Zombadings is the breakout comedy of the year

Night of the Living Dead, the George Romero classic, served as the template for modern zombie fiction. Since then, the formula has been modified and rewritten countless of times. Dawn of the Dead and 28 Days Later opted for blood and gore, while Shaun of the Dead tempered the violence with satire. Since the zombie genre refuses to die, Filipino filmmakers take a stab at tweaking the formula with Zombadings 1: Patayin sa Shokot si Remington – a horror-comedy about gay zombies. Although it features minimal gore, the comedy unfolds with enough flair and pizzazz to make up for it.

Remington (Martin Escudero), as a naughty youngster, is fond of teasing and making fun of gays. A grieving homosexual (Roderick Paulate), who happens to be a witch, cursed him that he’ll turn gay when he grows up. Fifteen years later, the curse starts to take effect on Remington. In his dreams, he is hunted down by a creepy macho man. Every time he wakes up, he starts to notice changes in his physical appearance, his actions, and his manner of talking.

Remington suddenly becomes fluent in gayspeak. (Don’t worry if you don’t speak gay lingo, the filmmakers were kind enough to provide subtitles.) His sense of style also changed. He prefers tight-fit blouses and skimpy shorts over t-shirts and jersey shorts. To make matters worse, he develops a crush on his male best friend (Kerbie Zamora). Needless to say, Remington succumbs to the curse. The homophobe is now a full-pledged homosexual.

In the midst of Remington’s metamorphosis, a serial killer is on the loose in their town. His victims are parloristas – all gays. Remington, his best friend, and his lady love (Lauren Young) must break the curse before the serial killer gets to him.

Zombadings is the third feature from Jade Castro who is responsible for Endo, a romantic film set against the backdrop of terminable contracts starring Ina Feleo and Jason Abalos, and My Big Love, another romantic film about an overweight guy looking for love starring Sam Milby and Toni Gonzaga. Taking over the screenwriting duties are Raymond Lee and Michiko Yamamoto. The same duo that brought us the critically acclaimed Ang Pagdadalaga ni Maximo Oliveros.

When I first saw the trailer of Zombadings, I wonder why the filmmakers cast Martin Escudero in the lead role. He is a relatively unknown actor. The filmmakers could have opted for a more popular actor or someone with more credibility in doing comedies. But Martin is a stunning discovery. His comic talent is impeccable. He speaks, sashays, and acts like a real gay man! He is the crowning glory of Zombadings, in the same manner that Angelica Panganiban and Eugene Domingo are the scene-stealers in Here Comes the Bride and Kimmy Dora respectively.

That’s saying much given the impressive supporting cast led by Roderick Paulate, Eugene Domingo, Janice de Belen, Angelina Kanapi, John Regala, and Odette Khan. If you think Roderick is hilarious in Ded Na Si Lolo, expect no less in this film. Despite his brief exposure, he shows us how to do gay the funny way. He is theatrical, over-the-top, and immensely funny. We all know how good Eugene is. She lets the gays do the outrageous antics, but it doesn’t mean that she held back her guns. Meanwhile, indie favorite Angelina Kanapi (formerly known as Mailes Kanapi) shows us that she can do comedy as well. She embraces her bat-shit crazy character with gusto.

Good comedies do not come often. A lot of filmmakers substitute humor with slapstick, camp with mere exaggeration, and comic delivery with “elevator acting” (see Ang Babae sa Septic Tank). It’s a good thing that a comedy like Zombadings comes along. A film that knows what constitutes a good comedy.

The effective mix of absurdist humor, risqué jokes, mischievous fun, and pure camp will make Zombadings the breakout comedy of the year. Of all the comedies I’ve seen in the last couple of years, I laughed the hardest and cheered the loudest while watching Zombadings. It's an instant favorite!

Zombadings was one of the two closing films in the recently concluded 7th Cinemalaya Independent Film Festival. The gay zombies are coming to a theatre near you on August 31.

Notice the number 1 on the title? I wonder if the filmmakers are planning to do a trilogy. If they are, sign me up. I’m ready for more zombadings!

*published on PEP

Nestle's Kasambuhay, Habambuhay

In this age of YouTube and short attention spans, even movies can now be served in bite-sized proportions. In celebration of its 100th year anniversary, Nestlé Philippines produced a collection of short films to illustrate the different ways that its products have become a part of Filipino's lives.

