“Pitik-Bulag” marks the comeback of Gil Portes (“Mga Munting Tinig”, “Saranggola”) after a long hiatus in film directing. This film was Graded A by the Cinema Evaluation Board (CEB). A promising credential for a BAD movie.
To add insult to injury, the Movie and Television Review and Classification Board (MTRCB) approved this ‘sexy thriller’ without cuts despite an explicit woman-on-woman sex scene that wasn’t necessary to the script at all. What is wrong with you, people? A film like “Aurora” (megged by Adolf Alix Jr.) received an X-rating for a non-sensual rape scene between Rosanna Roces and Kristoffer King, while this got approved. You must be kidding me!
Aside from the titillating scenes, this film has nothing left to offer. Shallow story. Cheesy dialogue and equally cheesy delivery from leads Paloma and Marco Alcaraz. Wooden acting, with the exception of Victor Neri. Awful score. Dry screenplay thriving on poverty clichés and plain stupidity.
My word of advice: skip it! Not unless you believe that CEB has taste.
SPOT Review: Ang Panggagahasa Kay Fe (The Rapture of Fe) by Fidel Antonio M. Medel
Although “Ang Panggagagahasa Kay Fe” is technically Alvin Yapan’s debut full-length feature, he is no stranger to film production. He has been involved in some critically-acclaimed films of the late like “Huling Pasada”, Cinemalaya 2008 finalist (as Assistant Director); “Rolyo”, Best Short Film in Cinemalaya 2007 (as Writer/Director); and “Tambolista”, Cinema One Originals 2007 finalist (as Supervising Producer). Now on his own, he concocts a tale that tackles domestic abuse and romanticizes Philippine mythology. An odd combination, but gripping nevertheless.
When an OFW (Irma Adlawan in the titular role) goes home to her rural township, she finds her husband (Nonie Buencamino as Dante) seemingly hostile of her return. His unpredictable pits of anger often results to acts of physical violence, but Fe occasionally turns over the other cheek. Her resilience, however, is not rewarded with hugs and kisses, but with more blows and punches. Before “Ang Panggagahasa Kay Fe” turns into a full-blown drama about a battered wife, the real plot unfurls itself in a mystifying yet subtle fashion.
The “panggagahasa” mentioned in the title does not only refer to the sexual kind. It encompasses all other acts that strip a woman of her dignity, making her vulnerable to consider quick fixes no matter how implausible they may seem to be. In this film, Fe struggles to break away from a bad relationship. Dante’s abusive actions, coupled with his infidelity, forced her to seek another man who will save her from her miseries. The damsel-in-distress finds her knight-in-shining-armor in a former suitor (TJ Trinidad as Arturo). But due to his obligations to his kin and to their family business, eloping with Fe is not possible and practical. When the men in real life cannot stand up for her, she turns to a mysterious suitor who offers a fantasy of an escape.
The centerpiece of this film is Fe. With Yapan’s scripting dexterity (he has won several Palanca awards for his short fiction), the protagonist transcends the digital medium and becomes a real person. She is strong but frail, determined but afraid. The depth and nuances of her character are made apparent with the impeccable writing. Aside from Fe, the development of the roles of Dante, Arturo, and even Arturo’s ill father are supported by underlying stories and consistent characterization. We sympathize with the plights of these characters as if we know them on a personal level.
The concept may hit the A mark, but if poorly executed could still spell a disaster. Luckily Yapan knows what he is doing. In “Ang Panggagahasa Kay Fe”, he mans the camera with an artistic vision manifested in every frame and every angle. His shots linger, but not to the point of static cinematography (which I hate by the way). His close-ups suggest subdued intimacy to his subjects whether living or inanimate. His camera glides through the scenes revealing just enough without giving away too much.
The film’s strongest tool in its arsenal is the screenplay. The story is well researched. Although deeply rooted in social realism, it was able to marry reality with local lore. Much of its appeal banks on the mystery surrounding Fe’s secret admirer who may or may not exist after all. To illustrate this, the filmmaker used repeated scenes and overlapping sequences and lent them a trance-like quality in order to confuse viewers as to which is imagined and which is real. The latter part of the film is puzzling and may require a second viewing, while the ending is open to various interpretations.
This film is what Filipino cinema should be about – rich in cultural authenticity and faithful to present-day circumstances. It is relevant, original, and stunning. If “Ang Panggagahasa Kay Fe” is any indication of the quality of films in this year’s serving of indie gems at Cinemalaya, then things are looking up for the “big, small film festival”. Catch Cinemalaya Cinco at the Cultural Center of the Philippines (CCP) from July 17 to 26.
THE GIST: The Decepticons return to Earth, resurrect Megatron, and plan to take over the Earth. But when there’s trouble, who you gonna call? Ghostbusters! Oops, wrong movie.
MSNBC SAYS: A cinematic avalanche in which Michael Bay eschews anything that resembles plot or characters and instead screams at the audience's eyes for two and a half hours.
I SAY: We all should know by now that the name Michael Bay is synonymous to massive explosions and larger-than-life encounters. With the second installment to the Transformers saga, Bay does not only blow everything up, he also gives us a mouthful of military BS. Despite the high-octane action, “Transformers 2” should have just stayed in the junkyard instead or wreaking havoc in our cinemas. I’m still trying to figure out why I sung praises for the first movie. What got into me?
When I read the synopsis of “My Fake American Accent (MFAA)”, I automatically felt curious about it. I have friends working in this multi-billion dollar industry that goes by fancy names like contact center, business process outsourcing, and call center. “MFAA” is made up of call center vignettes sewn loosely together to make a movie that resembles a mini series so bad it has to be pulled out from air after its pilot episode.
“MFAA” is sloppily made with extremely low production value. The background is too noisy that the dialogue is often inaudible. The musical score is amateurish. The sound volume is inconsistent. The film also suffers from poor editing. It is full of clutter, as if it keeps a collection of unnecessary scenes. Mindless shots are also rampant. Meanwhile, the script is so badly written that it turns out to be more irate than those stupid American callers. The punch lines are bland and the dialogue is dreadful. Acting-wise, the Team Leader who is hungry for promotion as an Operations Manager is the only one who can act. The rest are merely saying their lines, and they couldn’t even say it right. In one sentence: “MFAA” is a high school project pretending to be a movie.
This movie will go down as Cinemalaya’s worst film ever. Even call center will roll their eyeballs over the misrepresentations and the stereotypes it projected on screen.
It’s the time of the year again when we can use and misuse French phrases such as je t’aime, bonuit, bonjour, and even voulez-vous coucher avec moi.
I found out about the 14th French Film Festival at Shangri-La Cineplex five days late, which left me with little time to catch up with the films screening this year. So as a desperate attempt to partake in as much Parisian fare as I could, I declared a French movie marathon this weekend (the last two days of the filmfest, June 13 and 14). I saw seven films in two days, which shouldn’t have been possible if I have to line up each time to get myself a ticket. Thank God for Jo’s wonder ‘pass’.
BRINGING CANNES TO MANILA
The French Film Festival also took a holiday on June 12 to pave way to Pinoy films honored during the Cannes Film Festival. True to their promise to bring Cannes to Manila, five films that graced the coastal city of France were shown on the 111th year of Philippine independence. These are Raymond Red’s “Anino” (Cannes 2000 Palme d’Or winner in the short film division), “Manong Maong” and “Sabongero” (short film entries in Cannes 2009), “Serbis” (Brillante Mendoza’s controversial film that competed for the Palme d’Or in 2008), and “Independencia” (Raya Martin’s competing film for the Un Certain Regard section of Cannes 2009).
