'Motherless Brooklyn' - A Hearty Neo-Noir Detective Story

Edward Norton caps off this decade by writing, directing, and starring in a film about a detective with Tourette's syndrome named Lionel Essrog, who dares to solve the murder of his mentor, Frank Minna. Adapted from Jonathan Lethem's novel Motherless Brooklyn, Norton attempts to bring Lethem's characters into a different period, giving it a neo-noir comedic treatment re-setting in 1950's New York.

Photo: Warner Bros. Pictures

Equipped with his creative mind and only with a few clues, Lionel untangles closely confidential secrets that hold the fate of New York from one Burrough to another. He fights corruption, thugs, and one of the most dangerous and powerful men in the city to honor his deceased friend and save a woman who could be instrumental to his own sanity.

Norton obviously poured his heart and soul into this project. It's ambitious from its overall style and his distinctive portrayal. He noticeably wants to give the best-selling book justice. For one, he makes Lionel incredibly likable whose quirks could easily be defined as identifiable and adorable. His portrayal of Tourette's syndrome could be seen as over-the-top but it's an eye-catching performance overall.

Motherless Brooklyn's thorough neo-noir vibe is also very believable. It's a gimmick that could either go wrong especially with the wrong material, but its detective storyline pretty much suits the atmosphere Norton created. And it's not as simple as solving a murder mystery. It goes beyond a more serious matter surrounding New York. It even tackles race against the city's biggest businessmen. But the film got me hooked not because of its spectacle. It's Lionel's life as a detective and as a human that is more outstanding.

Norton's character, Lionel, shows persistence in pursiing his career under the circumstances. He understands his condition and how it would be perceived by others but that doesn't stop him from doing his job. What's even more touching is that there are people around him that would completely embrace him as he is. From Bruce Willis to Gugu Mbatha-raw, and finally Edward Norton, they bring out the humanity in a big material like this. Their hearts and even humor outshine the complicated and serious subject of the film.

'Jumanji: The Next Level' is an Avatar-Swapping Adventure

Like any other modern video games or video game app, Jumanji gets an upgrade. This time with new and improved characters, different strengths and weaknesses, harder tasks, and surprisingly, more heart. But The Next Level still finds the four teenagers from Welcome to the Jungle trapped in the world of Jumanji. Only they're joined by Spencer's grandpa, Eddie, played by the funny Danny DeVito and his old business partner-turned-nemesis, Milo, played by Danny Glover. Awkwafina also joins the fun as a new avatar, Ming, a pickpocket whose one weakness is pollen.

Photo: Columbia Pictures

As always, the game and the world of Jumanji is never easy to navigate. And since this is the 'next level', the game is fighting back even if it's broken. This means more stampede and harder levels which also means big action, magnificent visual effects, vast locations, and other unexpected twists.

The main avatars, Dr. Smolder Bravestone (Dwayne Johnson), map expert Dr. Shelly Oberon (Jack Black), zoologist Mouse Finbar (Kevin Hart), fierce woman Ruby Roundhouse (Karen Gillan), and Seaplane (Nick Jonas) are still available. It's only a matter of which human is going to inhabit them. And that's where the fun begins.

The Next Level is hilarious mainly because the cast gets to play around with their avatars slash characters. Even better, there's a new feature in the game where they can swap avatars that perfectly suit their strengths and weaknesses. This enables each of the cast to show their range as actors. The result is a riot, especially when they get to portray a character that is the opposite of their other roles.

Jack Black shines the most especially when he gets to portray Bethany, a nice and sophisticated friend of Spencer. But pretty much everyone delivers. Even Awkwafina whose roles vary from a heartbroken teenager to an old cranky grandfather, showing yet again her range as an actress. Its body-swapping component is definitely the film's strongest suit.

But Jumanji is not Jumanji without the chaos. The Next Level still has the thrilling obstacles that these characters have to overcome--including arid sand dunes filled with a flock of angry ostrich, to treacherous canyons, to a setpiece with hanging bridges full of angry monkeys, and to a winter fortress as the last level where everyone becomes heroic. In the end, this film has them coming to terms with who they are and how the game has changed them.