Kasambuhay, Habambuhay (with the English title: Companion in Life, for Life), a 100-minute long anthology, is composed of 10 segments, approximately 10 minutes apiece. It is helmed by nine commercial directors including Chris Martinez (who megged 100, Here Comes the Bride, and the upcoming remake of Temptation Island).

I have my reservations when it comes to company-sponsored films, especially if the company is in the business of selling consumer goods. At first, I thought Nestlé is just trying to trick me into watching a 100-minute long commercial. Although the film is not spared from product placements, they were more tolerable than I imagined. The product placements range from barely noticeable to impossible-to-ignore.

I like the fact that Nestle Philippines chose the medium of cinema to commemorate its centennial anniversary. However, the idea behind the film is more laudable than the actual film. Like most anthology films, it suffers from a conflict of moods and styles. Aside from the featured Nestle products, there is no other unifying factor that ties the segments together. When you rule out the issue of narrative cohesion and look at each short film separately, you’ll find each segment entertaining in its own right.

I can't praise the production values enough. I think it's at par with full-length films. The films will elicit chuckles, tears, and applause as well as take viewers on flights of fantasy—all within a span of a few minutes. You will find Kasambuhay, Habambuhay to be a heartwarming collection of films that impart core Filipino values.


The Howl and the Fussyket
Director: Chris Martinez
Starring: Eugene Domingo, Gerald Pesigan, Kiray Celis, Dennis Padilla

An eight-year old boy joins a declamation contest despite a speech impediment: he tends to interchange the pronunciation of English words with the letters "f" and "p". His ever-supportive mother (played by Eugene Domingo) assembles a team that will groom him into a champion public speaker. This is the funniest segment in the anthology and that's saying much since most of the short films are comedies. Once again, the tandem of Eugene and Direk Chris produced magical results.


Unplugged
Director: Raul Jorolan
Starring: Marvin Agustin, Kaye Abad, Eddie Garcia

The Futkaleros spend their weekend at a provincial home where gadgets are not allowed. They are taught how to disconnect from technology in order to reconnect with each other. It delivers a great message: learn to appreciate Mother Nature instead of being too attached to the virtual world. However, I was expecting more from Direk Raul, who helmed what I consider one of the best films of 2010: The Red Shoes.


Silup
Director: Jun Reyes
Starring: Sid Lucero, Gloria Romero

Silup (which is reverse for Pulis) shows the sensitive side of a dedicated policeman (portrayed by Sid Lucero). Its best asset is its simplicity. The ending of this suspense drama short packs an emotional punch that I'd rather not reveal so that you can experience it for yourself.


Isang Tasang Pangarap
Director: Sid Maderazo
Starring: Ramon Bautista

An ordinary man, whose only pleasure is drinking coffee, discovers that he can see the future by looking at coffee mugs. It has an interesting premise but it has escapist entertainment written all over it. Obviously a tribute to Ishmael Bernal's Himala, Ramon Bautista delivers Nora Aunor's trademark cry, "Walang himala!"


Sali-salita
Director: A/F Benaza
Starring: Bodjie Pascua

A mother who writes children's storybooks ironically doesn't have enough time to create stories for her own son. Her child lets his imagination run wild in a storytelling game with his grandfather. For a short film, the production values of this film are stunning: viewers get to see a powerful warrior crossing a deserted plain and fighting a futuristic looking robot in order to save a beautiful princess. This segment demonstrates the power of the imagination and the importance of parental bonding.


Oh! Pa Ra Sa Ta U Wa Yeah!
Director: Jeorge Agacaoili
Starring: Neil Coleta, Jillian Ward, Coleen Garcia

We all know Nicos (Neil Coleta) from the famous Nestea commercial series. He is still head over heels in love with the elusive Mattina (Coleen Garcia). To help him out of his misery, his father gives him a century-old manual on courting a woman. Of all the segments, it has the advantage of having a familiar set of characters. Instead of using this opportunity to progress Nicos’ storyline, it goes nowhere. Instead, we get cheesy musical numbers one after the other. The most disappointing of all the segments.