We all know how reliable the cinematic sensibility of the Movie and Television Review and Classification Board (MTRCB) is, pun intended. And here they go again. One of the festival’s films, Benoit Jacquot’s “À Tout de Suite (Right Now)”, was rated X by the Board, which means that it cannot be shown on theatres. Moreover, “Le Pianiste (The Piano Teacher)” by Michael Haneke (this year’s winner of the Palme d’Or for “The White Ribbon”) almost got banned. MTRCB passed it on the condition that it will only be screened once. MTRCB doesn’t care about the film’s merits or the importance of the graphic presentation of sex and/or violence in setting the film’s mood. They merely slap ratings and censor scenes without looking at the bigger picture. ‘Nuf said, Save that for another blog.
PERIOD FILMS
The first French film that I saw from the festival is the period comedy “Ridicule” by Patrice Leconte. This Academy Award nominee for Best Foreign Language Film in 1996 traces the struggles of a poor French lord trying to get royal backing on a drainage project. But in order to get the favor of the king, he needs to dip his toes in the corruption and sarcasm (which they refer to as ‘wit’) that plague the court. I am not a fan of period films, and by all means, I am not amused by their fancy way of talking and funny costumes. Men in wigs and in make-up baffle me. But this farce is surprisingly absorbing. You’ll easily get lost in the mind games that defined the time.
Meanwhile, David Vigne’s “Jean de la Fontaine” follows the famous French fabulist’s confrontation with Colbert of Louis XIV’s court. Unlike “Ridicule”, this film lacks wit and substance.
Ratings: Ridicule (1996) – 3/5 Jean de la Fontaine (2007) – 2/5
SURPRISES (THE GOOD, THE NOT-SO GOOD, AND THE BAD)
Abdel Kechiche dissects teenage romance and high school drama (the superficial kind that is) with the hilarious but sharp “L'esquive (Games of Love and Chance)”. In high school, the trivial becomes life and death situations and verbal squabbles are relentless. Sandwiched in the funny scenes is a disturbing and long sequence that felt like a forceful punch in the gut.
Winner of the Grand Jury Prize during the 2006 Cannes Film Festival, Bruno Dumont’s “Flandres” is a dark cross-examination of the simplicity of rural life and the horrors of war. The film banks on shock value and implants unpleasant images of abuse into our minds.
My favorite film from last year’s French Film Festival is Christophe Honore’s “Les Chansons d’Amour (Love Songs)”, the quirky modern romance musical. He returns this year with an earlier work entitled “17 fois Cécile Cassard (17 Times Cecile Cassard)”. The film embodies the same electricity as “Love Songs” – the hyper-kinetic music and the stylized camerawork. However, Cecile Cassard’s life is rather empty. All she did the entire running time of the movie is to feel sorry for herself and fumbles in rebuilding her life. What a letdown.
“Les quatre cents coups (The 400 Blows)” is the breakthrough film of Nouvelle Vague director Francois Truffaut. This classic is about a delinquent juvenile’s slow descent to petty crime. An admirable work that is sure to strike a chord with everyone. Meanwhile, Claude Miller’s “Un Secret (A Secret)” is a Holocaust family drama that is beautifully shot and undeniably moving.
Ratings: The 400 Blows (1959) – 3/5 A Secret (2007) – 3/5
That will do it for now. Till the next French Film Festival. Au revoir.
PEP Review: “Independencia” defines the price of independence by Fidel Antonio M. Medel
Much has been said about the illustrious history of defiance of the Filipino people against foreign imperialists. A number of films had been made to commemorate the heroism of the Rizal’s and the Bonifacio’s. They have paid the price of independence with suffering and eventually with their own life. But what is independence for the common Filipino? The war is not always punctuated with mighty pens and blood-drenched bolos. The war also echoes faint cries of rebellion and unheard affliction of the oppressed. Raya Martin’s latest body of work, “Independencia”, brings us back to the time when independence is a noble but unattainable concept. Instead of portraying the forefront of the war for freedom, Martin invites us to look at the struggle from another angle.
After reaping accolades for “Maicling Pelicula Nang Ysang Indio Nacional (O Ang Mahabang Kalungkutan ng Katagalugan)” and “Autohystoria”, Martin finds himself in the world’s most prestigious film festival this year. His latest film, “Independencia”, competed in the Un Certain Regard section of the Cannes Film Festival. Un Certain Regard, which literally translates to “a certain glance”, is a parallel competition to the Palme d’Or (the festival’s top plum to which Brillante Mendoza’s “Kinatay” competed for) that aims to discover young talents and feature audacious works by extending a financial grant to aid the winning film’s distribution in France. Compared to other movies being screened in the Cannes Film Festival, the competing works in the Un Certain Regard section are more experimental and avant-garde in their approach to filmmaking.
“Independencia” is mostly a visual fare with an allusive story characterized by Philippine culture and history. A strong-willed mother (Tetchie Agbayani) and his son (Sid Lucero) were compelled to leave town to escape from the sounds of war. The family’s solitary existence was cut short when the son found an abused woman (Alessandra de Rossi) unconscious in the forest. Together, they took refuge in a derelict hut and toiled to build a shelter and a home. In the jungle, they may be free citizens who could do anything they wish unlike the rest of the population who are at the mercy of the whims of the American troops. However, their freedom is but artificial. They are confined in a claustrophobic world akin to a subconscious prison. Moreover, they are enslaved by their pasts. The lush tropical forest is unwelcoming. Nature is raging with fury. And danger is imminent. The family is a portrait of freedom-loving Filipinos willing to brave the odds just to have a taste of independence. But they too paid the price.
The look and feel of “Independencia” follows the same vein as “Indio Nacional”: it aims to imitate the cinematic style of a particular period. Since “Independencia” is set during the early years of the US colonization, Martin shot the entire film in vivid black-and-white inside a studio and reconstructed a forest setting by dressing it with potted plants, painted backdrops, simulated rain, flying sparrows, and a flowing river. The idea is to create a realistic fake forest to emphasize the artificiality of the so-called independence the characters are enjoying. To further imbibe us into the era, the actors spoke in old-fashioned Tagalog. Their dialogues are teeming with superstition, sayings, and tales inherited from their ancestors. The cultural element is so thick (may be to a fault) that it is almost palpable.
Martin is not for everyone. Even cinephiles are polarized by his films. People look at his films as either revolutionary or pretentious. But for those who are seeking alternative cinema, this visionary filmmaker may pique your curiosity.
The film had its Philippine premiere during the 14th French Film Festival held at Shangri-la Plaza Mall on the 111th day of Philippine Independence.
Welcome to the Steven Soderbergh’s unerotic world of high profile hustling. In The Girlfriend Experience, the award-winning director of Erin Brockovich and Traffic introduces us to Chelsea (played by adult film star Sasha Grey), a high-end Manhattan escort who charges her clientele $2,000 per hour to give them “the girlfriend experience”. His clients, mostly businessmen, treat her to expensive restaurants and luxury hotels while they vent out their frustrations about the stock market or share their problems regarding their wife and kids. Meanwhile, Chelsea listens to them, offers companionship, and makes them feel loved even for just a short while. Sex is not necessarily required, but allowed.
