump from scene to scene on a song number while amplifying what it was in Elvis Presley’s music that was so charged and moving.

Told from the villain’s point-of-view (because Colonel Tom Parker was revealed to be as such) it pushes Elvis into the space of a mythical being. His rags to riches story and how his life is the quintessential American dream (including the reality of being consumed by the same industry he found his mark in due to his naivete) is rendered like a fable or a fairytale except all this really happened.

More than Hanks, who delivers a rather unsurprising villain (complete with full prosthetics and a fat suit), it is Austin Butler who truly grounds this movie with an embodiment of a character that is full of charisma and passion and sexual energy.

While I’m familiar with a lot of Elvis Presley’s songs (more than I realised after watching this film) I’m not that familiar with the singer himself nor his actual career so I don’t feel comfortable talking about Butler’s portrayal of Presley. But what he does accomplish is to imbue Elvis with so much energy that when the women start screaming at his onstage gyrations and primal stage presence, I feel like I understand what the whole phenomenon of Elvis is about.

And while the film, even at 159 minutes, only really scratches the surface of Elvis’ life and career, what I do enjoy about the movie is how it really manages to show his connection to black music – gospel and rhythm and blues – and really amps up how Elvis Presley found his roots in these genres of music.

His connection to the black community of Memphis and Beale Street, with legends like B. B. King and Mahalia Jackson in tow, really brings to light why people like Al Green and Little Richard credit Presley for “opening the doors to black music.” This is well-executed through Luhrmann’s editing where he splices three timelines in one song, allowing us to see how Presley’s youth and listening to gospel choir influences his music in his early years until the later part of his career. The effect is dazzling.

With the intercutting of the scenes and sounds, it even appears that the primarily white audience of Elvis are applauding and cheering for the black singers and musicians of Elvis Presley’s past. The effect is spell-binding.

Baz Luhrmann is a director of grand spectacle. He barely has any quiet moments in his film and his character’s most introspective moments are amped up by a soaring musical score and high drama. Subtlety is not Luhrmann’s strength and we don’t go and watch a Baz Luhrmann film for that. What he delivers in turn is a high-energy rock musical, sometimes even playing contemporary rap music in selected scenes, to underscore how timeless this story is and how relevant Elvis Presley’s legacy to American (and global) music is.

While the film really explores the villainy of Colonel Tom Parker and his hand at both the rise and fall of the rock and roll legend, at over two hours, I would’ve wanted just a little bit more of his life with Priscilla, his wife. Played by Olivia DeJonge, Priscilla is set up as a counterpoint for Parker’s manipulations but she hardly gets to do anything much in the narrative.

What we get instead are some amazing performances by Butler, singing some songs I’ve forgotten and some songs I love that I didn’t even realize were Presley’s that truly showcased the power of his stage presence and his voice. Butler sings the songs in his early years but they interpolated recordings of Presley in his later years into Butler’s voice to mark the lowering of his tonal register. The music of this film, like any Baz Luhrmann film, is absolutely fantastic and I can’t wait for the album to be out on streaming (it isn’t out yet on Spotify as I’m writing this).

‘Elvis’ is a big, grand rock and roll musical with high energy and a brilliant performance by Austin Butler. And while it never really manages to get to a genuinely soft and tender moment due to its scale, it manages to contextualize the legend that is Elvis Presley. It’s definitely something to watch in a cinema with really good sound.

My Rating:

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‘Elvis‘ is now showing in cinemas nationwide. Buy your tickets here.

ALSO READ:
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June 21, 2022
With nothing really new to say, ‘Jurassic World Dominion’ just feels like a theme park ride

The first three installments of the ‘Jurassic Park’ franchise took to the heart of the Michael Crichton book it was adapted from and really focused on two things: the majesty and wonder of dinosaurs and the hubris of man in using science to play god (and all the destructive consequences that followed).