Downtown
Director: Stephen Ngo
Starring: Virgilio Que

A bittersweet glimpse into the life of an aging man who makes baby steps to get his life back on track. Viewers will get to see vignettes of life in Binondo in this quiet story about love. Like Silup, it has a simple narrative structure but the buildup and the payoff is so much better.


Tingala sa Baba
Director: Henry Frejas
Starring: Arvy Cesar Viduya, Eubert Marc dela Cruz

Two boys are playing on a seesaw. One of them is well-off and chubby, while the other is less fortunate and lanky. Because of his weight, the rich kid is stuck at the bottom of the seesaw. How will they reverse their positions? This short imparts important lessons about social class, charity, and friendship. This is my favorite segment from the anthology.


Cooking Mo, Cooking Ko
Director: Chris Martinez
Starring: Isay Alvarez-Sena, Robert Seña, Sharmaine Buencamino, Nonie Buencamino, Eda Nolan, Dominic Roco

Direk Chris puts a culinary twist to the classic tale of Romeo and Juliet. The Capule family and the Montano family take their dispute to the kitchen as they try to outdo each other's recipe in their respective eateries. The star-crossed lovers must find a way to unite their families. This Shakespearean parody hits a comedy goldmine.


Sign Seeker
Director: Carlo Directo
Starring: John Lloyd Cruz, Solenn Heussaff

A torpe, superstitious guy asks for signs if he should ask his crush out on a date. Solenn looks gorgeous as the female officemate who is the girl of his dreams. I know it's meant to be light-hearted, but it gives a silly ending to such a whimsical film. I guess John Lloyd Cruz's charm can only do so much.


Rating: 3/5


*published on PEP

Kinse: 15 Stories on Human Rights

Human rights are probably the most basic of rights. These entitlements are inherent to every human being regardless of gender, race, religion, educational attainment, and social status. Human rights are universal. Ideally, everyone must enjoy these rights without discrimination or exemption.

But the world is far from being ideal. Women are abused by their partners. Children are forced to work to provide for their impoverished families. Gays and lesbians are discriminated in the workplace and in society by and large. Indigenous groups are stripped off their heritage. Journalists are slain for doing their job. The list goes on.

In light of these pressing issues, ANC (ABS-CBN News Channel) launches an omnibus film project titled Kinse. Kinse is the magic word for ANC as it gathers 15 filmmakers to make 15 short films to mark its 15^th anniversary. This advocacy aims to portray the different sides of human rights violations prevalent in the country today. This is ANC’s follow-up to last year’s AmBisyon 2010, a collection of short films about the state of the nation in connection with the May 2010 elections.

Some of the best shorts are the ones laden with humor. Erik Matti (director of Gagamboy, Pa-Siyam, and The Arrival) tackle the most fundamental right – the right to live freely. His short film entitled The Stripped, Barenaked Truth is about a wannabe actress asking permission from her parents to do a sexy film. The banter between the daughter and her parents is hilarious especially when Anne Curtis's character screams: "Gusto kong maghubad!". This short is the most entertaining out of the bunch. It is insightful without being preachy. This comedy stars Anne Curtis, Gina Alajar, and Rez Cortez.

Richard Somes (director of Yanggaw and Ishmael) and Jon Red (director of Utang ni Tatang, Astigmatism, and Ang Beerhouse) pack a one-two punch with their respective shorts that touch on children’s rights. The first one is about two siblings scavenging for metal scraps. Despite its child labor theme, the short managed to remain light-hearted and funny. Having the same mood is Direk Jon’s Absent, which narrates how a boy spends time with his father the day he skipped school. Despite its simple narrative structure, the film is effective in reminding us of the simple joys of bonding with your family.

Meanwhile, filmmakers Ato Bautista (director of Di Natatapos Ang Gabi and a segment inCinco), Raymund Amonoy (assistant director of ANC’s Storyline), and Paulo Villaluna (director of Selda and Walang Hanggang Paalam, together with Ellen Ramos) explore the darker themes of human rights violations. Direk Ato’s Pilay follows a crippled man searching for justice for his murdered sister. The short film plays with our notion of justice. Just as we thought that justice is served for one man, another man is denied of justice. It stars Cholo Barretto and Archie Adamos.