Utilizing an experimental technique, Soderbergh places his camera with a relative distance to his subjects. Coupled with a non-scripted-but-scripted style of narration, the film evokes a voyeuristic feel. During her ‘transactions’, Chelsea gives her patrons what they want but her emotions are secured behind walls of hard bricks. Impenetrable. Well, almost. Because underneath her Michael Kors dress and expensive jewelry is a fragile woman crushed by the consequences of the choices she had made.
The lo-fi production worked to Soderbergh’s benefit. It’s hard not to recognize the style and technical merits of the film. But it is hard to tell if there is anything else beneath the gimmickry and experimentation. The Girlfriend Experience happens to be too vague in its intentions, and the non-linear overlapping of sequences definitely does not help in elucidating the movie’s focal points.
TAGLINE: See it with someone you **** DETROIT NEWS SAYS: After it's over, it quickly vanishes from memory, and viewers are on to the next transaction.
In what is touted by Variety as the “biggest heavyweight auteur smackdown in recent years”, Cannes did not fail to leave critics and everyone else in awe this year. This started with the announcement of the lineup featuring some of the most celebrated filmmakers in world cinema, followed by the 12-day screening bonanza that got critics throwing rants and raves over the likes of “Antichrist” (wherein people applaud, walked out, and even threw up), “Inglorious Basterds” (for not living up to the name of Quentin Tarantino’s first Cannes competing entry, “Pulp Fiction”), and “Kinatay” (named by Roger Ebert as the worst film in the history of Cannes Film Festival).
Brillante Mendoza, director of “Kinatay”, expected that his movie would draw contrasting remarks but none could have prepared everyone for his surprise victory. Brillante Mendoza was hailed as Cannes’ Best Director besting Michael Haneke (director of this year’s Palme d’Or-winning film), Jane Campion, Lou Ye, Lars Von Trier, Pedro Almodovar, Park Chan-Wook, Alain Resnais, Ang Lee, Ken Loach, and Quentin Tarantino.
“Kinatay" follows 24 hours in the life of a trainee policeman. Together with his corrupt colleagues, they pick up a hooker. She was tortured, raped, killed, and was eventually hacked to pieces using blunt kitchen tools.
Sukhdev Sandhu of Telegraph UK calls the film: "a fiercely moral and horribly unforgettable denunciation of societal corruption." Meanwhile, Jay Weissberg of Variety says: "the graphic nature of the presentation is so coldly matter-of-fact and overtly in-your-face that auds are unlikely to feel anything other than anger at being subjected to such unnecessary scenes.” Aside from calling “Kinatay” Cannes’ worst, Ebert has this to say to the critics who sing praises to Mendoza: "There will be critics who fancy themselves theoreticians, who will defend this unbearable experience, and lecture those plebeians like me who missed the whole Idea. I will remain serene while my ignorance is excoriated. I am a human being with relatively reasonable tastes. And in that role, not in the role of film critic, I declare that there may not be ten people in the world who will buy a ticket to this movie and feel the money was well spent."
Despite it all, let us hold our judgment till we see the film ourselves. For the moment however, let’s celebrate Mendoza’s win and probable rise as the most controversial Filipino auteur.
The complete list of the 2009 Festival de Cannes winners is below:
MAIN COMPETITION
Palme d’Or: “The White Ribbon” directed by Michael Haneke Grand Prix: “The Prophet” directed by Jacques Audiard Best Director: Brillante Mendoza, director of “Kinatay” Special Jury Prize: Alain Resnais, director of “Wild Grass” Best Screenplay: “Spring Fever" written by Feng Mei Best First Feature: “Samson and Delilah” directed by Warwick Thornton Best First Feature (Special Mention): “Ajami” directed by Scandar Copti, Yaron Shani Jury Prize: “Fish Tank” directed by Andrea Arnold and “Thirst” directed by Park Chan-Wook Best Actress: Charlotte Gainsbourg, “Antichrist” Best Actor: Christoph Waltz, “Inglorious Basterds”
UN CERTAIN REGARD
“Dogtooth,” Greece, Yorgos Lanthimos - WINNER “Police, Adjective,” Romania, Corneliu Porumboiu - JURY PRIZE “Nobody Knows About the Persian Cats,” Iran, Bahman Ghobadi - SPECIAL PRIZE “Le Pere de mes enfants,” France-Germany, Mia Hansen-Love - SPECIAL PRIZE
Sanriel Ajero, or Sani to his friends, is a fellow movie buff. He is a ‘cheerleader’, a Cinemanila actor (which I just recently discovered), and a future CPA (that is if he gets lucky… again). Although we share the same passion for films, our tastes differ. You see, my friend likes ‘boring’ movies or in his words, films that are atmospheric and with controlled pacing. In contrast, I adore films that are kinetic and fast-paced. Life itself is already boring, so why not spice it up a little and accelerate it with face-numbing speed for the silver screen. Although we share the same gusto for “Wall-E” and “Slumdog Millionaire”, our opinions move opposite ways most of the times. “The Wrestler”, “Ploning”, and “In Bruges” are cases in point.
And so I challenged myself to watch some of his favorite films of 2008 to see how differently we see movies. You can read about Sani’s favorite films of 2008 here.
DOUBT RATING: 3/5 DIRECTOR: John Patrick Shanley TAGLINE: There is no evidence. There are no witnesses. But for one, there is no doubt. BEST LINE/S: Doubt can be a bond as powerful and sustaining as certainty. STARRING: Meryl Streep, Amy Adams, Philip Seymour Hoffman, Viola Davis THE GIST: When a traditional nun accuses a compassionate priest of sexual harassment, a young nun and the alleged victim’s mother are caught in the middle of the search for truth. SANI SAYS: More than the major issue of doubt, we feel the ever-persistent presence of the call for change, however metaphorical, throughout the film. I SAY: Verbal crossfires. Smoldering performances. Streep. Adams. Hoffman. These are the reasons why you have to see this talky drama.
HUNGER RATING: 3.5/5 DIRECTOR: Steve McQueen (debut film) TAGLINE: An odyssey, in which the smallest gestures become epic and when the body is the last resource for protest. STARRING: Michael Fassbender THE GIST: The last weeks of IRA hunger striker Bobby Sands, before completely succumbing to death in Northern Ireland’s Maze Prison, to protest his status as a political prisoner. SANI SAYS: A film of both poignant substance and cinematic flair (not to mention the ridiculously vigilant attention to details), the film paraded a series of montages that will stick to our wits, no matter how bad we want them out. I SAY: An unsettling portrayal of the resilience of man and the power of human determination. There is no other film as disturbing and as shocking. A purely visual spectacle that you should see at your own risk.
IN SEARCH OF A MIDNIGHT KISS RATING: 4/5 DIRECTOR: Alex Holdridge (debut film) TAGLINE: It’s not just another kiss. STARRING: Scoot McNairy, Sara Simmonds THE GIST: On New Year’s eve, everyone wants to seal the celebration with a pucker on the lips. A romantic gesture set against the blazing fireworks and deafening merriment. But when you’re single, it’s a different story. Thank God for the Internet! SANI SAYS: The players in this film never seem stripped off their humanity; they actually feel genuinely human – confident but ashamed, willing but timid, intelligent but flawed. I SAY: Probably, the most feel-good and most kilig film I’ve seen recently. Using social networking sites and that New Year’s eve kiss as a backdrop, the film pits romanticism against pragmatism and invites us to look into how modern dating goes with a hopeful heart and a balanced judgment. Filled with spontaneity, tenderness, hilarity, and sharpness, it will inspire you to take a chance with love… again.
