On Kanye West, Twitter, and Chuck Norris

I’mma let you finish, but Kanye West just joined Twitter and his tweets are dope.

This Grammy winning rapper is known for his music and controversial outbursts. He dissed MTV for choosing Britney Spears over him as opening act during the 2007 MTV VMA. Barely a year ago, he pulled the “I’mma let you finish” stunt on Taylor Swift. So being a media train wreck that he is, Kanye is like a time bomb waiting to self-destruct on Twitter any minute. But before that happens, let’s enjoy his megalomania run amok on the Twitterverse.

I’m not fond of following celebrities on Twitter. The hell I care if Justin Beiber is driving a Lamborghini or if Kris Aquino decided to stop tweeting. But Kanye is officially the most entertaining celebrity on Twitter that I can’t resist the urge to follow him and even blog about him. It’s fun to see this damn clown make a fool out of himself. Kanye is also living up to his reputation as a wealthy narcissist and a label whore. Heck, he can’t distinguish there from their and his “spelling is atrocious”. Here are some of his tweets so far.

• Is it wrong to wear a CHANEL dinner jacket with a T shirt to the airport if it's still breakfast time out here in Singapore uugh TOO LATE! (Kanye also tweets about his Lanvin sneakers, YSL suits, and vintage Hermes travel bags.)

• Suits is an expensive addiction (This boy needs a lesson on subject-verb agreement, among other things.)

• Avatar on the 13 foot screen ....wuuuuuuuuuuuuuuuuuuuuuuuuuuut!!!!! (Mind you, he’s referring to his home entertainment system.)

• yeah.... we getting about 80 FOLLOWERS A SECOND no exaggeration!!! (Twitter is now Kanye’s playground.)

• I think Twitter was designed specifically with me in mind just my humble opinion hahhhahaaaahaaa humble hahahahhahaahaaaa (See? I told you so.)

In my opinion, all these nonsensical shit is pure marketing gimmick since Kanye is desperately staging a comeback. Kanye, listen to your ex-collaborator John Mayer in his sage-like advice via Twitter, “Yo, @kanyewest, welcome to twitter. Try not to use it as a marketing device. Tweeps will see through it. Give them YOU." When his album drops, I bet he’ll instantly go MIA on Twitter.

Anyway, Kanye’s tweets are begging for parody so it comes as no surprise when comedian Aziz Ansari gently mocked him through the #predictingkanyetweets hashtag. Kanye himself acknowledged Aziz’s Kanyeisms saying “It's so funny how Aziz's tweets really sound like me... am I that predictable?” Below are some hilarious Kanyeisms copied in verbatim.

• @azizansari Hans Zimmer needs 2 write a score 4 whenever I eat a cookie. when I eat cookies shit is mad suspenseful

• @azizansari Damn I wish Hermes made edible snacks, Cheezits just ain't dope enough for my mouth.

• @ZomgTV I wish Burberry made red flavored juice drank, cause kool aid no longer dope enough for my holiness.

• @satokoko3105 I'm not really into money. that's why I'm using it.

• @Australianimal next time i calls my moms, im usin' auto-tune

• @Australianimal HEY EVERYONE! I just bought Latvia

• @DahllaBillz I saw Inception in IMAX and realized my TV was the same size

• @VKNG: fuck you mean I can't follow myself?

• @KnowDC I Just put a swarovski crystal chandelier in the back seat of my benz

• @WonderkidFb I met the Queen of England today- that mufuka bowed to me!! Y'all can't do nuttin but crown me... KING'YE!

• @chriscbrown Screams from the haters, got a nice ring to it... I guess every superhero need his theme music!

• @VIRUS187BEATZ YO I THINK TWITTER SHOULD ALLOW ME TO WRITE 200 CHARACTERS INSTEAD OF 140..COS I GOT SO MUCH MORE 2 SAY!

• @seoulove I think Twitter.com should actually be www.KanyeWest.com/twitter Just makes more sense.

• @emcphee32 Don't you hate when you leavin' a restaurant & a poor dude begging, askin to lick your fingers? These are MY fingers.

• @levin_samuel Genius doesn't sleep. It waits 'till morning so regular people can see how great it truly is.