Direk Raymund’s Ang Liham Para Kay Marco is a battered wife’s love letter to his lover. The film shows us the price of domestic abuse. It stars Sue Prado. Direk Paulo’s Intolerance, on the other hand, shows us the price of homophobia. It is about two best friends with one seemingly confused of his sexual orientation.

Similar to the themes in Joel Lamangan’s Deadline, Kiri Dalina (director of ANC’s Truths) and Mark Meilly (director of Crying Ladies and Baler) tackle extra-judicial killings and freedom of press in their short films. Activist filmmaker Kiri names the slain journalists and victims of the Ampatuan massacre, while Direk Mark shows how a radio commentator is silenced for voicing his opinions.

Filmmakers Kidlat de Guia (documentary filmmaker and son of reknowned director Kidlat Tahimik) and Auraeus Solito (director of Ang Pagdadalaga ni Maximo Oliveros, Pisay, andBusong) aim their lens at one of the most neglected right – the right of indigenous people. Direk Kidlat talks about the cultural preservation of tribal communities, while Direk Auraeus portrays the struggle of the Sambilog tribe in claiming their ancestral domain.

Nico Puertollano’s (New York-trained filmmaker and graphic artist) contribution to Kinse is very relevant considering the debate over the Reproductive Health Bill. His mini-documentary titled Labinlima is about a poor couple with 15 kids. Direk Nico interviews the head of the household about the use of contraceptive, her dreams for her children, and how they are struggling to make both ends meet.

Completing the list of filmmakers who have contributed their skills to this endeavor are Jim Libiran (Batch 2011), Raymond Red (Bangin), Ray Gibraltar (Ang Bayu ni Manilyn at Pekeng Duck), and Carlitos Siguion-Reyna (Choices).

This anthology of short films on human rights will be aired on ANC as a six-part TV special beginning on May 23 (Monday), 9:30 PM. Kinse will be hosted by actress and women’s right advocate Angel Aquino.

Rating: 3.5/5

*published on PEP

Deadline exposes corruption behind killing of journalists

Due to the rampant killings of journalists, the Philippines has earned the notoriety for the Philippines as the most dangerous place in the world for media workers. According to the National Union of Journalists of the Philippines (NUJP), 143 journalists have been killed since the ouster of dictator Ferdinand Marcos's regime in 1986. A total of 137 journalists were slain during the nine-year term of former President Gloria Macapagal-Arroyo.

Given the grave occupational hazards that journalists face today, it's admirable that they still choose to speak the truth. The same is true of director Joel Lamangan and writer Bonifacio Ilagan who tackle this controversial issue in their latest film.

Deadline: The Reign of Impunity follows five journalists in their struggle to expose the corrupt ways of a well-heeled and well-connected politician. Henry (Luis Alandy), a columnist for a major newspaper, is writing about a political dynasty in Mindanao that is receiving personal favors from the Palace. He receives reports from Azad (Allen Dizon) and Claire (Ina Feleo) from the Mindanao Weekly Herald.

When the powerful governor of Abdul Rabb (Tirso Cruz III) hears about the exposé, he sends his trigger-happy henchmen to silence the three journalists. The next morning, Henry is found dead while Azad and Claire are missing. Newscaster Greta (Lovi Poe), Henry’s fiancée, feels that she must finish what Henry started. Together with Ross (TJ Trinidad), Henry’s acquaintance and also a journalist, they plan to reveal the true colors of the governor. Will they be successful in their exposé or will they be silenced as well?

Aside from the story of the five journalists, the back story provides a lot of insight. In the film, the governor’s family has held on to the gubernatorial seat for decades with the help of the Palace. In return, he helped the president to be re-instated into office through election fraud. He used public funds to support his private army and to live like a king.

The back story’s parallelism to real life is not mere coincidence. Although Deadline is a work of fiction, its story is based on real events. This is where it gets tricky. The film combines real events, speculations, and fiction that I suggest that you watch it with an open mind.

Director Joel Lamangan and writer Bonifacio Ilagan are treading on dangerous ground. Although names are changed, it’s easy to identify the real people behind the characters. I wouldn’t be surprised if the filmmakers are have received death threats because they have chosen to tell this story. Like the five journalists in the film, Lamangan and Ilagan are vanguards of truth who are keen on exposing the past administration’s secrets. I applaud their bravery and I hope that more films of this nature are made.