HAPPY-GO-LUCKY RATING: 2.5/5 DIRECTOR: Mike Leigh (Vera Drake) TAGLINE: The one movie this fall that will put a smile on your face. STARRING: Sally Hawkins, Eddie Marsan THE GIST: A character study about an overly optimistic and uber-jolly Londoner. SANI SAYS: On the surface, we may laugh with its wry humor; but we know deep down, it is as bitingly painful as any of Leigh’s family tragedies I SAY: Despite some funny scenes, Poppy’s life is rather uninteresting and uneventful.
PINEAPPLE EXPRESS RATING: 3/5 DIRECTOR: David Gordon Green (Snow Angels, All the Real Girls) TAGLINE: Put this in your pipe and smoke it. BEST LINE/S: Prepare to suck the cock of karma! STARRING: Seth Rogen, James Franco, Danny McBride THE GIST: A process server and his pot dealer get themselves involved in warring drug syndicates. SANI SAYS: We feel like dragged into another of Judd Apatow’s crazy antics, but in actuality, when the drug starts to kick in, we join in, get high, and feel like one for the ride aboard the Pineapple Express. I SAY: Unlike others who think this is one of the greatest comedies of the late, I only see it as a silly and nonsensical yarn. Perfect to watch with beer buds and BFFFs. Read: best fucking friends forever (see, you learn something new everyday).
THE FALL RATING: 3/5 DIRECTOR: Tarsem (The Cell) TAGLINE: A little blessing in disguise BEST LINE/S: What a mystery this world, one day you love them and the next day you want to kill them a thousand times over. STARRING: Catinca Untaru, Lee Pace THE GIST: A heartbroken stuntman with a broken limb tricks a naïve little girl into stealing morphine inside the hospital so that he could commit suicide. Believe me, that’s just the boring part. SANI SAYS: Tarsem spent the last 4 years to paint this picture, and mapped out his set from 18 different countries over the world. This ended up in a maddeningly gorgeous gamut of glorious colors and beautiful imagery. I SAY: The visual tapestry Tarsem clothes this epic makes you forgive his shortcomings in the storyline department. Where else can you find gracefully swimming elephants, grandiose labyrinths, majestic costumes, and a peek into 18 countries in 80 seconds?
CHUGYEOGJA (THE CHASER) RATING: 3.5/5 DIRECTOR: Hongjin-Na TAGLINE: The hunter and the hunted, the ultimate chase begin. STARRING: Jung-woo Ha THE GIST: A pimp tracks down a psychotic serial killer responsible for the demise of his girls, but finding the suspect is not enough. SANI SAYS: The director permeates the air with tension, infuses some really disturbing images, and scares the hell out of us with his shockers. All these he gracefully communicates through a low-key pace, without ever losing a sense of urgency. I SAY: In this crime saga, the murderer is no longer being hunted down. In fact, the police already captured him. However, they don’t have enough evidence to refute his innocence.
DEAR ZACHARY: A LETTER TO A SON ABOUT HIS FATHER RATING: 3/5 DIRECTOR: Kurt Kuenne THE GIST: A documentary for a son whose father was murdered by his own mother. What's worse is that this kid is under the custody of his deranged mom. SANI SAYS: The film, in staging the web of the many characters involved in the story of the Bagbys, used fast and rapid edits, that you’ll be blindsided to find your emotions without any possible control. I SAY: Both devastating and uplifting, this film tackles so many subjects and touches a number of emotions with its brief running time. It speaks of justice gone astray, human will and determination, politics, and above all, love and family. Although the buildup is subtle, its effect possesses power beyond words.
5 CENTIMETERS PER SECOND (BYÔSOKU 5 SENCHIMÊTORU) RATING: 3/5 DIRECTOR: Makoto Shinkai TAGLINE: A chain of short stories about their distance. THE GIST: This story about growing apart and unrequited love is broken down into three separate segments centered on Tataki Ono in different points of his life. SANI SAYS: Shinkai’s style is more on the subtle, gloomy, low-key approach. His careful camerawork flows from the screen directly to one’s core. His animation is stunning and fluid, coupled with a framing so spotless, it will sweep you off your feet. I SAY: This poignant anime uses the first person point-of-view narration in verbalizing the uncertainty and longing the characters feel as they are helpless against professing their heart’s desire. The style gets tired halfway through the second segment but don’t fret. There is hope in the last ten minutes. Damn that ending song for making me teary-eyed!
STARRING: Chris Pine, Zachary Quinto (Sylar of Heroes), Eric Bana, Zoe Aldana, Anton Yelchin, John Cho, Karl Urban, Simon Pegg, Winona Ryder
THE GIST: The maiden voyage of the USS Enterprise is disrupted when an advanced Romulan space ship attacks the planet Vulcan and threatens the United Federation of Planets. It is the task of the young crew of seven to save the day.
BOSTON GLOBE SAYS: Trading on affections sustained over 40 years of popular culture, Star Trek does what a franchise reboot rarely does. It reminds us why we loved these characters in the first place.
I SAY: Witty dialogue, wormholes opening in time-space subplot, excellent cast, comic punch lines, sci-fi storyline, and larger-than-life special effects made this Star Trek reboot a intergalactic fare to be seen and enjoyed. I wouldn’t be surprised if this turned out to be the best US summer blockbuster of the year.
STARRING: Hugh Jackman, Liev Schreiber, Danny Huston, Lynn Collins, Taylor Kitsch, Will.I.Am, Ryan Reynolds, Daniel Henney
THE GIST: As prequel to the X-Men trilogy, the film introduces us to the origins of Wolverine. Duh?
DAILY VARIETY SAYS: Noisy and impersonal, the film bears all the marks of a work for hire, conceived and executed with a big budget but little imagination.
I SAY: Not invincible to superhero movie clichés and some technical glitches, but is an ultra-cool film nonetheless.
Film critic mode off. Fan boy mode on. Here are 7 reasons why you should watch “X-Men Origins: Wolverine”: 7. You’ve already seen Jean Grey. Now, meet Logan’s first love who also happens to be a mutant. 6. Ever wondered how Professor Charles Xavier looks like when he was younger? Here’s your chance. 5. Trace the origin of the Adamantium claws from brittle and bony to skull piercing. 4. Ups the ante for sibling rivalry. Here’s a toast to Wolverine’s archrival, Sabertooth. 3. Meet other mutants: Blob, John Wraith, Agent Zero, Deadpool, Bolt, Kayla Silverfox, and a host of others, including a girl whose skin turns into diamonds. 2. Introducing Weapon XI – the genetically altered anti-hero who possesses Logan’s regenerative powers, Cyclop’s optic blasts, Deadpool's martial arts ability, and John Wraith's teleportation skill. He is dubbed as the ultimate mutant killer. 1. And the top reason why you should watch “X-Men Origins: Wolverine”. To see the COOLEST X-Men to finally grace the silverscreen – Gambit! (Sorry Wolvie. I know it’s your movie, but Gambit is waaaay cooler.)
