'The Equalizer 2' Pulls The Trigger For A New Action Franchise

The Equalizer 2 brings back Denzel Washington as Robert McCall, the  protector of the oppressed equalizing bad deeds with courageous authority. He's back hiding in plain sight as a seemingly dark angel disguised as an ordinary man. This time with a troubled youngster (Ashton Sanders) under his wing, as he seeks justice for the death of his friend, Susan Plummer (Melissa Leo) killed by the same assassins wanting nothing but to destroy him.

Denzel Washington as Robert McCall | Columbia Pictures

Denzel Washington's filmography spans from drama films to action, and he's always been remarkable when it comes to the latter. From Malcolm X, to Training Day, and The Equalizer, he maintains his exceptional frondeur presence. With his action career continuing to keep up, The Equalizer seems like his Mission: Impossible, or Die Hard, or Bond. This is his first sequel ever so that's probably a career direction that he wants to take.

This is also Washington's fourth collaboration with Antoine Fuqua (Training Day, The Equalizer, Magnificent Seven), and it's difficult to say that they're moving in a dynamic direction. Equalizer 2 is a bit reserved compared to other action franchises in recent years, and while this caters Washington's gripping acting capability, to the point where he somewhat reprises his tough-patriarchal role in Fences, it's not enough to make this franchise outstanding. He's backed by a great cast in Ashton Sanders and Melissa Leo, as two significant characters in the film, but there's not much to explore in their characters related to Washington's McCall.

The Equalizer seems focused on making a franchise that involves more plot, and less action when it could combine both in a compelling way. Unfortunately, the convoluted plot drags in the first half. Good news is that it picks up big time in the second with a nail biting house hunt with Ashton Sanders, and a great action set piece in a seaside town during the middle of a typhoon. It's like watching a twenty-minute video of Counter Strike with all the hiding and seeking, waves crashing, rain pummeling, and guns a blazing.

Overall, while it seems that it takes its audience seriously by showcasing a decent plot with legitimate action stuff, the future of Equalizer might not be as clear as this whole sequel ought it to be.

'Crazy Rich Asians' is an Extravagant RomCom for All

Constance Wu as Rachel Chu | Warner Bros. Pictures

We've been looking forward for months since we found out that Constance Wu will be at the forefront of the film adaptation of the best-selling book, Crazy Rich Asians. Then the hype for the film increased even more when we learned that Kris Aquino was also attached to the project. Months after the excitement building up, it's finally here, and it was an absolute delight.

 The film follows New Yorker and Economic professor, Rachel Chu (Constance Wu) as she accompanies her longtime boyfriend, Nick Young (Henry Golding), to his best friend’s wedding in Singapore. It's only then that Rachel finds out that Nick comes from a "crazy rich" family, and is one of the most desired bachelors. This ticks Rachel’s anxiety, with jealous socialites and, worse, Nick’s own disapproving mother (Michelle Yeoh) taking aim.

I went into this thinking that an all-Asian cast in a Hollywood blockbuster would feel different or unsettling (in a good way, of course), but it’s comfortingly not and everything felt rather natural and universal. I suppose it's because it has all the components of a great romcom--good chemistry between the leads, compelling conflict, immersive mush and thrill, great soundtrack--only with additional Asian flavor. Thus, it makes for a refreshing yet familiar film to enjoy, and Crazy Rich Asians gives sense to that.

Constance Wu, who deserves all the prominence this film has given her, easily makes her character Rachel a lead to aspire, adore and remember. She's gorgeous, classy, and extremely likable even without trying too hard. In one of her highlights, as Kina Granni covers a romantic rendition of Can't Help Falling in Love during their friend's wedding, Wu melts all the hearts as she shares a look with Nick, with so much love and expression in her eyes. Michelle Yeoh, on the other hand, is a fierce yang to Wu's yin as Nick's refusing mother, almost similar to Meryl Streep's Miranda Priestly, who is always calm and elegant, and never trashy with her dislike. She is commanding in every scene she's in. The whole ensemble was a hoot, with Awkwafina being another highlight as Rachel's funny and caring girlfriend. Regarding Kris Aquino, I assume that director Jon M. Chu was in complete control of her. She's not OA, she's restrained, as she should be, as Princess Intan, who shared a short but pleasant scene with Wu. She looks good in the film!