Lastly, beneath the comedy and the challenges, its heart is in the relationships of the group. There are no villains. They are one in competition against a game, and throughout the game, there are mended relationships, a second chance at friendship and a romantic reconciliation. It is hilarious, and to top it all, it is good-natured. It's a feel-good movie despite all the exhilarating stress in between.

'The Good Liar' - A Sir and a Dame Play a Deceitful Game

The title says it all. It's just a matter of who's lying, who's not, or who are not lying, or who's the better liar? These questions keep the film mysteriously fun all throughout. While the audience gets to witness Sir Ian McKellen's charming character's lies, we root for Helen Mirren's old lady character who's brimming with poise and wisdom.

Photo: Warner Bros. Pictures

McKellen plays a con man who has found a prey in Helen Mirren's Betty Mcleish, a rich, recently widowed woman, worth millions of pounds. They met via an online dating website that seems designed for elderly people. Like anybody else before meeting their blind date, both tried to impress each other by fabricating some of the truths about themselves. Roy said he doesn't smoke as he smokes a joint in his room while Betty doesn't drink as she sips a vodka beside her laptop. Upon their meeting, they confessed about their reality and the cliches in 'eyeballs' and ended up enjoying each other's company. Their sudden and innocent flirtations escalated into a game of deceit, revealing a shocking story involving a slice of world history.

Penned by Jeffrey Hatcher from Nicholas Searle's novel, The Good Liar is impossible to figure out from the get-go. Its stories are intertwined with the past, but the approach is very modern with a bit of melodrama overall.

Ian McKellen has never been this charming, and Helen Mirren has always been this bold. Together they create an engaging screen presence as they play these playful old couple who has newfound energy because of each other. Russell Tovey, who plays Betty's suspicious grandson also holds his own. Everyone has their own time to shine.

In a way, The Good Liar's twist is not its most exciting factor. Rather, it's the character's motives and their antiquity. Mirren and McKellen's characters have substance and complexity to them and these actors play them with such youthful energy in spite of their roles' ages.

The Good Liar also shows an authentic look to old widowed people looking for companionship, however different their motives may be and however crazy the story evolves throughout the film. It's intimate, fun, exciting and the third act is deliciously satisfying.

'Last Christmas' - Cute and All-Embracing Christmas Movie

Paul Feig’s attempt to capture the style of a Richard Curtis British quirky rom-com is cute and all-embracing albeit a tad bit congested with themes which include Christmas, George Michael, and Brexit. With all of these, it's an understandably difficult thing to assemble and apart from these is the affair between Emilia Clarke and Henry Golding's characters with the latter being mysterious throughout the entirety of this rom-com. So Last Christmas is definitely not your ordinary flick and another reason why is it's penned by Emma Thompson, whose screenplay for this matches her latter efforts than her fresh voice during the '90s.

Photo: United International Pictures

Set in 2017 London where the city is decorated to follow the most wonderful time of the year, Last Christmas features George Michael and Wham!'s music with the titular song being its highlight. On one hand, it's a bit strange to associate Christmas with George Michael's discography. On the other, it's justifiable since the song 'Last Christmas' is one of the most iconic Christmas songs there is. The rest of the songs, not so much. But above all, it's one of the aptest titles of all time.

The film boasts of a great ensemble. Apart from Clarke and Golding, it includes Michelle Yeoh as Kate's (Emilia Clarke) boss who calls herself Santa in a Christmas items shop, and Thompson as Kate's Yugoslavian mother. With their decent, the film obviously adds right-wing demonstrations but it's added more for accessory more than its significance. It's Christmas and the season calls for inclusivity.

For what it's worth, the Christmas vibe is very much felt all throughout. It's just its other subplots that get lost in the whole spectacle. Everything is an ornament that nothing is fully fleshed-out. Even the whole Clarke-Golding is missing in moments and if not in moments, the momentum is always distracted with: 1) Kate's family dynamics, 2) Kate's self-identity as a woman living in the UK, and 3) the film's aim to be all-embracing in hopes to tackle Brexit. Last Christmas' heart is in the right place. Sadly, it's all over the place. Sounds right for Christmas, not much for a movie.