Brillante Mendoza (Masahista, Foster Child) is back at the most prestigious film festival in the world, the Cannes Film Festival. His foray into bagging the festival’s top plum, the Palme d’Or, did not stop with last year’s “Serbis” amid the mixed reviews and intrigues that surrounded it. He is once again invited to participate in the Main Competition where he is joined by celebrated auteurs such as Lars Von Trier (Dancer in the Dark, Breaking the Waves, Dogville), Michael Haneke (Funny Games, Cache), Park Chan-Wook (Oldboy), Pedro Almodovar (Volver, All About My Mother), Johnnie To (Sparrow), Quentin Tarantino (Pulp Fiction, Kill Bill), and Ang Lee (Brokeback Mountain). Now, that is some serious competition right there.
Just by the title alone of Mendoza’s new film, you will know that his penchant for graphic and gritty storytelling does not stop with highly sexual, rundown moviehouse film “Serbis”. His new film entitled “Kinatay (The Execution of P)” is about hitmen who dismember their victims. Sounds like a Haneke or Chan-Wook film to me. “Kinatay” stars Coco Martin, John Regala, Julio Diaz, Jhong Hilario, Lauren Novero, and Maria Isabel Lopez.
Aside from Mendoza, two other Filipino filmmakers will grace the coastal city of France, namely: Raya Martin (Now Showing, Autohystoria) and Adolfo Alix, Jr. (Adela, Donsol). Their collaborative work, “Manila”, is said to be a tribute to two of the country’s greatest directors: Lino Brocka and Ishmael Bernal. It’s a two-part movie divided into day and night starring Piolo Pascual (Yes, Piolo, I’m not kidding!).
Meanwhile, Martin’s solo effort entitled “Independencia” will be screened in the Un Certain Regard section, a parallel competition dedicated to “young talent, innovative, and audacious works”. This period film shot in stark black and white is topbilled by Sid Lucero, Alessandra de Rossi, and Tetchie Agbayani.
Also to watch out for is the opening film of the festival, Pixar’s “Up”. In addition, Heath Ledger’s final film (not “The Dark Knight”) will also make its premiere at Cannes. “The Imaginarium of Doctor Parnassus” also stars Johnny Depp, Colin Farrell, and Jude Law. Other notable filmmakers who will be in exhibition include Cristian Mungiu (4 Weeks, 3 Days, and 2 Days), Sam Raimi (Spider Man), and Michel Gondry (Eternal Sunshine of the Spotless Mind, The Science of Sleep).
Here’s the complete line-up of the 2009 Cannes Film Festival:
OPENING FILM: Up, dir. Pete Docter and Bob Peterson, US
CLOSING FILM: Coco Chanel & Igor Stravinsky, dir. Jan Kounen, France
IN COMPETITION Bright Star, dir. Jane Campion, Australia-UK-France Spring Fever, dir. Lou Ye, China-France Antichrist, dir. Lars Von Trier, Denmark-Sweden-France-Italy Enter the Void, dir. Gaspar Noe, France Face, dir. Tsai Ming-liang, France-Taiwan-Netherlands-Belgium Les herbes folles, dir. Alain Resnais, France-Italy In the Beginning, dir. Xavier Giannoli, France A Prophet, dir. Jacques Audiard, France The White Ribbon, dir. Michael Haneke, Germany-Austria-France Vengeance, dir. Johnnie To, Hong Kong-France-US The Time That Remains, dir. Elia Suleiman, Israel-France-Belgium-Italy Vincere, dir. Marco Bellocchio, Italy-France Kinatay, dir. Brillante Mendoza, Philippines Thirst, dir. Park Chan-wook, South Korea-US Broken Embraces, dir.Pedro Almodovar, Spain Map of the Sounds of Tokyo, dir. Isabel Coixet, Spain Fish Tank, dir. Andrea Arnold, UK-Netherlands Looking for Eric, dir. Ken Loach, UK-France-Belgium-Italy Inglourious Basterds, dir. Quentin Tarantino, US Taking Woodstock, dir. Ang Lee, US
UN CERTAIN REGARD Samson & Delilah, dir. Warwick Thornton, Australia Adrift, dir. Heitor Dhalia, Brazil The Wind Journeys, dir. Ciro Guerra, Colombia Demain des l'aube, dir. Denis Dercourt, France Irene, dir. Alain Cavalier, France Independancia, Raya Martin, Philippines-France-Germany Le Pere de mes enfants, dir. Mia Hansen-Love, France-Germany Dogtooth, dir. Yorgos Lanthimos, Greece Nobody Knows About the Persian Cats, dir. Bahman Ghobadi, Iran Eyes Wide Open, dir. Haim Tabakman, Israel Mother, dir. Bong Joon-ho, South Korea The Silent Army, dir. Jean van de Velde, Netherlands To Die Like a Man, dir. Joao Pedro Rodrigues, Portugal Police, Adjective, dir. Corneliu Porumboiu, Romania Tales from the Golden Age, dir. Hanno Hofer, Razvan Marculescu, Cristian Mungiu, Constantin Popescu, Ioana Uricaru, Romania Tale in the Darkness, dir. Nikolay Khomeriki, Russia Tzar, dir. Pavel Lounguine, Russia-France Nymph, dir. Pen-ek Ratanaruang, Thailand
SPECIAL SCREENINGS Petition, dir. Zhao Liang, China L'epine dans le Coeur, dir. Michel Gondry, France Min ye, dir. Souleyumane Cisse, France-Mali Jaffa, dir. Keren Yedaya, Israel-France-Germany Manila, dir. Adolfo Alix Jr., Raya Martin, Philippines My Neighbor, My Killer, dir. Anne Aghion, US
OUT OF COMPETITION The Imaginarium of Doctor Parnassus, dir. Terry Gilliam, Canada-France The Army of Crime, dir. Robert Guediguian, France Agora, dir. Alejandro Amenabar, Spain
MIDNIGHT SCREENINGS A Town Called Panic, dir. Stephane Aubier, Vincent Patar, Belgium Ne te retourne pas, dir. Marina de Van, France-Belgium-Luxembourg-Italy Drag Me to Hell, dir. Sam Raimi, US
DIRECTOR: Justin Lin (The Fast & The Furious: Tokyo Drift)
TAGLINE: New model. Original parts.
THE GIST: Dominic Toretto (Vin Diesel) wants to avenge the death of his girlfriend (Michelle Rodriguez). Brian O’Conner (Paul Walker) is out to arrest a notorious heroin dealer. These nemesis rivals need to go back to LA’s underground street racing circuit to fulfill their mission.
DAILY TELEGRAPH SAYS: Early, pre-credit scenes are so meticulously choreographed and expertly edited that you just cannot wait for the real film to begin. However, minutes later, you can't help wishing the thing would just hurry up and finish.
I SAY: Like a car crashing against an 18-wheeler truck, Fast & Furious either spirals out of control and gets thrown away from the highway or gets crushed in the collision.
Although independent filmmaking is said to provide cutting edge and modern cinema for Filipinos, filmmakers are still caught up in a hangover infinitum caused by the classics. Most of the times, they can’t help themselves but genuflect to the past by borrowing clichéd and overused elements from old school movies. And although we already have a handful of these dramas, especially those about the poor and their travails in life, some directors just don’t know when to quit.