It wasn’t until I saw ‘Jurassic World Dominion’ that I finally understood what I didn’t like about the last three installments. It takes the central premise predicated by the first three and turns it around. The dinosaurs were no longer these mysterious and majestic creatures. They can be trained and their presence in the films was more like monsters in a creature feature than the products of man’s arrogance.

Steven Spielberg and Joe Johnston (who directed the first two films and the third film, respectively) treated the dinosaurs with child-like wonder when covering them. They took the time to really marvel at the imagery of a dinosaur walking side-by-side with human beings. And when the predatory dinosaurs attacked, it was frightening because they were like animals in the wild, who were just doing things in their nature. When the T-Rex was brought to America in ‘The Lost World: Jurassic Park,’ Spielberg made sure that he was highlighting the mistake of man playing god and the destruction this causes.

But when ‘Jurassic World’ came out, and its succeeding films afterward, the majesty and grandeur of the dinosaurs were taken away when Chris Pratts’ Owen Grady began training the velociraptors and even gave one a name. The dinosaurs were valued more for their potential for action sequences and horror sequences. I suppose this is an evolution (pun intended) of where the series would go, but something gets lost in the process: the magic of it all.

Director Colin Trevorrow, who directed ‘Jurassic World’ and ‘Jurassic World Dominion’ is more inclined to create spectacles than to imbue grand imagery with profound meaning. At least J.A. Bayona, who directed ‘Jurassic World: Fallen Kingdom’ just mined the premise for all its horror possibilities but even that script couldn’t bring back the magic.

Courtesy of Universal Pictures and Amblin Entertainment

The lesson was already learned in the first three. There’s nothing that feels new to the whole series to keep it exciting or relevant.

And all this culminates in ‘Jurassic World Dominion,’ which feels like an excuse to just bring back as many characters from the different installments as possible and mix the old and new in new sequences to show dinosaurs being frightening.

At first, the narrative is split into two – that of the old guard, Ellie Sattler (Laura Dern), Alan Grant (Sam Neill), and Ian Malcolm (Jeff Goldblum), and the new characters like Owen, Claire (Bryce Dallas Howard), and Maisie (Isabella Sermon) – and while that of the older characters feel more familiar in tone and feel, the one of Owen and Claire feels a little disconnected and personal.

The personal tone of Owen and Claire’s story feels off, as there’s this attempt at envisioning a world now where dinosaurs have now encroached into human life. Pteranodons are now nesting on the rooftops of buildings and giant long-necked apatosauruses are getting in the way of industry work. It’s these moments, few as they are, where the film holds some magic. But these moments don’t last.

Courtesy of Universal Pictures and Amblin Entertainment

Instead, we are once again brought into a story about an evil corporation run by Dr. Lewis Dodgson (played wonderfully by Campbell Scott), who is using the genetic material now available to wreak new havoc on the world, albeit accidentally. And to make things worse, Maisie is instrumental in all of these machinations and she’s abducted.

In the 146-minute running time, there’s less about the ramifications of all this (it’s said a lot but it is never really felt) and more about complex high-octane chase sequences with trained killer velociraptors in the streets of Malta, a battle of three different giant predators in a valley in Italy, and several more attacks from various dinosaurs in different situations.

Courtesy of Universal Pictures and Amblin Entertainment

‘Jurassic World Dominion’ barely stops to take a breath and keeps throwing us one action sequence after another (and often time, they aren’t covered properly: the scenes are too dark, editing is off that you don’t understand what’s going on) that it barely has time to breathe and when it does, it’s just so that the old and new characters can mix and trade platitudes and witty barbs.

I think I now know what Martin Scorsese meant when he called MCU films a “theme park ride.” At least Laura Dern was there. She’s great in everything.

My Rating:

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Jurassic World Dominion is now showing in cinemas nationwide. Buy your tickets here.