• @PinkFlufyBunny The only time the world wasn't talkin about me was during 9/11 and even then it only lasted a week

• @criterionwhore Jay-Z wanted to see the Truffaut double feature but I insisted on Godard because when I role, I role postmodern.

• @poorunkown Is there anyone in here that can tie my shoes, I aint tryin to bend over

• @WonderkidFb My shit is addictive, my lyrics are dope. I got Lohan on her knees, sniffin my lines up like they're Coke.

• @FigureInFrame On second thought a diamond-encrusted pillowcase wasn't such a great idea SMH

• @TheJuice IDK why Cali kids always say "Ya feel me" after every sentence. When it's clear MY music is the only thing ppl feel.

• @cfenzmuzik I bet Diddy wakes up in the morning wishing he had my POWER

• @kanyesmug If I grabbed the mic from Miley Cyrus would any1 really care?

• @tom9d yo grilled cheese is DELICIOUS. im hiring a grilled cheese chef for real. shits incredible.

• @CallMeANguyener Everybody keep asking me why I got such expensive taste. Dawg my teeth made of diamonds, fuck you think!?

• @knightmichel Shopping in a shop that just closed!!

• @Hanzi83 why aint i the poster child for twitter.. maaannn fuck that birdd.. i can tweet... look tweet tweet

• @WonderkidFb AM THE FUCKEN GREATEST. THATS WHY ONLY MY TRACKS ON MY IPOD PLAYLIST.

• @FMFanboys I don't do typo's. Think of it as a new word.

• @damion_white I guess it's time to head back to vegas/my pockets fat they splurged on cake mix....

• @ hannaconduh I brush my teeth w YSL toothpaste. EVERYBODY'S BREATH SMELL CHEAP!!!!!!!!!!!!!!!!!!!!!

• @ddubs307 bitch i asked for 10 karats not carrots in my salad

• @joegoodguy Just copped these Versace printed dinosaur bones..going for a pre-historic feel in my dining room.

To see more of these tweets, check out #predictingkanyetweets. Or you may also follow the braggadocio himself @kanyewest.

All these Kanyeisms remind me of a pre-Twitter dude who became the subject of the Internet phenomenon Chuck Norris Facts. The website features absolutely ridiculous and absurd heroic stunts and characteristics of Chuck Norris. So I’m ending this post with a few Chuck Norris facts. Enjoy!

• Chuck Norris is the reason why Waldo is hiding.

• Chuck Norris can touch MC Hammer

• When the Boogeyman goes to sleep every night, he checks his closet for Chuck Norris.

• Chuck Norris ordered a Big Mac at Burger King, and got one.

• Chuck Norris can split the atom. With his bare hands.

• A Handicapped parking sign does not signify that this spot is for handicapped people. It is actually in fact a warning, that the spot belongs to Chuck Norris and that you will be handicapped if you park there.

Cinemalaya 6 Film Logs (Part 3)

Vox Populi

New Breed

Director: Dennis Marasigan

Starring: Irma Adlawan, Julio Diaz, Bobby Andrews, LJ Moreno, Suzette Ranillo

Vox Populi chronicles a mayoralty candidate's last day of campaign as she meets the electorate, shakes the hands of her supporters, and extends favors for spiritual leaders, businessmen, and even drug lords. Despite her pure intentions, she is sucked into the amoral world of politics. Nuanced and well played. Starring the ever reliable Irma Adlawan.

Rating: 3.5/5

The Leaving

New Breed

Director: Ian Lorenos

Starring: Alwyn Uytingco, LJ Reyes, LJ Moreno, Arnold Reyes

Inspired by Wong Kar Wai in its themes and structure. The supernatural elements are dispensable, but they spice things up nonetheless.

Rating: 3/5

Faculty

Shorts Competition

Director: Jerrold Tarog

Starring: Che Ramos, Bea Garcia

Yes, a mere verbal battle can be this engrossing.