Kris Aquino shares a scene with Constance Wu | Warner Bros. Pictures

The whole film looks radiant that the "crazy rich" aspect is real as hell. Parties are grand, dresses look expensive, jewelries everywhere, every set piece is topnotch. The whole wedding is out-of-this-world extravagant, and the whole cityscape of Singapore beams like expensive jewels.

Ultimately, this movie works wonders because it's about everyone. It's about a mother whose aim is to keep her family intact, a wife whose hope is to make her husband feel confident with her love, a daughter or a son who wants to please their lovers, and anyone who values their family as much as they value their true love.

Cinemalaya 2018 Awards Predictions

Cinemalaya 2018 Awards night is tonight, and this is probably this year's most unpredictable year with no clear standout and with people championing different films. 

Here are my predictions:

Best Feature Film - Full Length

While Liway had an overwhelming reception from social media and the box office, I think Dapithapon is going to win the top prize.

WILL WIN: Kung Paano Hinihintay ang Dapithapon
COULD WIN: Liway
SHOULD WIN: Kung Paano Hinihintay ang Dapithapon


Special Jury Prize: Liway
Netpac Jury Prize: Pan de Salawal
Audience choice: Liway


Best Director

Bendict Mique's ML has the flashiest direction among this year's entries. On the other hand, Cinemalaya might reward Kip Oebanda for his deeply personal film, Liway. But Carlo Catu's masterpiece Dapithapon is still my pick.

WILL WIN: Carlo Catu, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Benedict Mique, ML
SHOULD WIN: Carlo Catu, Kung Paano Hinihintay ang Dapithapon


Best Actress

It's a great Cinemalaya year for actresses with six out of 10 entries front-headed by a female lead--Ai-Ai delas Alas in School Service, Iza Calzado in Distance, Perla Bautista in Kung Paano Hinihintay ang Dapithapon, Glaiza de Castro in Liway, Miel Espinoza in Pan de Salawal, and last but not the least, Celeste Legaspi in Mamang. As one of the great veterans in this list and with her film not as trashed as Ang Pamilyang Hindi Lumuluha, I think Celeste Legaspi is going to win it for Mamang.

WILL WIN: Celeste Legaspi, Mamang
COULD WIN: Glaiza de Castro, Liway
SHOULD WIN: Perla Bautista, Kung Paano Hinihintay ang Dapithapon & Celeste Legaspi, Mamang


Best Actor

While Eddie Garcia's Cinemalaya comeback is superb in ML, I have a feeling that him being a past winner would work against him. Ogie Alcasid's turn in Kuya Wes is memorable, but I think Dante Rivero's heartbreaking performance in Dapithapon will be rewarded.

WILL WIN: Dante Rivero, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Ogie Alcasid, Kuya Wes
SHOULD WIN: Dante Rivero, Kung Paano Hinihintay ang Dapithapon


Best Supporting Actress

Teri Malvar's big scene in Distance is going to be a highlight for the viewers, but I'm not counting out Moi Villanueva who's also great in last year's Ang Pamilyang Hindi Lumuluha for her work in Kuya Wes.

WILL WIN: Teri Malvar, Distance
COULD WIN: Moi Villanueva, Kuya Wes
SHOULD WIN: Teri Malvar, Distance


Best Supporting Actor

I'd be happy to see Menggie Cobbarubias win this award for Dapithapon. If he does, it'd be comparable to Yayo Aguila's win last year whose subtle but effective supporting performance trumped over the flashy ones. Although I wouldn't be surprised to see Ketchup Eusebia nab this award for the acting showcase Mamang.

WILL WIN: Menggie Cobbarubias, Kung Paano Hinihintay ang Dapithapon
COULD WIN: Ketchup Eusebio, Mamang
SHOULD WIN: Menggie Cobbarubias, Kung Paano Hinihintay ang Dapithapon


Ensemble – Kung Paano Hinihintay ang Dapithapon
Screenplay - Kung Paano Hinihintay ang Dapithapon
Cinematography - Kung Paano Hinihintay ang Dapithapon
Editing – ML
Production Design – Kuya Wes
Original Music Score - Kung Paano Hinihintay ang Dapithapon
Sound - ML


SHORTS

Best Short Film - Sa Saiyang Isla
Best Director - You, Me and Mr. Wiggles
Best Screenplay - You, Me and Mr. Wiggles
Special Jury Prize - Si Astri Maka Si Tambulah

Netpac Jury Prize - You, Me and Mr. Wiggles
Audience Choice - Sa Saiyang Isla

Ranking 2018 Cinemalaya Feature-Length Films

What a great Cinemalaya year this has been! This year's roster of films gave us more than what we've bargained for. There's something for everyone--from feel-good movies like Pan de Salawal, to the timely ML and Liway, from breakthrough actors Tony Labrusca, to Cinemalaya returnees Glaiza de Castro and Eddie Garcia, to legendary local artists Celeste Legaspi. This festival has evolved over the years, but it still has the distinct flavor it is known for. Cinemalaya will always be the original indie film fest in the country.