Despite my appreciation for the courage of the filmmakers for making such an important film, I wish that the story is more cohesive. Like Lamangan and Ilagan’s last film Sigwa, Deadline needs more focus. There are so many things going on. It would have been better if the story focused on either Azad and Claire or Ross and Greta. By cutting corners, the script will be a lot tighter and the film will be less dragging.

What the film lacks in focus, it makes up for with good acting. Lovi Poe proves that the acting awards she received for Mayohan is no fluke. This girl can surely act. Her passion and intensity make her turn as Greta believable and convincing. TJ Trinidad, Ina Feleo, and Allen Dizon provide good support, although I wish that Ina and Allen were given more screen time. Meanwhile, Tirso Cruz III’s portrayal of the political warlord makes for a despicable villain. I have no complaint about his acting, but I feel that the character is too one-dimensional.

Rating: 3/5

*published on PEP

Senior Year: The Authentic High School Movie

Whether you remember your days in high school so vividly they seem like yesterday, or see them as far distant memories that are already impossible to recall, you will undoubtedly find something to love in Senior Year. Director Jerrold Tarog assembles stories from a gamut of colourful, albeit stereotypical characters normally found in a high school campus: the bully and the bullied, the popular kids and the outsiders, the freaks and geeks, and so on. Although we’ve seen these characters countless times before, we’ve never seen them this authentic. Tarog’s characters, effortlessly remind us of an amusing classmate, the bully we loved to hate, our very own clique or a long-lost love. The dialogue and the plot resonate primarily because the characters are so familiar. We were those kids ten or twenty years ago.

Senior Year flips through the yearbook of St. Fredrick’s High School. It charts the journey of a motley crew of senior students four months before their graduation. Henry can’t seem to write a valedictory speech that will inspire his classmates. Carlo learns the true meaning of being a man. Bunda deals with domestic issues. Steph discovers the identity of her secret admirer. Briggs breaks up with his girlfriend Bridget. Solenn teaches Sophia to come out of her proverbial shell. Mitch washes the dirt of revenge off her hands.

These events may be too trivial for us adults, but for high school students these are life-and-death scenarios. Senior Year transports us back to a time when an unflushed fecal matter can cause a commotion in the boy’s room and when losing the intramurals feels like losing a loved one. The events unfold in a brisk pace, moving from one trivial event to the next.

Senior Year doesn’t pretend that high school is the best time of our lives, because it isn’t. High school is nothing more than a fun experience that wouldn’t matter in the grand scheme of things. There are no life-changing decisions. Our crush does not turn out to be the love of our lives. We search for ourselves and continue to do so way past our adult life. We teach our enemies a lesson but we never learn. That’s high school. And a lot of high school movies have been telling us otherwise. Well, sorry to break it to you but the real high school is nothing like the movies.

Adding to the film’s authenticity is the amazing cast of no-names who played the students. During the first part, it’s hard to follow the individual stories of each member of the ensemble. It’s hard to distinguish one from the other. They all look the same–pimply, ordinary-looking, and all too real. Early standouts were Solenn (Nikita Conwi), with perfect and annoying conyo inflections, and Sophia (Rossanne de Boda), who goes from ugly duckling to beautiful swan. As we spend more time going through the motions of high school, we get to know each character and we are reminded of our imperfect selves back in the day. That’s nostalgia served with no garnish or embellishment.

Meanwhile, the teachers are played by professional actors. Che Ramos reprises her role as the idealistic teacher in Faculty, the Ambisyon 2010 short film. At this point, Che can do no wrong. As long as she keeps making the right films, she is on her way to getting the attention she richly deserves. Ramon Bautista essays the role of the gym teacher who urges his students to “work like a teamwork”, while LJ Moreno plays the role of an English teacher with an ‘abusive’ boyfriend.

Senior Year also gives us a peek of what happened 10 years after the students graduated from high school. Ina Feleo, Arnold Reyes, RJ Ledesma, Dimples Romana, and Kalila Aguilos play the older versions of some of the senior students with the same sass as their younger counterparts. Did the batch valedictorian turn out to be the success story his teachers are pimping him out to be? Did young love triumph over the obstacles of adulthood? And did the beautiful swan complete her metamorphosis?