To label “Pasang Krus” as a tearjerker is a disgrace to the term. The film is just grossly sentimental and overly dramatic. Here, director Buboy Tan (Ataul for Rent) tries to hit two birds with one stone by portraying the struggles of a misery-magnet mother and using the crucifixion of Christ as a metaphor for her sacrifices in the name of her family. It’s a Mother’s Day and Lenten Season film rolled into one, but is effective as neither.
At the centerpiece of this drama is Herminia (Rosanna Roces), the mother of five who ran away from the wrath of the provincial congressman who wants to banish her family out of greed. However, the congressman’s minions killed her husband while two of her children got lost in the escape. Fifteen years forward, she is trying to make ends meet for her three children – Jess (Ketchup Eusebio), a snatcher who gets involved in a kidnapping incident; Marco (Christian Burke), in jail for murdering his wife; and Lucas (Beejay Morales), the youngest troublemaker in the brood.
Herminia swims in a cesspool of gloom and despair as unfortunate incidents strike her endlessly. And that’s the major problem of the film. It feels too unreal. How can a mother who is morally grounded and selfless be this unlucky? Blame it to the fickleness of fate, or should I say, the whimsy pen of the screenwriter who seems to takes pleasure from seeing Herminia suffer. But no matter what the characters go through, it’s difficult to empathize with them. The characters are wooden and lack depth. Likewise, the portrayal of the poor is governed by stereotypes and self-indulgence. It constantly makes up excuses for the crimes committed by the poor by portraying them as helpless and unable to break free from the clutches of poverty. Making it appear that happenstance, not human will, is the be-all and end-all of all incidents in life.
Towards the end of the film, the filmmaker finally decides to put an end to the woes of her heroine by detouring from Depression Lane to a shortcut leading to a happy ending. Abel (Joross Gamboa), the long lost eldest son of Herminia suddenly (and I mean suddenly) comes into the picture to save his family from being submerged in a muck of hopelessness by seemingly providing the ultimate solution to end all their problems. It’s like being miraculously saved by artificial luck or more aptly, by the machinations on fate. It’s a miracle too remote to be believable and a kind of resolution the characters did not earn at all.
“Pasang Krus” offers nothing but a rehash of melodramas about the poor. With scenes of nonstop moping and crying, this could very well retire daytime soaps. And that is not a compliment.
One hour ago, I was inside Glorietta 4 Cinema 3 attending the premiere of “Dragonball Evolution”. As I walk out of the movie house, it felt as if my childhood is flushed down the drain. “Dragon Ball” (spelled as two words in the original Japanese series, take note of that Hollywood) is not just a hit TV series or a best-selling comic book. It’s a phenomenon. It’s my childhood. Days spent anticipating each episode. Daily allowances put aside to save money to buy action figures and other memorabilia. Moments spent playing Goku and beating the hell out of younger brother as if he is Cell. And now, this movie adaptation comes along to besmirch my fond memories of my favorite anime ever. OK, I’m starting to sound like an abused kid. Inhale. Exhale.
When buzz about “Dragon Ball” being considered to be given a red carpet treatment by Hollywood execs started to circulate in the grapevine, it felt surreal. Shit man, we are talking about the pioneer of anime craze in Asia. While others were skeptical, I was excited. I never paid attention to criticisms that Hollywood will make a mess out of it as it had done in a number of remakes. But as ‘leaks’ regarding the storyline, the characters, and the dudes who will be a part of the cast were revealed, my excitement slowly turned into worry.
“Dragon Ball” in the hands of Hollywood didn’t feel right. They were doing it all wrong. Master Roshi’s hair is gray and he’s wearing a pseudo-turtle shell backpack in the anime. Where is Goku’s tail and youth? He is not a teenager attending high school with the normal brats. Goku is a kid and he is quite barbaric, so to speak. And his hair is not spiky enough! So as the day of the film’s release came closer, I was sure the movie is gonna suck.
But as everyone else who were fans of the series, there was no denying that there was still this smidgen of hope that the movie will live up to the name of the source material. At the least, there was this curiosity on how Hollywood will turn this legendary tale into a live-action film.
Before, I thought those Harry Potter fanatics were nuts for not getting tired of posting derogatory comments on forums saying over and over again that the movie failed to give justice to JK Rowling’s novel. If that was the case, then why don’t they just skip the film? Now, I understand them. So before this review turns into a reflection paper of sorts about my childhood, here are some random critiques of the film:
1. Since they’ve already Americanized the story, I don’t see the point of casting a bunch of Asian actors. I especially hated that dumbass who played Yamcha. Is he Korean? God! I knew it!
2. Following the lead of films like “Babel” and “Crash”. “Dragonball Evoution” tried to have as much diversity in the cast as possible – there’s a black guy, Americans, and Asians who may probably be Chinese, Singaporean, Malaysian, and Korean. All for the glory of racial chopsuey. No problem with that per se, but in this film, it felt odd. The setting is in US (which looks like a deserted Mexico) for crying out loud. And since when did blacks start saying ‘namaste’ while dressed as Buddhist monks? WTF!
3. This is not the “Dragon Ball” we all fell in love with. They ripped off the concept of the seven dragon balls that when gathered together can summon a powerful dragon to grant one wish. They imitated the characters’ names and some of their traits. But the Goku that we know is not the Goku we’re seeing here, neither is Bulma nor Chi Chi.
4. They borrowed random bits and pieces of the anime and slapped it all together in a confusing, incoherent mélange and then called it a movie.
5. The effects were bad. The production design is subpar. The acting is sloppy. Plenty of scenes were unintentionally funny. There were cringe-worthy moments. The cheesiness level is set at a maximum. The scriptwriter must have been watching too much “High School Musical”. And I almost farted due to over-flatulence.
6. And don’t ever, ever forget the numerous plotholes. So many, I lost count. These characters’ actions are not governed by any form of logic and reason. They just do what the story calls for. Once again, sacrificing logic for convenience.
Towards the end of the film when Goku was about to unleash his signature technique, the ‘kame-hame-ha’, I was shaken by a gust of nostalgia. When I was a kid, I always know Goku will win the battle after his ‘kame-hame-ha’ hits his opponent. This time around, nobody won. I really hoped they have never attempted to touch this franchise so that my childhood memories of “Dragon Ball” were left untarnished. Too late, the damage has been done. I’ll sue these motherfuckers!
MONSTERS VS ALIENS RATING: 2/5 DIRECTOR: Rob Letterman (Shark Tale) and Conrad Vernon (Shrek 2) TAGLINE: Alien Problem? Monster Solution. STARRING: Reese Witherspoon, Seth Rogen, Hugh Laurie, Will Arnett, Kiefer Sutherland ECLIPSE MAGAZINE SAYS: Hollywood is going overboard with animated films this year and it's going to wear thin really quick. This isn't a bad movie, it's just really generic. I SAY: Despite the 3D format and the celebrity voice talents, this film may be glossy and humorous but it falls short on landing anywhere near Pixar’s standards.