'Charlie's Angels': Kristen Stewart Lights Up This Reboot

Elizabeth Banks's Charlie's Angels is a little short in standing out compared to its previous cycles, but it's fun enough to be good on its own. The main reason is Kristen Stewart, who lights up this reboot along with her co-stars Ella Balinska and Naomi Scott who both are terrific on their own. They are the newest 'Charlie's Angels' and they're easily the best part of the film.

Photo: Columbia Pictures

Banks's take follows these three newest 'lady spies' in stopping a greedy corporation that aims to put Calisto, a sustainable energy source designed to transform the way we do our daily things, out in the market after discovering a flaw in its system that could very well be used as a deadly weapon. And in 'Charlie's Angels' fashion, they do it with glamour, wigs & costumes, fierce weapons, and ass-kicking femininity.

I haven't watched the original but this reboot still follows the formula of the iconic 2000 version led by Cameron Diaz, Drew Barrymore, and Lucy Liu only with less camp and goof. The newest angels match the comedic wits of those three, though, and Kristen Stewart's star wattage is off the roof. No one has ever seen her this comfortable and fun in her past movies and dare I'd say that this is her career-best without even kidding. Ella Balinska is also a breakout star and has the potential to be our next lead action star. Naomi Scott is cute and it's refreshing to see her deliver the punch-lines after watching her more serious turn as Jasmine in another reboot this year. Overall, the cast was fantastic oozing with chemistry and charm.

Couldn't say the same for its plot. Espionage should have some mystery in it but this one's a bit predictable. Then again, Charlie's Angels have been known more for its fun side towards achieving their goal than the goal itself. This one also has less action scenes than what it's known for. But what it lacks in the abovementioned, it thrives in its weighty theme against toxic masculinity. Banks seems more interested in creating this film as an answer against the mansplainers than to make an outstanding overall action film, which is not bad because it gave us more entertaining sisterhood scenes from the angels.

'Doctor Sleep' Review: A Less Psyhological and More Fantastical Sequel

Mike Flanagan brings back the horrors of The Shining's Overlook Hotel in a less psychological and more fantastical way. But at first, Doctor Sleep almost seems like a complete adieu to the Stanley Kubrick classic where one might find himself wondering about what has happened since. Until the horrors finally creep in and end up to where it all began in what seems like revisiting an old familiar museum to those who have experienced it--both Danny Torrance and the audience.

Photo: Warner Bros. Pictures

Doctor Sleep is a Stephen King adaptation first, though, which explains why it looks like a complete 180-degree tumble from the film, which is arguably the more famous one. What makes it quite different from the first is the introduction of new characters, particularly the vampiresque group, the True Knot, led by the hippie and wicked-looking Rose the Hat, alluringly emulated by Rebecca Ferguson. They hunt humans with an extrasensory gift also known as the 'shine' that are reminiscent of mutants. They prey on their pain and their souls. Thus, Danny (Ewan McGregor) and his third-eye counts. It doesn't hurt that he's still enduring the trauma from all the happenings at the Overlook that continuously haunt him wherever he may go. Until he met Abra (Kyliegh Curran) through their 'shines' and found themselves allies against Rose and her followers in their quest for immortality.

The first two hours patiently set up the True Knot's agenda while switching back and forth between what has become of Danny or Dan, and his telepathic connection with Abra. It jumps between several U.S. states as these characters travel to survive but its restlessness, especially in its plot, never confuses nor bores. Instead, it expands the claustrophobic limitations of The Shining by injecting fantasy via interesting and ballsy choices by Flanagan. At one point, we see Rebecca Ferguson flying like a witch in a scene a la Ethan Hawke and Amanda Seyfried in First Reformed, watching the Earth, looking for her shiny victims. It's these Mike Flanagan's touches that make Doctor Sleep entertaining and not just your run-of-the-mill horror adaptation.