Many goers say that the quality of the films in the past few years have downgraded. I may agree to an extent, but I personally really like this year's lineup. With that, here's my ranking of this year's feature-length entries.

1.

Kung Paano Hinihintay ang Dapithapon

One would think this film is about jealousy, and finding one's true love. But it's totally the other way around as this is about death, closure, and the power of humanity. It's refreshing to see characters, or a film, that doesn't dwell on eruptive conflicts. Rather it lets the film simmer and boil through restrained but impactful resolve, reminding us so many things about life where closure is closure however good or bad the process is, and that humanity trumps any form of hatred or jealousy...(Full Review)

2.

Pan de Salawal

Like a big ball of positivity, it's absolutely impossible not to smile while and after watching the film. It's a magical film that we don't need to know the origins of Aguy. She's so cute, that we assume she's simply (Full Review)

3.

Mamang

...Mamang reaffirms her greatness that it's almost a crime that she's given this lead film role only now in her career. She is the reason to watch this film, and it's worth mentioning that she's actually got the expressive eyes of Bette Davis. (Full Review)

4.

Distance

Distance effectively delivers a family situation where there's really no right or wrong. Albeit almost hopeless, one would root for the family to find their happiness within the four walls of their home. (Full Review)

5.

Kuya Wes

As comedic as this was, it might be a hard watch for some. Watching a guy being taken for granted by almost every character in the film is as painful as it could get, especially when he also has no one to count on...(Full Review)

6.

ML

A good and relevant action film that falls short of being a great one. ML tries to be more than a genre examination but behind its facade, it pushes its fixation on violence to actually be an effective wake-up call, and to be honest, the violence is not at all gore, as in GORE. (Full Review)

7.

Musmos na Sumibol sa Gubat ng Digma

...the film boasts of breathtaking imageries and dream sequences that seldom blur the line between imagination and reality, making its narrative a little disjointed. Its slow pacing also might prove to be a challenge for some, but I personally don't mind especially because of its superb cinematography. (Full Review)

8.

School Service

On one hand, it is actually effective because it repeatedly highlights the characters' unconscious misery. But on the other, it's something that we've seen before that it needs a whole new direction for it to be fresh. (Full Review)

9.

Liway

There is no denying that Liway's story is important and authentic. It's a story that needed to be told. Its loose treatment to the material, however, makes it a bit melodramatic and detached. (Full Review)

10.

The Lookout

There's too much going on, and anyone watching it wouldn't be able to keep up with all the emerging random plot details that continuously pop-up. (Full Review)

Photo Credits: Cinemalaya

Cinemalaya 2018: 'Kuya Wes' Teaches Us a Thing or Two About Love and Depression

Ogie Alcasid as Kuya Wes; Photo Credit: Cinemalaya

Director: James Mayo
Cast: Ogie Alcasid, Ina Raymundo, Moi Bien, Alex Medina, Karen Gaerlan

This seems like this year's light-hearted hugot film if we solely base our judgements on its cheerful posters, teasers, and marketing ads. No one would predict that James Robin Mayo's sophomore film Kuya Wes is one of this year's darkest entries. And it doesn't involve death, or blood, or gore. It tackles something deeper, and closer to home. I commend this year's Cinemalaya entries for its diverse themes, and Kuya Wes has one of my favorites, and definitely needs to be told more.

Kuya Wes is about a timid and earnest remittance clerk played by Ogie Alcasid, who falls for his customer named Erika (Ina Raymundo). Often taken advantage by his brother's family and his customers, Kuya Wes reaches rock bottom.

As comedic as this was, it might be a hard watch for some. Watching a guy being taken for granted by almost every character in the film is as painful as it could get, especially when he also has no one to count on... at least at first. Thanks to Moi Bien's character for changing that. As a matter of fact, she's the only one who eventually sees Wes' worth. She's the much needed friend Wes can rely on when he needs advice and confidence to face the world.