Rating: 3.5/5

Sheika

NETPAC Premieres

Director: Arnel Mardoquio

Starring: Fe Hyde

Sheika, if it wasn't omitted from the New Breed category, would have out-shined the competition. Yes, every single one of them including Halaw. This film is unlike any other crime drama this country has ever produced. It echoes maternal love, the Davao Death Squad, and the evils of war. Amazing performance from lead actress Fe Hyde. Don't miss the tearjerking tsinelas scene.

Rating: 4/5

Muli

NETPAC Premieres

Director: Adolfo Alix Jr.

Starring: Sid Lucero, Cogie Domingo

Muli, shown in Cinemalaya as a work-in-progress project, is way too long. It has brief moments of brilliance, but they're too brief to even matter. Dear filmmakers: If you think your film will not be finished in time for its screening, then don't show it, plain and simple. Don't waste the audience's time and money with an unfinished, substandard film.

Ratring: 2/5

Rekrut

New Breed

Director: Danilo Gomez Anonuevo

Starring: JM De Guzman, Joem Bascon, Emilio Garcia, Alwyn Uytingco, Dominic Roco, Alchris Galura, CJ Ramos, Manuel Chua, Rob Sy, Archi Ad

amos, Maxene Magalona, Rich Asuncion

Two rules: listen and follow. A band of neophyte soldiers is being conditioned to carry out a "confidential" mission. In an attempt to uphold their principles and beliefs, they are compelled to defy the camp's two cardinal rules. Rekrut mediates on authority, blind obedience, and above all, camaraderie.

Rating: 3.5/5

Most Played Songs On My iPod (July ’10)

I’m still high on Christina Aguilera’s latest CD Bionic. I just discovered that the best up-tempo tracks in the record are in the deluxe edition.

Bobblehead – Christina Aguilera

Officially my favorite song in Bionic. Bouncy. Disco jam. Awesome lyrics. Christina raps ala Gwen Stefani. Twice as good as Hollaback Girl. Dedicated to all ditzy girls.

Little Dreamer – Christina Aguilera

iTunes bonus track. Inspiring. Electro-pop gem.

Birds of Prey – Christina Aguilera

Produced by Ladytron. Dark and moody. Melancholic electronica.

Faithfully – Lea Michele and Cory Monteith

Heartfelt cover of the Journey original. Lea’s pipes are amazing.

If I Had You – Adam Lambert

Glam rock. Perfect pick-me-up.

OMG – Usher feat. Will.I.Am

Addictive club anthem. Oh my god!!!

Put it in a Love Song – Alicia Keys feat. Beyonce

Effervescent. Soulful.

Not Just a Doll – Kimberly Wyatt

Surprising hit from an ex-PCD member.

The Return – Shawn Desman

Smooth. Groovy. Demo track for Ms. Spears.

Flashback – Babyface

Classic slow jam.

Two Funerals is dead on arrival

Cinemalaya is synonymous to discovery and surprises. Year after year, the independent film festival has been consistent in two things: (1) launching up-and-coming directors to the big league; and (2) awarding surprise, and to some extent unlikely, winners. Acclaimed directors Auraeus Solito (Ang Pagdadalaga ni Maximo Oliveros, Pisay), Adolfo Alix (Donsol, Adela), and Chris Martinez (100, Here Comes the Bride) are just three of Cinemalaya’s homegrown talents. For the past five years, the focus of Cinemalaya is to discover a new breed of indie filmmakers by giving them a financial grant to fund their movies.

Speaking of surprises, everyone was caught off-guard when Mario O’ Hara’s Ang Paglilitis ni Andres Bonifacio, considered as the frontrunner in the Director’s Showcase category, went home empty-handed. While Gil Portes’ Two Funerals nabbed four awards including Best Director, Special Jury Prize, Best Screenplay, and Audience Choice.

Pilar (Tessie Tomas), the bereaved mother of a road accident victim, is outraged when she finds a middle-aged man inside the casket of her daughter Charm (Princess Manzon). Little does she know that her daughter’s corpse is already en route to Matnog, Sorsogon to the family of the middle-aged man. This funeral parlor mix-up sends Pilar and Gerry (Xian Lim), Charm’s fiancé, to a road trip across Bicol to retrieve the remains of their dearly departed.