PARTY MONSTER RATING: 2/5 DIRECTOR: Fenton Bailey and Randy Barbato (Party Monster documentary) TAGLINE: Till death do they party BEST LINE/S: Greetings, citizens. We are living in the age where the pursuit of all values other than money, success, fame and glamour, has either been discredited or destroyed. Money, success, fame, glamour. STARRING: Macaulay Culkin (‘overdrugs’) Seth Green (too fabulous to be overdrugs) Marilyn Manson (death by overdrugs) Chloe Sevigny (would rather be overdrugs than be filmed in another blowjob scene ) SEATTLE POST INTELLIGENCER SAYS: Equal parts freakish fashion show and tawdry melodrama of the rise and fall of a superficial celebrity. I SAY: Flamboyant, loud, and unapologetic of its avant-garde, sometimes over-the-top adaptation of the true-to-life novel “Bloodbath Disco”. It may be a bit too peculiar, trippy, or psychedelic for those who can’t relate to the hysteria substance abuse can cause, but is still watchable at the very least.
MONSTER RATING: 1/5 DIRECTOR: Patty Jenkins STARRING: Charlize Theron (in which version of the world will a woman with this looks be a prostitute) Christina Ricci (the worst butch lesbian in cinema) FILM BLATHER SAYS: Constantly, almost pathologically, making excuses and rationalizations for the brutal murderess. I SAY: Although Theron’s transformation is unbelievable, this film remains nothing but an exploitation of the life story of Aileen Wuornos, a highway prostitute slash serial killer. Vile, repulsive, and highly skippable.
FROST/NIXON RATING: 2/5 DIRECTOR: Ron Howard (The Da Vinci Code, A Beautiful Mind) TAGLINE: 400 million people were waiting for the truth. STARRING: Frank Langella (resigned president trying to get away with murder with his words) Martin Sheen (Brit talk show host trying to give Nixon the trial he never had) SANRIEL AJERO SAYS: Instead of turning into a big political bore, this film veered into one of the most thrilling battle of the wits we’ve seen on screen as of recent memory. I SAY: Although rousing, this character study will be hard to relate to unless you know your history… or more fitting, ‘their’ history.
Y TU MAMA TAMBIEN RATING: 2/5 DIRECTOR: Alfonso Cuaron (Children of Men, Great Expectations) BEST LINE/S: Life is like the surf, so give yourself away like the sea. Play with babies and you'll end up washing diapers! STARRING: Ana Lopez Mercado, Gael Garcia Bernal, and Diego Luna (threesome, anyone?) JAM! MOVIES SAYS: As bittersweet as it is sexy, the movie also shows how superficial the portraits of Mexico are in conventional Hollywood movies. I SAY: A steamy and sexy road trip movie.
BLINDNESS RATING: 2/5 DIRECTOR: Fernando Mereilles (City of God, The Constant Gardener) TAGLINE: In a world gone blind, what if you were the only person who could see? STARRING: Julianne Moore (she can see) Mark Ruffalo (eye doctor gone blind) Gael Garcia Bernal (greed and lust personified) Danny Glover (not Captain Hook) MOVIETIME SAYS: As a study of human nature under pressure, focusing on the crimes we commit as well as the bonds of solidarity we forge, it's unremittingly dour. I SAY: Although the film is saturated with brightness and glare, the sordidness of this world barely surviving on the edges of apocalypse is graphically vivified. However, the material is teeming with logical plotholes large enough to fit a 10-wheeler truck.
IN BRUGES RATING: 2/5 DIRECTOR: Martin McDonagh (Six Shooters) TAGLINE: Shoot first. Sightsee later. STARRING: Colin Farrell (suicidal) Brendan Gleeson (fatherly) Ralph Fiennes (couldn’t stop swearing to save his British arse) SANRIEL AJERO SAYS: After attending to the extraordinary circumstances in the lives of our two leads during the entire running time of the film, a conclusion as bizarre and explosive as such is nothing short of perfect to cap of their mad and sometimes idiotic existence. I SAY: A mad mix of history, culture, and blood. All set in the fairy tale-ish Bruges. Btw, that’s in Belgium.
THE WACKNESS RATING: 2/5 DIRECTOR: Jonathan Levine (All the Boys Love Mandy Lane) TAGLINE: Sometimes it's right to do the wrong things. STARRING: Josh Peck (juvenile weed dealer) Ben Kingsley (marijuana-smoking psychiatrist) Olivia Thirlby (troubled chick) Famke Janssen (dissatisfied wife) Mary Kate Olsen (trippy and bulimic) JOSH LARSEN SAYS: The movie reeks of nostalgic self-glorification. I SAY: Teenage angst, coming of age story, dope, first love and heartbreak. These elements are commonplace in a dozen of quirky indie comedies. Sundance, aren’t you getting tired of this?
REPO! THE GENETIC OPERA RATING: 1/5 DIRECTOR: Darren Lynn Bousman (Saw II, III, and IV) STARRING: Alexa Vega (diseased) Anthony Stewart Head (can take your gut out in three seconds) Sarah Brightman (blind soprano) Paris Hilton (addicted to surgery) MTV SAYS: A movie in search of a cult. Good luck. I SAY: Songs that lack harmony, amateurish acting, and plain disgusting. The filmmaker sure knows how to cook up a recipe for a catastrophe.
IN THE BEDROOM RATING: 1/5 DIRECTOR: Todd Field (Little Children) TAGLINE: A young man. An older woman. Her ex-husband. Things are about to explode... STARRING: Sissy Spacek (bitch slapper) Marisa Tomei (cradle snatcher with an extra heavy baggage) Tom Wilkinson (‘baggage dispatcher’) APOLLO GUIDE SAYS: A courageous film – one that’s willing to leave questions unanswered, relationships unresolved and injuries unhealed. I SAY: So quiet, it’s already disquieting. Filled with restrained and understated emotions. You know that’s not my cup of tea, hence the rating.
QUANTUM OF SOLACE RATING: 2/5 DIRECTOR: Marc Foster (Finding Neverland, Monster’s Ball) STARRING: Daniel Craig, Olga Kurylenko (partners in crime) WINDY CITY TIMES SAYS: Plenty of thrills, just enough bedroom action, and a smattering of witty retorts to keep things crackling. I SAY: So action-packed, it’s already numbing.
MAGNOLIA RATING: 2/5 DIRECTOR: Paul Thomas Anderson (There Will Be Blood, Boogie Nights) TAGLINE: Things fall down. People look up. And when it rains, it pours. STARRING: Julianne Moore, Philip Seymour Hoffman, Tom Cruise, John C. Reilly, William H. Macy, Felicity Huffman, Philip Baker Hall CHICAGO READER SAYS: A wonderful mess. I SAY: Lengthy, extravagant, and too ambitious. The interchanging stories dissipate the momentum and focus built by the previous vignette.
MULHOLLAND DR. RATING: 1/5 DIRECTOR: David Lynch (Inland Empire, Lost Highway) TAGLINE: A love story in the city of dreams. STARRING: Naomi Watts and Laura Harring (plays Betty, Diane, and Rita interchangeably while securing a pucker from each other every now and then. Silencio!) WASHINGTON POST SAYS: An extended mood opera, if you want to put an arty label on incoherence. I SAY: Lynch takes pleasure in mentally torturing his audience by asking them to find a safety pin in a haystack while blindfolded. After more than two agonizing hours of bizarre imageries, Mulholland Dr. will just leave you dazed and confused.
MYSTIC RIVER RATING: 2/5 DIRECTOR: Clint Eastwood (Changeling, Gran Torino) TAGLINE: We bury our sins, we wash them clean. STARRING: Sean Penn, Tim Robbins, and Kevin Bacon (childhood buddies who grew apart when one is taken away by the ‘wolves’) CULTURE VULTURE SAYS: Riveting moviemaking in the popular vein. Eastwood avoids easy answers and sentimental compromises. I SAY: The less exciting brother of “Gone Baby Gone” (also penned by novelist Dennis Lehane) due to Eastwood’s signature drag.