ALSO READ:
Film Facts: 5 Things to Know About ‘Jurassic World Dominion’
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June 8, 2022
Sam Raimi and the Endless Cinematic Possibilities: A review of ‘Doctor Strange in the Multiverse of Madness’

After seeing ‘WandaVision,’ I was so very stoked to watch ‘Doctor Strange in the Multiverse of Madness.’ It’s no secret that Wanda Maximoff is my favorite character in the MCU and her appearance in the film made it a must-see movie for me. The MCU has been quite successful, in my opinion, in translating the joy of reading comics and graphic novels into the film medium. It satisfies my childhood need to see superheroes in action, facing insurmountable odds, and (more often than not) dealing with the gray areas of the good versus bad/right versus wrong dynamics in the world in a bombastic cinematic experience.

But the MCU has a particular type. There’s a certain look and feel to each MCU despite its variety of directors and scriptwriters. The only two films in the MCU that feel different and have the mark of its individual directors were Taika Waititi’s ‘Thor: Ragnarok’ and Chloe Zhao’s ‘Eternals.’

But now Sam Raimi’s ‘Doctor Strange in the Multiverse of Madness’ joins the ranks.

As much as this is an MCU movie, ‘Doctor Strange in the Multiverse of Madness’ is a Sam Raimi film. As much as Benedict Cumberbatch is the star as Doctor Strange, the spotlight of this film has to be Sam Raimi and his pitch perfect direction. He’s turned this story into a playground for his indelible style.

Under Sam Raimi’s exceptional and out-of-the-box vision, the movie is playful and unexpected. It has twists and turns – some you see coming, others surprise you along the way and keeps you on your toes – and it’s done with such stylistic flair that makes it feel so new and refreshing and, as a cinematic product, makes full use of the medium.

Raimi’s transitions between scenes are clever and visually arresting. He peppers the film with jump scares and hauntingly loud horror music by Danny Elfman. It has a lot of trademark Sam Raimi (who is famous for the first three ‘Spider-man’ films with Tobey Maguire, ‘Drag Me to Hell,’ and the cult series ‘The Evil Dead’ and ‘Army of Darkness’). There are surprising extreme close-ups, camera angles in the point-of-view of either the object or a hidden character, the aforementioned jump scares, and so on.

Photo: Marvel.com

The story of ‘Doctor Strange in the Multiverse of Madness’ involves the titular character facing a powerful enemy to protect a young girl, America Chavez (played with great confidence by Xochitl Gomez), whose powers has made her a target for the said-powerful adversary. Her ability – to be able to traverse the different universes – would be too powerful and damaging in the wrong hands. In an effort to save her, he is thrown into various universes, alternate realities that are similar to the one we’ve been following in the MCU but with variations.

So Sam Raimi’s direction even gives the feeling that we are watching an alternate type of MCU movie. The effect is dazzling. What also makes it enjoyable is that scriptwriter Michael Waldron manages to forego traditional narrative forms to really put Dr. Strange, America Chavez, and Wanda as the leads without taking away from Doctor Strange that this is his movie. Each character has something to face within themselves but since we’ve really explored so much of Doctor Strange and Wanda in previous MCU installments whether on TV or film, he doesn’t bow down to too much character development.

Photo: Marvel.com

He doesn’t have to. Instead, the film really gives us endless possibilities by exploring the many different worlds and realities in the MCU. This gives the film a lot of chances to do fan service moments without major repercussions to the main reality while giving its main characters a big enough impetus to change.

I’m a little short on details because, in an effort to keep this review spoiler-free, I have to paint this critique in generalizations and broad strokes. This film is centered on the cinematic experience – any spoilers may ruin the audience’s involvement – but there’s also a lot happening that I am inclined to watch again; and in 3D, if possible, because the visuals are just amazing.

Benedict Cumberbatch and Elizabeth Olsen must have had an enjoyable time being able to play with these characters and their different iterations in the realities offered. As actors, this must have been fun for them and you can see it in their performances. Benedict Wong manages to keep Wong as a solid character that can ground Doctor Strange, and Rachel McAdams is not relegated as an accessory to the cast. There’s enough meat for her character to play within this film.