Two Funerals doesn’t feel like the archetypal Cinemalaya production. It can easily be mistaken as a mainstream offering. It rivals the work of Wenn Deramas (Hating Kapatid, BFF: Best Friends Forever) and Jose Javier Reyes (Status: Single, My Monster Mom) in terms of comedic excess. The humor is farcical, the jokes are lowbrow, and slapstick is plenty. Sketchy characters such as foul-mouthed drag queens, a raped sexagenarian, a politician with “lechon-glossed” lips, and a former gay guy going gay again are shoehorned into the storyline with the sole purpose of delivering the mandatory gags. Just when I thought Kimmy Dora and Here Comes the Bride upped the ante, it seems we’re back to Facifica Falaypay and Petrang Kabayo all over again.

Two Funerals claims that it is not a comedy, but a black comedy. A black comedy finds humor in the unlikeliest places – be it in politics, religion, race, and other taboo subjects. It discusses a serious topic in a not-so-serious manner. Its intention is to illicit uncomfortable laughter while making us ponder on a specific issue. Two Funerals should have taken its cue from Jay, also a product of Cinemalaya. Jay is about a TV producer who exploits an impoverished family to make a sensational documentary. What’s interesting about Jay is that it deadpans its way into his jokes. It doesn’t feel like any of the run-of-the-mill comedies with all the batukan and habulan. You can’t even tell that Jay is already telling a joke but you’ll find yourself laughing at the absurdity of it all. That’s a black comedy. Unfortunately, Two Funerals doesn’t seem like a black comedy to me.

What is lacking in script and direction, it makes up for in the acting department. In the last three years, we’ve seen Tessie Tomas in three memorable performances: as the mother who can’t accept the imminent fate of her cancer-stricken daughter in 100, as the aging widow who struggles to keep her business alive in Sanglaan, and as the crazed Imelda fan rumored to be a powerful medium in The Red Shoes. Tessie adds another memorable performance on that list. While the rest of the cast are hinged on campy and loony, Tessie stirs dramatic scenes and punctuates them with unrestrained grief. The centerpiece of her performance is when she finally saw her daughter’s remains. In an almost hysterical moment, Tessie perfectly captured the feeling of bereavement and loss. There is no single emotion misplaced. In addition, the comic performance of the supporting cast (composed of Benjie Felipe, Mon Confiado, and Epi Quizon) is also commendable.

Earlier, I mentioned that Cinemalaya has consistently awarded surprise, and to some extent unlikely, winners. I do not question the Audience Choice award given to Two Funerals. It can be credited to its stars, its masa appeal, and its brand of comedy. As for the other three awards, that’s a different story. Whether Two Funerals is a surprise winner, an unlikely winner, or both is up for you to decide.