Ogie Alcasid and Moi Bien's duo is absorbing, and here they do comedy with humor, wit and most especially, heart. Ogie's Wes is nothing short of funny, yet he'll break hearts in the end. Moi Bien, on the other hand, has never been this good and natural. Definitely a level up from her naive yaya role in last year's Ang Pamilyang Hindi Lumuluha.

James Robin Mayo's light treatment of a dark subject is impressive, often disguising its darkness with relaxing music and cheerful colors. This method creates an intensified climax that involves Kuya Wes walking on the streets livid, eventually breaking down along with the fourth wall, and one can't help but feel for him.

I wish its underlying theme of depression is further explored as it might be too subtle to teach its audience how to deal with someone who’s struggling with it. Good thing is it ends on a high note, leaving hope for anyone who's been taken advantage of, teaching us that we all deserve love, and we must stand up for it.

Cinemalaya 2018: Impossible Not to Smile Watching 'Pan de Salawal'

Miel Espinosa as Aguy; Photo Credit: Cinemalaya

Director: Che Espiritu
Cast: Bodjie Pascua, Miel Espinosa, Madeleine Nicolas, Anna Luna, Felix Roco, Soliman Cruz, Ian Lomongo, Ruby Ruiz, JM Salvado & Lorenzo Aguila

We miss the feel-good local movies of the 90's. Lately, it's all about romance, action, and family drama, that we forget how it feels to watch flicks about a harmonious community, or anything magical. When Camille Prats touched her neighbors to fulfill their wishes in Hiling and Jolina Magdangal cheated global warming to cover Manila with snow in Wansapanataym The Movie, we were blessed with scenes in Philippine cinema that will never leave our memories.

In this year's Cinemalaya, Pan de Salawal brings the magic back with its simple theme of helping others. When a lonely baker named Sal (Bodjie Pascua) suffering from kidney problems wants to end his life, while his neighbors deal with their own battles, a young and cute Visayan lass named Aguy (Ouch in English) came to the rescue. How? By hurting them..yup, in her own little cute way.

Che Espiritu's ironic concept for Pan de Salawal stands out among this year's feature-film entries. After a series of tearjerking dramas and thought-provoking ideologies, this felt like a needed catharsis from all of the darkness of others. Like a big ball of positivity, it's absolutely impossible not to smile while and after watching the film. It's a magical film that we don't need to know the origins of Aguy. She's so cute, that we assume she's simply godsend.

Miel Espinosa's Aguy is going to be in my top movie characters for 2018. She's a delight to watch. Her confidence shines, even when she's surrounded with veteran actors. She's simply a star in a great crowd.

Pan de Salawal is what our country needs right now. It doesn't need any satire, or a dramatic depiction from our history to be relevant. This simple movie about love, life and hope, will make anyone who watches it kinder to a degree.

Cinemalaya 2018: 'School Service' is a Hopeless Case of Children in Poverty

Ai-Ai delas Alas as Rita in School Service; Cinemalaya

Director: Louie Ignacio

Cast: Ai-Ai delas Alas, Joel Lamangan, Celine Juan, Therese Malvar, Felixia Dizon, Joe Gruta, Kenken Nuyad, Kevin Sagra, Santino Oquendo & Ace Café

A young girl named Maya (Celine Juan) is taken captive by a small-time syndicate in a stolen school service. Led by Rita (Ai-Ai delas Alas) and along with other juveniles, they beg, steal, and hustle for money in the streets of Manila.

Much like EJK, Martial Law era, corruption, and any current issue in our country, poverty is one thing that needs to be told again and again. And Louie Ignacio's School Service exploits its darkness, focusing on the hopelessness of his characters' situation. It can be heavily compared to Eduardo Roy Jr's Pamilya Ordinaryo except this doesn't have something new to tell.

On one hand, it is actually effective because it repeatedly highlights the characters' unconscious misery. But on the other, it's something that we've seen before that it needs a whole new direction for it to be fresh. It's the opposite of films like BuyBust or ML where the message overshadows its narrative.

Ai-Ai delas Alas leads the pack as the group's brutal but caring mother hen. Her superb performance here is no surprise. She's always been a good actress may it be comedy or drama. The rest is brave to portray the hopeless children, and kudos to whoever briefed them that they had to be slapped, cursed, and abused to get their message across.