Photo: Marvel.com

This is a perfect MCU movie, up there with ‘Captain America: Civil War’ and ‘Avengers: End Game,’ wherein the film is aware of the audience’s expectations and plays with them in fun and surprising ways. And with the added touch of Sam Raimi’s direction, it is elevated into a wonderfully delightful experience that is surprising, refreshing, and makes you want more. While I was completely satisfied with the two hours and six-minute run time of the film, I wanted more of it.

So, I guess, I’ll just have to go to the cinema again to take it all in. But this time, I want to see it in 3D.

My Rating:

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Doctor Strange in The Multiverse of Madness is now showing in Philippine cinemas. Buy your tickets here.

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May 5, 2022
The Good, The Bad, and the Enjoyable: a review of ‘The Bad Guys’

First off, I wasn’t impressed by the trailer of Dreamworks’ new animated full-length, ‘The Bad Guys.’ There was something so literal about it. A bunch of villains pretending to be good and, I’m guessing, they become good in the process. It came across as quite one-dimensional.

When I got to see the film, I was completely blown away. First off, the animation is splendid. It has the sheen and gloss of a painting that moves. The texture and colors of the images are quite beautiful to watch. But even if it is almost painting-like in its execution, it doesn’t stop director Pierre Perifel to do some really frenetic action that will be super enjoyable to both kids and adults alike.

What also drew me into the film is the intricate characterization of the cast. From the lead character, The Wolf, the charismatic leader of the criminal gang called The Bad Guys, to Mr. Snake, Webs, Shark, and Piranha. Each character is distinct, adorable, and unforgettable. It helps that the voice acting is really good. Sam Rockwell is slick and charming as The Wolf and Marc Maron plays off Rockwell extremely well as Mr. Snake. The cast also includes Awkwafina (Webs), Craig Robinson (Shark), Anthony Ramos (Piranha), Zazie Beets (as Governor Foxington), and Richard Ayoade (as the guinea pig narcissistic philanthropist Professor Marmalade).

It’s a straight-up caper film with hilarious gags that are funny and unexpected. Some of the gags include Mr. Shark being so excellent at disguise that it leads to hilarious effects, aside from the fact that he is visually a shark in a disguise. Piranha is a crazy, hot head, and he’s not the smartest fish in the sea. Adding to the hilarity of the film is the idea that some animals can talk and act like humans while some animals are merely animals. And they all live in a world primarily populated by humans. Even the governor is a literal fox!

The highly unrealistic world creates a space for some amazing visual setups for the rather complicated capers The Bad Guys pull, some energetic car chases, and some cool action sequences. This world is so left-of-center and out-of-the-box that it allows you to empathize with the lead characters despite them being criminals. But the movie is also nuanced enough to take note that The Wolf and Mr. Snake would pay their bill at a diner right before they rob a bank.

But further into the story, the movie pushes its nuances further and explores this idea about second chances and how dangerous stereotypes can be. It’s mentioned quite a few times in the film that you should never judge a book by its cover and the film manages to dramatize this wonderfully through its narrative and even choice of characters.

The Bad Guys – a wolf, a snake, a shark, a tarantula, and a piranha – all have bad reputations (as carnivores) but this is all a metaphor for something even bigger. The distorted reality of the setting allows for an interesting space to discuss the dangers of stereotyping and how we could easily force people into doing “bad things” just because that’s how the world perceives them.

What’s great about ‘The Bad Guys’ is that it manages to do this in a series of narrative twists and turns that keep you at your seat and manage to surprise you at every turn without sacrificing any of the enjoyment. It manages to stay fast-paced and funny while still going deep into society’s judgmental attitudes. The added bonus? It works well for both kids and adults alike.

Rumors have it that ‘The Bad Guys,’ based on the books of the same name by Aaron Blabey, will be a franchise IP. That means there will be more stories about these characters (even though the film ends with a clear resolution). I actually love the idea because I’d love to see these characters again and see what else is in store for these ‘bad guys.’