Maybe, they did. But does it really matter? It doesn’t make us less of a person if we don’t turn out to be the person we are groomed to be. We are not a failure if we fall short of expectations. Senior Year teaches us to savor the moment, hope for the best, and stop worrying about the future.

*published on PEP

Rating: 4/5

Ang Tanging Ina Mo (Last Na ‘To) ends the franchise on a high note

The Metro Manila Film Festival (MMFF) is home of the longest running franchises in the history of Philippine cinema. To name a few: Shake, Rattle, and Roll (12 movies as of 2010); Mano Po (six movies as of 2009); and Enteng Kabisote (four movies as of 2007, a spin-off this year titled Si Agimat at si Enteng Kabisote, and two Okey Ka, Fairy Ko movies from which Enteng Kabisoteis based on). Since these franchises are lucrative, producers often release a new installment every year.

Before Ang Tanging Ina evolves into yet another never-ending franchise, Star Cinema bids farewell to the single mother of twelve with Ang Tanging Ina Mo (Last Na ‘To). In this third and final installment, Ina Montecillo (Ai Ai delas Alas) finds out that she is terminally ill and is left with only a few months left to live. As Ina struggles to tell her family about her condition, her children also struggle to get along.

Aside from Ina’s health problems, the rest of the cast have their own conflicts to deal with. Rowena (Eugene Domingo) is caught in a May-December love affair with Frank (Jon Avila). Severina (Shaina Magdayao) is marrying a taong hito. Juan’s (Marvin Agustin) debts are piling up. Tri (Carlo Aquino), who is better off, is reluctant to help. Tudis (Nikki Valdez) has marital problems. While Pip (Alwyn Uytingco) discovers that he has a daughter.

There are plenty of subplots brewing in the background. Some are interesting. The others? Not so much. Some of the conflicts are resolved, while others are seemingly forgotten about. With a brief running time, it’s impossible to explore each and every character’s subplot. It would have been better if they focused on the conflicts that are more interesting or entertaining. In my opinion, Severina and Tudis’ conflicts are dispensable. Hence, omitting them from the screenplay will not affect the overall arc of the narrative nor will it make the film less entertaining. By trimming down the story to its bare components, more time can be allocated for developing the more important subplots.

The performances are all aces. Ai Ai reminds us why she is the Comedy Queen. She is wacky, outrageous, and hysterical. She gives her all as the titular character. But aside from the mandatory gags, she bares her heart as the loving mother who isn’t ready to leave her family yet. In one of the film’s poignant moments, she chases Juan on a footbridge in frenzied fashion. She perfectly captures the emotions of a mother who terribly misses her firstborn.

Not to be outdone is Eugene . As Ai Ai’s sidekick, Eugene provides ample support without overshadowing her co-star. That’s what great supporting players do. The tandem of Ai Ai and Eugene is undeniable. Their comedic rhythm is impeccably in sync. Indeed, the acting awards bestowed on Ai Ai and Eugene are well deserved. (Note: Ai-Ai bagged the Best Actress trophy while Eugene was hailed as the Best Supporting Actress.)

The film’s breakout stars are Cecil Paz as Malena, the kasambahay and Xyriel Manabat as Monay, Pip’s daughter. Kasambahaysare used for comedic effect for as long as I can remember. The likes of Pokwang, Tuesday Vargas, and Moi Bien have excelled in this role. You can add Cecil to that list. She puts her own flavor to the staple character. She is deliriously funny when she provided “background music” to Ina’s dramatic moments. The clever use of April Boy Regino’s “Di Ko Kayang Tanggapin” is one of the film’s highlights.

Xyriel is the most charming performer in this film. She plays Monay with the innocence of a child and the wit of a grown-up. With an angelic face and undeniable charisma, she shifts effortlessly from comedy to drama. Here is a promising young star that I’m sure we will be seeing more of. (Note: Xyriel was awarded as the Best Child Performer.)

The fact that this is the last installment of Ang Tanging Ina makes me both sad and happy. It’s sad to say goodbye to Ina, Rowena, and the rest of the family–characters that I’ve come to know as if they are real people. There is a montage near the end of the film that shows scenes from the first movie. It’s interesting to see how far the characters have gone. In the first film, Ten-Ten (Yuuki Kadooka) is still a young boy in his diapers and he’s all grown up now.