MY BESTFRIEND’S GIRLFRIEND RATING: 1/5 DIRECTOR: Mark Reyes (Resiklo, ITALY) TAGLINE: Love comes in unexpected packages. STARRING: Marian Rivera (someone tell her to stop dancing) Richard Gutierrez (someone teach him how to act) JC De Vera (someone shave him) A RANDOM BLOGGER SAYS: A perfect example of what a perfect romcom should be. It helps you be inspired to find someone to hug and cuddle with I SAY: Better off as an episode of “Dear Friend” or “Your Song” on TV. Uninspired and clichéd story penned by screaming girls who just had their first menstruation.
For the past month, I’ve been trying to catch all of the critically acclaimed films of 2008 especially the Oscar and Golden Globes nominated films. Hence, the choice of my popcorn flicks. Most of the movies that I saw recently belong to that category, while some are older movies that I felt I needed to see before I write my Top 20 Films of the Year. Anyway, here is my movie log for the month:
THE READER RATING: 2/5 DIRECTOR: Stephen Daldry (The Hours, Billy Elliot) STARRING: Kate Winslet (buttnaked half of the time) David Kross (also buttnaked half of the time) Ralph Fiennes (I know you don’t wanna see him buttnaked) THEY SAY: Least favored among the five Oscar Best Picture nominees, but most favored in the Best Actress race. Winslet is Oscar bridesmaid no more. I SAY: Promising first half until the plot reveals itself and all hopes crumble.
RACHEL GETTING MARRIED RATING: 2/5 DIRECTOR: Jonathan Demme (Silence of the Lambs, The Manchurian Candidate) STARRING: Anne Hathaway (Oscar Best Actress nominee) Rosemarie Dewitt (should have been nominated for Best Supporting Actress) Debra Winger (good at punching people in the face) Bill Irwin (sympathetic and loving dad) THEY SAY: Outstanding screenplay from Jenny Lumet and intense performance from Hathaway. I SAY: Shot as if the entire film is an episode of a reality show or a home video, this film is heart-warming and authentic but not good enough to be outstanding.
CHANGELING RATING: 3/5 DIRECTOR: Clint Eastwood (Million Dollar Baby, Mystic River) STARRING: Angelina Jolie (kick-ass mama sans the tattoos) THEY SAY: A compelling and well-acted period thriller. I SAY: It’s a bit long-playing with a little too many sub-plots, but it’s undeniable that the story is engrossing.
GRAN TORINO Rating: 3/5 Director: Clint Eastwood (Flags of our Fathers, Letters From Iwo Jima) Starring: Clint Eastwood (grumpy old man) THEY SAY: Eastwood’s final performance in front of the camera deserves applause. I SAY: I like it. I had fun watching it. But quite forgettable.
THE WRESTLER RATING: 1/5 DIRECTOR: Darren Aronofsky (Requiem for a Dream, The Fountain) STARRING: Mickey Rourke (has-been wrestler) Marisa Tomei (compassionate stripper) Rachel Evan Wood (daddy’s girl no more) THEY SAY: Rourke is the comeback kid of 2008. I SAY: Physically and emotionally demanding role for Rourke, but Penn is still deserving of that Oscar. The movie? Poof! Boooring!
JAY RATING: 4/5 DIRECTOR: Francis Xavier Pasion (directorial debut) STARRING: Baron Geisler (Cinemalaya 2008 Best Actor) Coco Martin (didn’t take his clothes off this time) THEY SAY: Cinemalaya 2008’s top film among other accolades. I SAY: An interesting depiction of the way media fabricates the truth and an expose of the obsession of everyday Juan’s to 15 minutes of fame.
PLONING RATING: 2/5 DIRECTOR: Dante Nico Garcia (directorial debut) STARRING: Judy Ann Santos (emotionally-distant and hopelessly hopeful) Gina Pareño (hysterical because of salt) Mylene Dizon (younger Tessie) Tessie Tomas (older Mylene) Meryll Soriano (expendable role) Eugene Domingo (Best Actress in a Bed-Ridden Role) THEY SAY: One of the best Filipino films of 2008 and the Philippines’ submission to the Academy Award Best Foreign Language Film Category. I SAY: What’s the fuss about? It’s nowhere near the word ‘best’. Hokey, slow, and pretentious.
GOMORRAH RATING: 1/5 DIRECTOR: Matteo Garrone (The Taxidermist) STARRING: (Everyone’s Italian and I don’t know even a single soul.) THEY SAY: Festival de Cannes Jury Grand Prize winner. Harrowing depiction of organized crime. I SAY: Tedious to watch and difficult to follow.
LET THE RIGHT ONE IN (LÅT DEN RÄTTE KOMMA IN) RATING: 3/5 DIRECTOR: Tomas Alfredson (no idea what other movies he directed) STARRING: Kåre Hedebrant (bullied by classmates, in love with a vampire) Lina Leandersson (12 years old for a long, long time) THEY SAY: One of the best foreign films of 2008. I SAY: Moody atmosphere, controlled pacing, and inexplicably charming.
AMERICAN BEAUTY RATING: 4/5 DIRECTOR: Sam Mendes (Road to Perdition, Revolutionary Road) STARRING: Kevin Spacey (sex-crazed daddy) Annette Benning (career-crazy mommy) Mena Suvari (raging hormones) Thora Birch (rebellious daughter) Wes Bentley (pot smoker, psycho, and drama king) THEY SAY: Winner of 5 Academy Awards including Best Picture: I SAY: A tale about the dysfunctional suburbs that reminds us to look closer and see through the veil.
BURN AFTER READING RATING: 1/5 DIRECTOR: Ethan and Joel Coen (No Country for Old Men) STARRING: Brad Pitt (is Benjamin Button) John Malcovich (is also Benjamin Button… during infancy) George Clooney (is Michael Clayton) Tilda Swinton (is the Oscar-wining actress from “Michael Clayton”) Frances McDormand (is an Oscar winner) Richard Jenkins (is an Oscar nominee) THEY SAY: Clever comedy/thriller. I SAY: Just a bunch of respected actors acting ridiculous and silly.
SHAKE, RATTLE, AND ROLL X RATING: 2/5 DIRECTOR: Topel Lee (Ouija, My Kuya’s Wedding) and Mike Tuviera (The Promise) STARRING: Mylene Dizon, Wendell Ramos, Roxanne Guinoo, and JC De Vera (for “Emergency) Kim Chiu, Gerald Anderson, and Jean Garcia (for “Class Picture”) Marian Rivera, Diana Zubiri, and Pekto (for “Nieves”) THEY SAY: An MMFF staple that’s already tired and aging. I SAY: Still a letdown, but “Nieves” episode is undeniably hilarious.
IRON MAN RATING: 3/5 Director: Jon Favreau (Zathura, Elf) Starring: Robert Downey Jr. (playboy millionaire) Gwyneth Paltrow (foxy assistant) Terrence Howard (and who the hell is he again?) THEY SAY: 2008’s most explosive superhero movie after “The Dark Knight”. I SAY: Not as good as everyone is saying. Why am I in the minority?
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