My Rating:

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‘The Bad Guys‘ opens in Philippine cinemas on April 27, 2022. Buy your tickets here.

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April 26, 2022
‘Turning Red’ Revels in the Ordinary of the Extraordinary

Set in Toronto in 2002, ‘Turning Red’ is an unapologetic, no-holds-barred exploration into the world of a Chinese Canadian 13-year-old named Mei Lee. The narrative leans into the familiar characteristics of her demographic: Mei has a tiger mom, who only wants the best for her, and so Mei is an overachiever with the best grades and full of extra-curricular activities. But she’s also 13, so she and her friends – Miriam, Priya, and Abby – are also infatuated with the boyband 4*Town. At the onset, it looks like every other coming-of-age story of four teens who may be outsiders of the school hierarchy (but not as severe as this is Canada and not America) and have to navigate this awkward part of life. But the story interweaves Asian mysticism and spirituality into the mix for incredible results.

Because Mei’s family, through her mother’s line, has a mystical gift (or curse) that transforms the women of the family into giant red pandas when feeling strong emotions. This becomes the source of all the character growth and comedy for the story.

The story, written and directed by Domee Shi and co-written Julia Cho and Sarah Streicher, is not even coy about how this supernatural transformation is a metaphor for puberty that is centered on the female experience. The mood swings, the rebelliousness, and even the color red are indicators of this apparent symbolism.

And so as Mei has to deal with this transformation happening in her body, she’s beginning to explore the facets of her personality that she didn’t know were there.

In the process, the film explores the Chinese cultural bonds of family that can be very familiar to a lot of the Asian audiences — the expectations and high demands, the controlling, the conservatism – and the vast generational gap of first and second (and even third) generation immigrants to Western countries.

So while ‘Turning Red’ is a supernatural story with Mei Lee transforming into a giant red panda at the funniest moments (and also sometimes at very serious events), the film is grounded by very serious issues about family ties and the generational trauma caused by the gap in morals and values between generations.

And as heavy as these topics might be, ‘Turning Red’ manages to do so in hilarious ways. The four friends’ love of the boyband 4*Town is exactly alike to Generation X’s love for the Backstreet Boys and N*Sync or the new generation’s love for Kpop idols and boy groups. The language and verbal quips of the four friends are masterfully written with some hilarious lines while the tonal shifts of the older members of Mei’s family are clearly different. It’s quite amazing.

And the way with which it captures the frenetic energy of the teenage years and the things they obsess over and think about (that seems so trivial to us now that we are older) is so on point. Director Domee Shi is also quite gifted in being able to shift focus, playing around with the images for wonderful visual comedy, highlighting the film’s verbal wit, and giving moments to really define each character and make them unique.

Each friend is marked by an individual personality, but you can see why this group are friends.

So as much fun as it is to watch Mei navigate the rigors of high school as she has to stop herself from getting triggered from transforming into a giant red panda, what we have in this film is a deep exploration of a vivid world of teenage girls at the brink of change. And the ironic thing is that as precise as this film feels in presenting a world set in 2002, a lot of the issues are still prevalent today.

‘Turning Red’ is funny and charming and relatable and surprising at every turn. It makes really good use of excellent storytelling and lavish visuals to tell a really moving story about generational gaps and coming to terms with your identity.

Pixar does it again.

My Rating:

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Turning Red is now showing in Philippine cinemas. Buy tickets here.

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WATCH: A Girl Turns Into a Giant Red Panda in the New Pixar Film ‘Turning Red’
WATCH: Disney Releases Teaser Trailer For The Upcoming Animated Film ‘Turning Red’

March 14, 2022
Double Trouble: a review of ‘The Adam Project’

Ryan Reynolds has a type. He really shines as a wise-cracking tough guy that’s hiding a fragile, sensitive heart. He’s got a lot of charisma and great comedic timing. I first caught wind of this in 2004’s ‘Blade: Trinity’ where he was the most enjoyable character in the film (along with Parker Posey, another fantastic actor with great charisma and comedic timing). And while it took a long while for him to be fully appreciated for his talents – it wasn’t until 2016’s ‘Deadpool’ where he finally hit it big – he has had a stable career building this character and turning it into his own.