Rating: 1/5

*published on PEP

Sigwa: I wish it had more balls

Barely a year ago, the tandem of director Joel Lamangan and screenwriter Bonifacio Ilagan brought us the courageous political thriller Dukot (Desaparecidos), an account of forced disappearances of the “enemies” of the government. This year, the duo reunites for another politically charged drama. Sigwa tackles the First Quarter Storm (FQS), a period of student revolt from January to March of 1970 wherein people’s marches and heavy picketing took place to oust former president Ferdinand Marcos from public office. In an attempt to suppress the rebellion, the riot police used brute force to disperse the demonstrators. FQS is said to be one of the reasons why Marcos declared Martial Law two years after. The film begins with the arrival of Dolly (Dawn Zulueta), a Fil-Am journalist who documented the student activism in Manila back in 1970. After being deported in 1975 because of her ties with communist groups, she returns to the Philippines to find her daughter who is supposed to be dead. In her search, she reconnects with her old friends from the FQS movement. It’s interesting to see the changes these student activists have undergone after 35 years. Rading (Jaime Pebanco) is still an activist at heart, Cita (Zsa Zsa Padilla) joined the guerilla forces, Azon (Gina Alajar) took refuge in a far-flung province, and Oliver (Tirso Cruz III), the “defender of the status quo”, is now working for the administration. Their stories unfold through a series of non-linear flashbacks showing us what happened during the First Quarter Storm and the tumultuous years after it. Like any other martial law epic, there are mandatory torture scenes and rape sequences. The men are treated like human punching bags, while the women are treated like masochistic hookers. But none of it is gritty enough to be repulsive or emotionally affecting. Even the rally dispersal scenes are too tame to make a lasting effect. Lamangan, dubbed as the “Festival King”, is a fixture in the Metro Manila Film Festival (MMFF). He megged five Mano Po installments, twoDesperadas films, and a number of melodramas such as Filipinas, Aishite Imasu 1941, and Deathrow. This year, Lamangan dips his toes in the country’s premiere independent film festival. Sigwa is Lamangan’s entry in the Director’s Showcase category of Cinemalaya alongside Mario O’ Hara’sAng Paglilitis ni Andres Bonifacio, Mark Meilly’s Donor, Gil Portes’s Two Funerals, and Joselito Altarejos’s Pink Halo-Halo. Lamangan brings the glitter of mainstream filmmaking to Cinemalaya through his all-star cast. We’re so used to seeing these well-known actors and actresses play the same characters on TV that it’s refreshing to see them take on more challenging roles. Sigwa’s cast can be considered as one of the best acting ensembles that graced Cinemalaya. The younger generation of student activists is played by Megan Young as Dolly, Jay Aquitania as Rading, Pauleen Luna as Cita, Lovi Poe as Azon, Marvin Agustin as Oliver, and Allen Dizon as Eddie. The younger actors display sheer tenacity. There is fire in their eyes and angst in their heart. Their acting verges on passionate and compelling to over-the-top and all-over-the-place. Among the six, Marvin is a clear stand-out. He is often criticized for overacting, but Marvin’s overacting works perfectly for his role as Oliver. If the young stars are ferocious but rough around the edges, the veteran actors are polished and pitch-perfect. Dawn is convincing as a hopefulbalikbayan mother longing for her daughter. Her fake American accent gets in the way though. Gina and Jaime nailed their roles with aplomb. Their slightest gestures reveal hidden emotions and suppressed pains. But it is Zsa Zsa and Tirso who stole the show. Their scenes are explosive and exhilarating. Lamangan should have given them more screen time than Dawn. Zsa Zsa’s conviction is negated by Tirso’s cynicism. Their war of words and clash of ideas are full of gravitas that will make the audience contemplate the social and political climate of the country. Is the era of communism a long forgotten past? Now that the Marcos regime is vanquished, isn’t it time to wave the white flag and put the revolution to rest? There are no easy answers. It is up to the audience, left with their own judgment, to evaluate the opposing ideas eloquently presented. It is such a shame that the weighty issues were discussed only at the tail end of the film. Sigwa could have been a more compelling film if they shifted the focus from the human drama (i.e. Dolly’s reunion with her daughter) to the social dynamics of the story. It might be a conscious decision on the filmmaker’s part to play it safe to be more palatable to the general public, and that’s understandable. But for a film that is meant to commemorate 40 years of civil unrest, I wish it had more balls.

Rating: 3/5

Cinemalaya 6 Film Logs (Part 2)

Si Techie, si Teknoboy, at si JuanaB.
New Breed

Director: Art Katipunan
Starring: Aurette Divina, Mercedes Cabral, Christian Vasquez

If you’re a comedy and your jokes do not end with laughter coming from the other side of the screen, then you have a big problem. Fail dot com.

Rating: 2/5

Sampaguita, National Flower

New Breed

Director: Francis Xavier Pasion
Starring: real-life sampaguita vendors

A mosaic of half-baked stories set to the tune of melodrama that is usually found in public affairs programs.

Rating: 2/5

Ang Mundo sa Panahon ng Bato

Special Screening

Director: Mes de Guzman
Starring: Ilyong Biernes, Edwin Pamanian, Rissia Quezon, ZJ Vicente

An unsettling portrait of a rural family’s dissolution because of greed for money and power.

Rating: 3.5/5

Ang Mundo sa Panahon ng Yelo

NETPAC Premieres

Director: Mes de Guzman
Starring: Elijah Castillo

Lo-fi poverty porn that runs on clichés.