On the other hand, I’m happy that this is the end of the franchise. I don’t want Ang Tanging Ina to suffer the same fate that befell the likes of Shake, Rattle, and Roll and Mano Po–franchises that continued way past their prime. These franchises turn into cash cows being milked dry by the studios that produce them. They may still be commercially viable, but the quality of the story suffers. There is only so much story that can be squeezed out from the same set of characters and studios have to know when to stop.

Ang Tanging Ina Mo (Last Na ‘To) ends the series in a high note. It may not have outdone the first movie, but it is a hell of an improvement from the drivel that is Ang Tanging Ina N’yong Lahat. It also reunites Ina with her three husbands (Tonton Gutierrez, Dennis Padilla, and Jestoni Alarcon) and 12 children (including Jiro Manio, Serena Dalrymple, and Mark Acueza).

Anchored by excellent performances, Ang Tanging Ina Mo (Last Na ‘To) is a crowd-pleasing family-oriented film that is funny as it is touching.

Rating: 3.5/5

*published on PEP

Slow Fade: A Celebration of Life

At the risk of sounding morbid, I think death is a beautiful thing. It may be the end of life, but it also opens doors for new beginnings. It works as miraculously as life itself. When death is imminent, people are forced to reflect on the things they have done and could have done. Slow Fade, likewise, finds beauty in death. It chronicles a man’s examination of his life. He makes the most out of his remaining days as he fulfills a life-long ambition and leaves a legacy to his future child.

Darius (Diether Ocampo) can’t get his videocam out of fiancée Tere (Precious Lara Quigaman). He is shooting the prenuptial video for their upcoming wedding–the first video he has done in years. His college videos, according to him, were compared by his professors to the works of Ishmael Bernal and Lino Brocka. However, he did not pursue filmmaking. At present, he edits videos for weddings, baptisms, and burials in his shop aptly named KBL Media House. KBL is an acronym for kasal, binyag, at libing.

Darius soon receives two surprises that will make him happy and devastated at the same time. Tere is pregnant with their first child. This news would have immensely delighted him if not for the second surprise. He has a brain tumor with only six months left on the calendar. It crushes his heart to think that his child will never get to meet him. He decided to put his latent filmmaking skills to good use. Through a series of videos, which is later edited into a film, Darius introduces himself and his town to his unborn child.

We have a fair share of movie characters that are still making the most out of life despite being terminally-ill. But unlike them, Darius does not have a wish list before he “kicks the bucket”. He doesn’t want to fly over the North Pole or be buried on the mountain. His ambition is more modest and realistic. He wants his unborn child to get to know him and the community he grew up in through his perspective. The once aspiring filmmaker turned video editor rediscovers his passion for filmmaking. The finished product is both a love letter for the child he would never meet and a tribute to San Pablo City . It helps that Rommel Sales, the film’s director and director of photography, is a prolific cinematographer. He gorgeously captures the small town charm and irresistible beauty of San Pablo City in rich and vivid hues. Direk Rommel has won the Best Cinematography award in this year’s Cinemalaya for his work in The Leaving.

Despite having a character who is about to die, Slow Fade keeps things light. Direk Rommel channels Michel Gondry (The Science of Sleep) to show us the cut-and-paste wonderland that thrives in Darius’ subconscious. The quirky editing and scoring helps brighten up the film further. I just wish the drama is downplayed a bit more. There are scenes especially in the first act wherein Darius wallows in grief repeatedly. It’s understandable that he is depressed. He is about to die, for crying out loud. But the repetitive crying scenes put momentary snags on the overall lightness of the film.

Slow Fade is a man’s journey to fulfill a dream he has given up long ago. It celebrates life and trades escapism for practicality to show us that even the simplest things in life can bring us happiness. It is charming, inventive, and crowd-pleasing. It is the type of independently produced production that has a mainstream appeal with enough indie sensibility to back it up.

Slow Fade was chosen as one of the five indie films competing for a P100,000 prize in the 2010 Metro Manila Film Festival. Each competing indie film had a one-night premiere screening at Robinsons Galleria from December 16 to 20, 2010. Written by Paul Sta. Ana, this indie film is funded by PLDT-SMART Foundation and Albert Martinez's Cinemabuhay.

Rating: 4/5

* published on PEP