I mention this because a lot of Netflix’s new Shawn Levy-directed sci-fi adventure ‘The Adam Project‘ is centered on Ryan Reynolds and his particular style of performance. The film’s script, written by Jonathan Tropper, T.S. Nowlin, Jennifer Flackett, and Mark Levin has turned this time-traveling family adventure into a vehicle to showcase more of Reynolds’ trademark cinematic allure.

Reynolds’ Adam is a sarcastic, quick to the hip wise-cracking time traveler on a “classified” mission that leads him to meet up with his 12-year-old self, played by Walker Scobell. The 12-year old Adam is just as sarcastic and biting, throwing quips and verbal jabs at every turn.

I suppose the appeal here is that you get two Ryan Reynolds for the price of one. What’s even better? You put a Ryan Reynolds character against his younger self who is written just as funny and just as acerbic.

If this is your jam, then you’re going to have a fun time. Except, for me, it’s gotten old already. I think it would be great for Ryan Reynolds to do more, spread himself, and explore the range of his charisma and comedic timing. I’ve seen all of this in ‘Deadpool’ and this film is really milking this schtick so much. Every time ‘The Adam Project’ gets really thrilling or properly emotional, it is immediately undercut by a one-liner.

And it’s a shame because, with all the enjoyable fight sequences and the novelty of being able to imagine what it would be like to meet your younger self, there’s a rather lovely story here about coming to terms with your past and unresolved feelings.

Personally, I’m tired of Reynolds’ brand of comedy and it doesn’t help that Walker Scobell has Reynold’s timing but none of his charm. Granted he’s a kid but he doesn’t have the same power that Tom Holland (as a kid in ‘The Impossible’) or Haley Joel Osment (from ‘The Sixth Sense’) had as a young actor.

Instead, the ones who really bring this movie to its full potential are Mark Ruffalo and Jennifer Garner. Garner, as Adam’s mother, can really imbue a scene with so much heart and emotion that I really wanted more of her in this film. Mark Ruffalo can juggle both humor, big-budget setups (and not get swallowed), and empathy in one go. In fact, he turns a crucial scene in the film from the beginning as a comic thing and then turning it into something very emotional and touching. It’s a genius move.

Zoe Saldana and Catherine Keener, on the flipside, shine as they synch into the adventure part of the film. Keener is enjoyable as a straight-up villain while Saldana handles the action woman role expertly, bringing humanity in an otherwise extraordinary role.

The film has great action choreography where you can really see the movements and enjoy them. The film doesn’t do quick cuts or tight close-ups so you can fully appreciate the movements of the action. As a sci-fi film, it doesn’t delve too much into the science but it doesn’t disregard it either, giving important explanations to the physics and the “rules” behind time travel. It isn’t bogged down by the science so that it can focus on Adam, the younger and the older, and how they can reconcile their own brokenness.

It has beautiful moments that are unfortunately undercut by the Ryan Reynolds-ness of the script, favoring the witty comebacks over emotional depth. Everything else feels by the book that doesn’t do anything much to really reinvent the genre. If it focused on the family bond, it might have been more impactful.

Is it great? Probably not. Is it enjoyable? Definitely. Especially if you love Ryan Reynolds and his cinematic persona.

My Rating:

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The Adam Project debuts on Netflix on March 11, 2022.