Rating: 1/5

The Trial of Mr. Serapio

NETPAC Premieres

Director: Khavn dela Cruz
Starring: Teo Antonio, Mike Coroza, Vim Nadera, Jess Santiago

This 40-year old one-act play did not translate well to the screen in the hands of Khavn. It is laughably theatrical, filled with distractive gimmickry and unnecessary fillers.

Rating: 1/5

Poverty Porn and Donor

Poverty porn. I first heard of that term two years ago at the height of the awards season. Many criticized Slumdog Millionaire for putting India in a bad light by exposing its societal ills and abject poverty. Hence, the use of the term poverty porn. We all know what happened next. Despite criticisms, Slumdog Millionaire swept major critic's choice awards and prestigious award-giving bodies including Oscars.

Back home, the term has been used to describe the works of Brillante Mendoza and Jeffrey Jeturian, among others. Their films, like Slumdog Millionaire, were received with great acclaim. Mendoza's Serbis and Kinatay were chosen as part of Cannes' main competition, a feat never been achieved before even by the great Lino Brocka. Meanwhile, Jeturian's Kubrador earned plaudits in Moscow and Brussels. So who can blame Pinoy filmmakers for exploring the same themes as Slumdog Millionaire, Serbis, Kinatay, and Kubrador? Poverty porn seems to be the country's ticket to international film festivals.

What qualifies as poverty porn? Is the criterion purely thematic? Or are style, intention, and exposition determining factors as well? The term is loosely used to refer to films that feed the audience with the horrors of poverty. It puts the spotlight on the dispossessed, the powerless, the working class.

Donor seems cut out for that definition. The main protagonist, Lizette (played by Meryll Soriano), belongs to the bottom of the social rung. She tries to eke a living by selling pirated DVDs in Quiapo. After a raid, she loses her job and finds herself temporarily put behind bars. Along with other jailed vendors, they appeal to the police to let them go. They point out that selling pirated DVDs is better than prostitution, theft, or drug trafficking. There is a smidgen of truth in that statement. But should one settle for the lesser evil, instead of doing what is good? Is poverty an excuse to do bad deeds? Can values be compromised depending on one's social status? There are difficult questions that viewers will face while watching the "underprivileged" life depicted in Donor.

Going back to the story. A job abroad looks promising, but where will she get P20,000 as placement fee? Growing desperate to find money, she decides to take the offer of Busko (Jao Mapa) and Angie (Joy Viado) to sell her kidney to a Jordanian businessman, but here's the catch: she needs to marry him. Apparently, organ transplants between locals and foreigners are prohibited by law. Angie sees no problem with the deal. Anyway, that is just marriage on paper. She is willing to do anything to get her life on track. But will her live-in partner Danny (Baron Geisler) approve it?

Danny is a very unlikable character. He doesn't have a job. He wastes himself in alcohol everyday. He constantly asks for money for "emergencies". He doesn't seem to care about Lizette, her operation, or her marriage with the Jordanian. All he cares about is having a gun. I wonder why Lizette is still with him. She can just ditch him so she can live peacefully, but she just can't. I was initially wondering why Direk Mark wrote such an awful character, but everything made sense in the end.

Some may see the ending as an attempt to merely shock the audience and leave them with a sinking feeling. I, on the other hand, see it as a happy ending. Given that difficult decisions and sacrifices were made, Lizette is finally rewarded. There is justice in this world. In the end, her life is bound to get better because of perseverance and determination.

Poverty porn is not bad per se. Exploitative cinema is. So what if numerous Pinoy filmmakers use the plight of the poor to tell their stories? As long as the intention is to impart an important message or open the eyes of the audience, then the exposé is justified. But if the sole intention is to make the audience depressed through excessive melodrama, then it verges on exploitation.

Yes, Donor is poverty porn and a good one at that. It mirrors the struggle and eventual triumph of the working class.

Rating: 4/5

*published in PEP

Cinemalaya 6 Film Logs (Part 1)

Here are the 10 Cinemalaya 6 films that I've seen so far.

Ang Paglilitis ni Andres Bonifacio
Director's Showcase
Director: Mario O' Hara
Starring: Alfred Vargas, Mailes Kanapi, Danielle Castano, Lance Raymundo

Ang Paglilitis ni Andres Bonifacio is open to numerous interpretations. It is both intriguing and confusing.