Cinemalaya 2018: 'ML' is a Relevant Film Almost Overshadowed by Gore

Photo Credit: Cinemalaya

Director: Benedict Mique Jr.
Cast: Eddie Garcia, Tony Labrusca, Liane Valentino, Henz Villaraiz, Jojit Lorenzo

Carlo (Tony Labrusca), his girlfriend,  (Liane Valentino) and best friend (Henz Villaraiz) find themselves playing with fire after Carlo's research assignment about Martial Law goes dangerously wrong.

A good and relevant action film that falls short of being a great one. ML tries to be more than a genre examination but behind its facade, it pushes its fixation on violence to actually be an effective wake-up call, and to be honest, the violence is not at all remarkable gore, as in GORE.

Instead, it becomes a bit cliché of what we've already seen before. Electrocution, blood, poking one's skin with a cigarette, more blood, and then in the end they're all going to survive in a lame fashion. And yet, the film attempts to make a statement about Martial Law. Albeit relevant, and timely for that matter. Its biggest flaw is that it doesn't know if it wants to thrill or disturb.

There's no problem with relevant films being thrilling. As a matter of fact, most of the torture scenes are done well but a lot of it lacks a certain weight in the blood and gore, or that's probably just me.

Its technical achievement is really notable, though. Great sound design, believable execution, and great cinematography despite its setting--a classroom, and a simple house. The difference in music during the torture and simpler scenes are also noteworthy and beautiful. It demands to be listened to. Mike Hanopol's original song is good.

The importance of this film and its technical achievement is highly noticeable and established. But going back, its goal in addressing the atrocities of Martial Law can sometimes be overshadowed by the gore and the greatness of its technological aspects. Then again, reality is stranger than fiction and I definitely don’t want to sound like an apologist, I’m sure the real horrors of Martial Law cannot ever be documented in a film, in a torture genre to boot.

It's a good watch, overall. Eddie Garcia rules!

'The Meg' is a Fresh Addition to the Shark Horror Genre

A new shark movie has arrived! This time it's not just a simple shark, it's a prehistoric 75-foot-long shark, the Megalodon or, The Meg. Jason Statham and Chinese actress Li Bingbing star in this science fiction action thriller directed by Jon Turteltaub, where after a humongous deep-sea submarine has been attacked by a massive creature below Marianas Trench, Jonas Taylor (Statham) must then lead a crew to rescue them from danger. In the process, they accidentally opened a pathway for The Meg to go out in the ocean open, and it proves to be an unstoppable threat.

The Megalodon; Photo Credit: United International Pictures

The Meg offers new thrills for shark movie fans like me: it has high-tech underwater gadgets and amazing underwater stunts. Although it doesn't go shark-banging from the get-go, it was non-stop action as soon as The Meg made its grand entrance. And with Jason Statham as the lead, he sure won't budge against this humongous creature. His stunts are amazing, as if he's born to swim for this film. Li Bingbing is also a good lead actress, showing her skills that perfectly match Statham's abilities.

The third act is the highlight of the film when The Meg swims to one of the densest beaches in China, called Sanya Bay, where people in neocolored swimsuits and apparels go for vacation. It's populated, meaning there's more food for The Meg. However, it's a bit disappointing because there were only a few casualties despite the huge crowd. For a shark movie, it's not as brutal we expect it to be. We want more blood, gore, chomping and terror. These are the reasons why we watch shark movies.

In modern shark terror films, it sadly falls in the middle of so-bad-it’s-good Sharknado, and the refreshingly badass The Shallows. Being in the middle, however, won't do much for the film. In movies like this, it should either be outstandingly bad or good. Still, The Meg brings a whole new level of shark action that is high-tech and stunt-heavy, with the same old shark fun from other shark films. I wouldn't mind a sequel.

Cinemalaya 2018: 'The Lookout' is Unintentionally Epic, Entertaining and Major

The Lookout | Cinemalaya 2018

Director: Afi Africa

Cast: Yayo Aguila, Rez Cortez, Efren Reyes, Alvin Fortuna, Jeffrey Santos, Benedict Campos, Aries Go, Lharby Policarpio, Jemina Sy, Jay Garcia, Elle Ramirez, Andres Vazquez, Nourish Icon Lapuz, Xenia Barrameda, Dennis Coronel Macalintal, Ahwel Paz & Mon Gualvez

Most of the time, it's hard to articulate the words to describe a great film. No words can match its greatness, nor can suffice the good experience one has while watching it. It's the same thing for The Lookout... which is an incredible cinematic experience, to say the least. It is epic, entertaining, and major, except all for the wrong reasons. This film is the perfect example of a so-bad-it's-good movie that it piques more attention than other decent films.