March 10, 2022
The Caped Detective: a review of ‘The Batman’

We’ve seen so many iterations of Batman from the whimsical reimagining of Tim Burton and Michael Keaton to Joel Schumacher’s campy run with Val Kilmer in ‘Batman Forever’ and George Clooney in ‘Batman and Robin.’ Christopher Nolan then changed the way we approached superhero movies with his grounded take on the character with Christian Bale, which gave us a defining Joker through Heath Ledger and then Ben Affleck put on the mantle in Zack Snyder’s ‘Justice League.’ And that’s not to mention the animated series, the animated movies, and the appearances on television shows.

So, honestly, what more can be said about the orphan who has taken to fighting crime wearing a suit fashioned like a bat after his billionaire parents were killed in the streets of the tough-as-nails city of Gotham?

Matt Reeves, a director whose work on the prequels to the ‘Planet of the Apes’ franchise is quite impressive, decides to venture into one of Batman’s original modes, which was that of a detective.

What Reeves manages to give us is a completely new and original cinematic imagining of Batman. No more origin story – what for? We all know it – but instead of the confident master of vigilante crime-fighting, we see Bruce Wayne, who has only been Batman for two years. He is not infallible. He gets hit. He makes mistakes. He is making things up as he goes along.

His suit is clunky and heavy, built to withstand punches, knife attacks, and even bullets. In fact, there’s a lo-fi quality to technology in this film (except for some very cool contact lenses that play an important part in the story) that makes this film feel almost like a period film for superhero movies. There’s not even a cellphone in sight.

Photo: Warner Bros. Pictures

And with this setting, we are introduced to a broken Bruce Wayne, played with great sensitivity by Robert Pattinson, who also manages to shift to his Batman persona when he wears the mask. But even that shift is tenuous. After all, he’s new at this.

The world is a neo-noir epic, complete with the protagonist’s introspective narration, a femme fatale in the form of Zoe Kravitz’s Selina Kyle/Catwoman, and a grimy, evil city and the monstrous side of human nature that exists there.

Photo: Warner Bros. Pictures

A lot of The Batman reminds me of David Fincher’s ‘Seven,’ where it is about solving a puzzle posed by Paul Dano’s Riddler. Murders are happening and it’s leading towards a great big reveal that positions this film not so much as a hero versus villain story but as a story about society’s deterioration.

Director Matt Reeves and co-scriptwriter Peter Craig do not shy away from the very contemporary discussion about Wayne’s ability to help people more with his money than as a caped crusader. That’s actually touched upon and handled with the character’s internal logic in place. While crime is perpetrated by the criminally insane, evil is found somewhere deeper and systemic.

It’s that aspect of ‘The Batman’ that feels so refreshing and invigorating. The focus is not on the extraordinary feats of Batman to stop an extraordinary crime but the realisation of what is really needed to combat corruption and social ills.

So while the film is dark (both lighting-wise and tonally) and gritty, it also gives us fantastic imagery, some really good character work by Pattinson, Kravitz, Dano, and John Turturro as the mob boss Carmine Falcone, and a completely new approach to the character.

Photo: Warner Bros. Pictures

My only reservation is the big finale that felt much bigger than it needed to be. The last big action setup felt like it’s from a different film altogether. Throughout the film’s 176-minute runtime, it gives us good old fashion noir with a twist, introspective character development, and dynamic relationships, and then it ends with a large battle sequence that felt more like it belonged in a different movie. It appeared like it was put there to please any comic book movie fans, who may have felt that they didn’t get enough comic book action.

But that’s a matter of taste. All in all, it was a thrilling ride that kept me on my toes. Kravitz is phenomenal and her chemistry with Pattinson was electric. I didn’t even notice how much time had passed.

In a world like ours that needs heroes, it’s good to have movies that give us an escapist fantasy at times just to feel light and good about ourselves. But it’s also good to have an alternative: superhero movies that show us that evil is not just one person with a skewed sense of the world. That the evil is systemic and that punching your way out will not get the job done.

My Rating:

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The Batman will open in Philippine cinemas on Wednesday, March 2 (two days ahead of the US release date of March 4). Book your tickets here.