Rating: 3.5/5


Ganap na Babae (Garden of Eve)
Opening Film
Director: Rica Arevalo, Ellen Ramos, and Sarah Roxas
Starring: Mercedes Cabral, Sue Prado, Boots Anson-Roa

The festival kicks off with Ganap na Babae and it was an utter disappointment. I can forgive the technical glitches during its premiere. What I can't forgive are the numerous cliches and tasteless metaphors that it employed. Ganap na Babae is a three-part drama that tackles different issues that beset women. It is uneven, convoluted, and poorly constructed.

Rating: 2/5


Donor
Director's Showcase
Director: Mark Meilly
Starring: Meryll Soriano, Baron Geisler

Donor explores cliched themes such as poverty, abortion, and organ trafficking; but it is saved by a fantastic and gory conclusion.

Rating: 3.5/5


Halaw (Ways of the Sea)
New Breed Category
Director: Sheron Dayoc
Starring: John Arcilla, Maria Isabel Lopez, Arnalyn Ismael

Halaw starts off promising. It utilizes real-time to burrow deep into the psyche of Filipinos who plan to illegally cross the Malaysian border. However, the ending is disappointingly bland.

Rating: 3.5/5


Mayohan
New Breed
Director: Dan Louie Villegas and Paul Sta. Ana
Starring: Lovi Poe, Elijah Castillo, Ping Medina

What Mayohan lacks in tight plotting, it makes up for with its stunning visuals and inherent cuteness.

Rating: 3/5


Sigwa
Director's Showcase
Director: Joel Lamangan
Starring: Dawn Zulueta, Zsa Zsa Padilla, Tirso Cruz III, Gina Alajar, Jaime Pebanco, Megan Young, Allen Dizon, Pauleen Luna, Marvin Agustin, Lovi Poe, Jay Aquitania

The tandem of Joel Lamangan and Bonifacio Ilagan came up with a better political drama last year (Dukot). But Sigwa is still good, but not great.

Rating: 3/5


Magkakapatid
New Breed
Director: Kim Homer Garcia
Starring: Ces Quesada, Julio Diaz, Racquel Villavicencio

Magkakapatid is not about judicial killings or warring gangs, but it is as dizzying as Engkwentro, although not even half as good.

Rating: 1/5



Limbunan
New Breed
Director: Gutierrez Mangansakan II
Starring: Jea Lyka Cinco, Tetchie Agbayani, Joem Bascon

Limbunan is too controlled to a fault, too stiff that it feels mechanical.

Rating: 2/5



Two Funerals
Director's Showcase
Director: Gil Portes
Starring: Tessie Tomas, Xian Lim, Benjie Felipe, Mon Confiado, Epi Quizon

Two Funerals is as bad as the studio comedies crafted by Wenn Deramas and Jose Javier Reyes. It is pointless, ridiculous, and simply annoying.

Rating: 1/5


2009 was such a great year for Cinemalaya. Do you remember Ang Panggagahasa Kay Fe, Dinig Sana Kita, Engkwentro, and other great fims? This year, it's a different story. The lineup seems to reek of mediocrity. I haven't seen a film that made me go "wow" yet. I hope Cinemalaya Weekend #2 will give me a better experience. Ironically, the best film that I've seen in Cinemalaya 6 so far is a repeat screening of a 2009 film. See the film below.

The Arrival
ANI: Harvest of the Year's Best
Director: Erik Matti
Starring: Dwight Gaston, Dennis Ascalon, Milton Dionzon

Aside from eight Gawad Urian nods (including Best Picture and Best Direction), The Arrival has not received any other acclaim, simply because not a lot of people have seen it. So I watched the film expecting nothing much and went out of the theatre with a smile on my face. Social realism is the trend nowadays. It is such a shame that Pinoy filmmakers have forgotten how to make feel-good movies. Good thing Erik Matti hasn't.

Dreams deferred can still be dreams fulfilled. The Arrival tells us that even 40-year olds can have a coming-of-age story. Dwight Gaston essays the role of the loser protagonist with a winning combination of deadpan comedy and pathos. This is my favorite performance of the year thus far.