The Lookout follows Lester Quiambao, a serial killer with a dark past that pushed him into a life of crime and insanity. Travis Concepcion, a hired 'lookout'-turned-Lester'silover struggles to find where his loyalty lies. This results in a crazy and puzzling game of espionage, betrayal, and romance revealing ghosts from their past, and non-stop twists along the way.

On the surface, the story has a lot of potential. Like a story straight from a pocket book, writer-director Afi Africa packs this film with seemingly any theme he can think of. It's a mystery-thriller, a provocative gay romance, a tragic family drama, so-on and so forth. There's too much going on, and anyone watching it wouldn't be able to keep up with all the emerging random plot details that continuously pop-up. Make no mistake, Afi Africa sees to it that all things make sense. But he sacrifices the credibility of the material in the process by adding too much spoon-feeding details that  it seems as if even he forgets to keep up with all that's happening.

It's ridiculous, absurd, and borderline idiotic that it's insanely hard to believe everything about it wasn't unintentional. Flashlight and torch in Ponderosa mountain? Over-the-top delivery of lines? Cheesy pick-up lines? Explaining the difference of love, and in-love? Excessive and unnecessary nudity? A random Jeffrey Santos cameo? Countless plot-holes and inconsistencies? I choose to believe that this is Afi Africa's masterpiece, and that he is a genius for making this.

Best enjoyed as a comedy.

Cinemalaya 2018: 'Musmos na Sumibol sa Gubat ng Digma' Advocates Peace Amid Familial Wars

Musmos na Sumibol sa Gubat ng Digma

Director: Iar Arondaing
Cast: Junyka Sigrid Santarin, JM Salvado, Star Orjaliza, Jun Salvado Jr., Romerico Jangad, Darril Ampongan & Haide Movero

An old man tells his grandson a coming-of-age story about Eshal, a Muslim lass in Marawi during an age-old culture of inter-familial war called 'rido'.

Like Sharon Dayoc's Women of the Weeping River, Iar Arondaing's Musmos na Sumibol sa Gubat ng Digma tackles the effects of Muslim wars between clans. The former is focused on women, the latter, in families across generations, and both, advocate peace.

Shot in Palawan, the film boasts of breathtaking imageries and dream sequences that seldom blur the line between imagination and reality, making its narrative a little disjointed. Its slow pacing also might prove to be a challenge for some, but I personally don't mind especially because of its superb cinematography.

The film is also harmonized with religious chants from the Quran as it alternates from the old man and his grandson's journey, with Eshal's survival in the forest after escaping the 'rido'. The relationship between these stories eventually go full circle and later revealed to be connected, adding further proof of the consequences and effect of old generations' feud to the next.

Musmos, however, doesn't dwell on the consequences and instead aims more attention to how peace prevails against any form of war. That message alone makes this film one of the most relevant films of our time. Without discrediting the importance of films about war on drugs and the Martial Law era, our Muslim brothers and sisters also deserve our attention.

Cinemalaya 2018: 'Distance' is a Complicated Family Drama

Iza Calzado as Liza; Photo Credit: Cinemalaya

Director: Perci Intalan
Cast: Iza Calzado, Nonie Buencamino, Therese Malvar, Alessandra Malonzo

Five years after leaving her family without warning, Liza (Iza Calzado) receives a visit from her husband, Anton (Nonie Buencamino), asking her to return to him and their two children (Therese Malvar, Alessandra Malonzo).

There is so much to digest in Perci Intalan's family drama, Distance. On the surface, one would say that it's a simple take on an ordinary family, but the family involved is definitely not one. It's complicated, as each of the family member has different emotional needs, and Intalan slowly and surely  builds them up one by one throughout the film. His treatment is certainly intriguing, keeping questions unanswered until everything blows up, almost losing the audience's grip in the process but grabbing them back tighter and more assured. There's an affair, and there's almost no way to look back.