March 1, 2022
With a questionable premise, ‘Sing 2’ is as hollow as it is excessive

I never got to see the first movie so I came into the movie without any attachments or expectations from the movie. I’m guessing most of the character work for these characters was done in the first installment but ‘Sing 2’ doesn’t do much with the characters they already have. While the film feels designed to just entertain and give its audience a good time, I find myself questioning a lot of the messages that are found in this movie for kids.

The film begins with a musical that our characters are performing in – success that they have found obviously after the challenges they must’ve faced in the previous film – and they are quite victorious. They sing a very modern take on Prince’s ‘Let’s Go Crazy’ in a nod to Alice in Wonderland. Even with their sold-out performances, the show’s manager, Buster Moon, is hoping they’d catch the interest of the talent scout Suki, who is looking for new talent to bring to a Las Vegas composite called Red Shore.

But to their dismay, Suki says that their show is entertaining but not quite what Red Shore is looking for. “You won’t cut it in Red Shore,” she says (and I’m paraphrasing) and she delivers the killing blow: “You’re just not good enough.”

Motivated by the wise words of their rich patroness, Nana Noodleman, to work hard and prove everyone wrong, Buster takes his crew and goes to Red Shore anyway to audition anyway even if they weren’t invited to go.

It’s this premise that gets me nervous. Instead of working hard to make a better show that would impress talent scouts, Buster Moon sneaks into an audition they were not invited to go and then proceeds to make a promise to give a show that includes a reclusive superstar, Clay Calloway, whom they have never met before.

Buster Moon and his company get the gig despite not having an invite, not having a script, nor having a superstar that they promised to deliver. All his crew’s hopes and dreams are resting on a lie, aside from the fact that everyone seems to be unprepared for the big-time like Suki had said.

And then things get worse – for the crew, yes, that’s the heart of the story – but also for the questionable messages within the film.

Mina, the sweet elephant with the amazing voice, is nervous about kissing her co-star, whom she’s never met. Buster Moon tells her, in a passive-aggressive way, to suck it up. There’s something wrong here. Rosita, a pig who is juggling her performing career and motherhood, is forced to do a dive from a great height when she has had no training or preparation. She’s just expected to do this because it’s the act that they wrote on the fly with no concerns about whether she could do it or if she was okay with it.

And then there’s the gorilla Johnny, who has to do a dance battle and it appears that he has no classical training and is constantly harassed by the master choreographer Klaus Kickenklober, who is mean and ruthless in his training. This bothers me a lot because, while Klaus is unnecessarily mean, it positions him and classical dance training as a bad thing. Later, the proposed solution to this is “going with the flow.” It undermines formal education in the arts. I have nothing against self-trained individuals but to demonize classical training seems very wrong.

The film is filled with problematic storylines like this and handled in such a quick and dismissive way – some successfully while others not quite – which can exacerbate the misconceptions about what it takes to truly make it.

And then, there’s the whole concept of making it. Red Shore looks and feels a lot like Las Vegas. It’s excessive and loud and bright. There’s no subtlety or class to all of this and it really equates success to money and bringing in the audience and it doesn’t quite anchor what it is they are doing – putting on a good show – to anything personal or meaningful.

If anything, the film really pushes a capitalist agenda by equating success to big and loud and bright and by any means necessary.

The animation is amazing, though. The textures of the different fur and scales of the various animals are wonderfully executed. And you can’t go wrong with the songs of U2 (Bono does the voice of Clay Calloway). Even with the new arrangements, the songs are stunning. There are even some very spirited numbers like Coldplay’s ‘A Sky Full of Stars’ and Ariana Grande’s ‘Break Free’ in a spectacular visual feast.

But at the heart of it all, it’s empty and shallow. The emotional beats are not fully pushed to their most satisfying end. It’s all visual gags – some quite good – and easy wins that don’t really stick because they came without any real deep struggle.

My Rating:

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Sing 2 is now showing in cinemas nationwide. Find a cinema near you.

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February 23, 2022