Thinking about it, this complicated family scenario gives everyone something interesting to discuss. The affair started a negative chain reaction to the family in subject, and yet it feels like there is no one to blame with the consequences and effects of their actions. Everyone in the family has emotional baggage and everything also seems valid because of the situation. It all really depends on how one would look at it. It's such a complicated story, and honestly plot-wise, it's a thing of beauty.

It's slow and quiet, relying mostly on stares and awkward gestures, but one can tell that a thunderous climax is looming, and all hell breaks lose once it did. Thanks to Therese Malvar's passionate scene-stealing performance who's deeply affected by her mother's liaison and sudden disappearance. It says a lot about her prowess especially with Nonie Buencamino and Iza Calzado's presence. The ensemble is all in their A-game effectively leveling up the film's caliber.

In the end, Distance effectively delivers a family situation where there's really no right or wrong. Albeit almost hopeless, one would root for the family to find their happiness within the four walls of their home. It continuously grows on me, as I ponder about it.

Cinemalaya 2018: 'Mamang' Reaffirms Celeste Legaspi's Greatness

Ketchup Eusebio and Celeste Legaspi in Mamang; Photo Credit: Cinemalaya

Director: Denise O'Hara
Cast: Celeste Legaspi, Ketchup Eusebio, Peewee O’Hara, Alex Medina, Gio Gahol, Elora Espano & Paolo O’Hara

Mamang (Celeste Legaspi) is battling dementia to be with her son Ferdie (Ketchup Eusebio), who is looking for a teaching job away from their home. As her condition worsens, the ghosts of her past visit her in their home with visions only Mamang can see.

Written and Directed by Denise O'Hara, the film revolves around the mothr-son love story of Mamang and Ferdie who only have each other as their companion. Both are afraid to lose one another, and at the same time, they don't want to lose themselves for each other. Their dilemma is they're running out of time--Mamang is battling dementia, and Ferdie must find a job to support their growing needs.

Worth mentioning first is Celeste Legaspi whose spectacular charisma lingers throughout the film. In a sense, Mamang reaffirms her greatness that it's almost a crime that she's given this lead film role only now in her career. She is the reason to watch this film, and it's worth mentioning that she's actually got the expressive eyes of Bette Davis. She's delightful to watch even in this heartbreaking role. Ketchup Eusebio is also noteworthy in his dramatic turn as Mamang's only son, Ferdie. I haven't followed Ketchup's career, but this is also possibly his career-best.

Their duo elevates the film entirely in a new level, and I wish I could say the same to the story which is impassioned but predictable, and fun but repetitive. Several foreshadowing gives too much of the twist, that it's been anticipated the first time it gives a hint. As new characters are introduced, we all know that Mamang's condition, and eventually, situation is kind of hopeless.

Despite these, Mamang is one of my favorites this year. I'd pay to see another Celeste Legaspi lead comedy-drama.

Cinemalaya 2018: 'Liway' is a Deeply Personal Account Inside a Martial Law Prison

Director: Kip Oebanda
Cast: Glaiza de Castro, Dominic Roco, Kenken Nuyad, Soliman Cruz

Photo Credit: Cinemalaya

Liway tells many stories about the harrowing effects of Martial Law in Inday’s (Glaize de Castro) life such as the consequences of being imprisoned with her son, Dakip, (Kenken Nuyad) whom she protects from the horror and reality of their condition by telling folklores about an enchantress named Liway; the strain in her relationship with fellow activist and husband, Ric (Dominic Roco); and the atrocities prisoners get through in Camp Delgado, a prison camp containing all captured criminals and rebels of Martial Law. This results into an uneven and convoluted movie despite its heavyweight subject. Strangely, it also works effectively as it is eager to tell these eye-opening stories, opposite to Inday's hand-shadows and sanitized bedtime stories to Dakip.

Glaiza de Castro's Inday/Liway is touching, brave, and seemingly captures the heart of the titular role. She carries the whole weight of the film with much needed confidence and passion for the role, very much like Brie Larson in Room, and one would also think of Roberto Benigni in Life is Beautiful. She makes prison-living safe and warm for Dakip, also heavily felt beyond the screen, especially when she sang Lolita Carbon's Himig ng Pag-ibig. Truly a career high for the actress.

There is no denying that Liway's story is important and authentic. It's a story that needed to be told. Its loose treatment to the material, however, makes it a bit melodramatic and detached. One quibble is how there seems to be minimal danger in the prison camp that they're living in wherein there are only a few wardens in which some of them even bend the rules, walls that look like they can easily be broken, and so on. Case in point: as much as it preaches the abuse of Martial Law, it's not as believable in its depiction. Authenticity in the story is one thing, but authenticity of the depiction is another.

It pretty much picks up by its third act with its steadier score, stronger dialogues, and more compelling events. But the biggest twist is when we learn that this is a deeply personal account of director Kip Oebanda that leaves everyone woke and touched, evoking a huge applause from the festival viewers.

Cinemalaya 2018: Humanity Trumps Hatred in 'Kung Paano Hinihintay ang Dapithapon'

Dante Rivero as Bene; Photo Credit: Cinemalaya

Director: Carlo Catu
Cast: Dante Rivero, Menggie Cobarrubias, Perla Bautista, Romnick Sarmenta

Carlo Catu's Kung Paano Hinihintay ang Dapithapon is my first film in this year's Cinemalaya and wow, I was a mess as the end credits rolled. It's about Bene (Dante Rivero), an old man living alone in a decrepit house, with nothing to do but care for his gamecocks. Finding out he has brain cancer, he calls his estranged wife Teresa (Perla Bautista), now living with her partner Celso (Menggie Cobarrubias), asking for care. The old couple visit Bene to guard him in his remaining days, and help resolve his unfinished business with his family.

One would think this film is about jealousy, and finding one's true love. But it's totally the other way around as this is about death, closure, and the power of humanity. It's refreshing to see characters, or a film, that doesn't dwell on eruptive conflicts. Rather it lets the film simmer and boil through restrained but impactful resolve, reminding us so many things about life where closure is closure however good or bad the process is, and that humanity trumps any form of hatred or jealousy.

Catu's direction is tight, and the ensemble's performances are strong. Catu brings a lot of metaphors and dream sequences that are elegant and beautiful to watch, from Celso and Bene's contrasting sturdy and creaky houses, to Teresa's agitation towards soaps with pubes, and to as simple as the use of an aloe vera plant. The trio of Perla Bautista, Menggie Cobarrubias, and Dante Rivero is a sight to behold, tugging the crowd's heart strings and blowing up tear ducts left and right. Romnick Sarmienta's short scene with Dante Rivero is also a highlight.

Kung Paano Hinihintay ang Dapithapon is a thing of beauty, that anyone who watches it will find something to reflect on.

Disney's 'Christopher Robin' is Funnier Than It is Nostalgic

Winnie the Pooh and Friends; Photo Credit: Walt Disney Studios

Priorities changed for Christopher Robin as he's all grown up! Now with a loving wife and daughter, he's lost the playful boy that he once was. All work, and no play made him a dull man that he no longer make time for his family. His old stuffed animal friends in the Hundred Acre Wood Winnie the Pooh, Piglet, Tigger, Eeyore and more return to rekindle their lost bond with Christopher Robin.

Photo Credits: Walt Disney Studios

Disney's Christopher Robin is not the tearjerker some might expect, but definitely funnier than it seems. It's more fun than nostalgic, but it's never empty of touching, aww-inducing moments. The creatures of Hundred Acre Wood are as adorable and optimistic as the beloved children's book characters, particularly Winnie the Pooh whose unassuming naivete can melt anyone's heart with his simple but meaningful questions, and Eeyore whose chill contentment brings out the laughs and things to ponder.

The simplicity of A.A. Milne's characters translated to Marc Foster's version appeals to children and adults--young-at-heart or not. As always in his stories, it's always about warmth, love, kindness, and connectivity with one another. Pooh even once commented here that "People say nothing is impossible but I do nothing every day". Makes so much sense even though it could also sound absurd. Jim Cummings, who is known for Pooh's voice, provides a comforting and familiar sound to the beloved character who often delivers simple life thoughts that surprisingly turn out to be thought-provoking.

Ewan McGregor as Christopher Robin and Winnie the Pooh; Photo Credit: Walt Disney Studios

Ewan McGregor's charisma as the adult Christopher Robin is very evident. His boyish charm plus acting chops work well for the role. But it's his on-screen wife and daughter, Hayley Atwell & Bronte Carmichael, that capture the heart of the film whose longingness for a happy and complete family outshines the whole film's spectacle.

Ultimately, this is about the value of family and friends over anything in the world. A cute little reminder that they matter more than anything else. We need movies like this from time to time, and we could use a little bit of this film's heart and soul right now. If anyone wants to clap, now is the time to do it.