But as aforementioned, it's not a complete farewell to its source. The Overlook itself is a character. It also shines, as we know it. And after two hours of being absent on our screen, Overlook gets its grand return even if it's now completely creaky and abandoned. The last thirty minutes or so, not gonna lie, are terrifying but also very exciting. Dan, with his inner superpower through his shine, wakes the hotel up. Seemingly unafraid, he walks along the carpeted halls, passing by the 'redrum' room, inserting his head on the "Here's Johnny" axed-destroyed door, reliving all his childhood nightmares from all the corners of the hotel. It's not as lively as Steven Spielberg's revisit in Ready Player One, but Flanagan effectively rekindles Kubrick's dread even if some of the flashbacks, where he refused to insert original clips from The Shining, pale in comparison.

If there's anything to nitpick, it's probably its cheesy dialogue. Albeit it's inevitable given the source that they're Stephen King's words. Yet it's easy to ignore because it's entertaining from start to finish despite its slow formulation. Not to mention the actors, most especially Ferguson, who made it easy to make the new characters known.

'Zombieland: Double Tap' Review: Hilarious and Zombie-Filled Continuation

Rule #1 in watching Zombieland, just enjoy the ride.

Photo Credit: Columbia Pictures

A hilarious, zombie-filled continuation of its predecessor, Ruben Fleischer's Zombieland: Double Tap brings us back to where it started and adds new characters to join the fun of the star-studded, all Academy Award-nominated foursome of Woody Harrelson, Jesse Eisenberg, Emma Stone, and Abigail Breslin. It's as if nothing has changed with these characters even though in real life, there have been monumental changes to their careers. For one, Emma Stone is already an Academy Award-winning actress, but her character Wichita is still the same Wichita we know from Zombieland.

It's literally a continuation only with additional characters that either add spice or create conflicts to their established dynamic. Presently, the gang lives in the White House. Stone's Wichita and Eisenberg's Columbus are still a couple, while Breslin's Little Rock and Harrelson's Tallahassee have an unspoken bond of a father and a daughter. The core four is still together killing zombies, living together despite their differences. Columbus still abides by his rules, Wichita and Little Rock still don't like to be attached, and Tallahassee continues to tolerate them despite being out of his comfort zone. Only time will tell when they start growing tired of each other.

Even zombies have some developments. They now have names for each kind of zombies: 'The Homer', which are the stupid and slow zombies; 'The Hawkings', a.k.a. the thinking man's zombies which were named after Stephen Hawking; and 'The Ninjas', these zombies appear out of nowhere. But these are the same zombies they've initially encountered so they took it to the next level by including running zombies that are difficult to kill. Imagine the zombies in World War Z. They called it, the T-800.

But then again, as much as I love seeing zombie action more than anything in a zombie movie, what makes Zombieland, both 1 and 2, even special is the comedy between the leads. They could make a TV series out of them and we wouldn't get tired of seeing them interact with each other despite their obvious disparity. It's what makes the "Zombielands" watchable, even if it lacks the gruesome and offbeat zombie killings it's known for and even if some of the jokes don't land well. Double Tap actually lacks the zombie action and the natural & fluid humor of the first, but it makes up for new and unforgettable characters you wouldn't mind joining the foursome in future sequels. Most especially Madison, a hilarious character turn for Zoey Deutch, who got fascinated by Columbus' rules and ended up being the third party in the Wichita-Columbus central relationship. She's the third party that you wouldn't mind messing an already cute and formed relationship because she's that funny and outstanding.

But despite Madison, the foursome remains the heart and soul of the film, with Tallahassee having the most heroic arc of the four. The final scene in a new placed called Babylon where guns are not allowed and hippies kumbaya with each other is a little bit short of the exhilarating theme park scene of the first, but thanks to another character played by Rosario Dawson, it got a short four-wheeler truck action that's fun to watch.

Zombieland: Double Tap has the same formula of the first which you wouldn't mind especially when you go out of the theater smiling because of its silly but happy ending. It makes  you want to see more of them. The good news is, the actors seem 'game' for more.

'Gemini Man' Review: Clones, Not Clowns, Rule

To talk about Gemini Man is to talk about Ang Lee's ongoing journey in making 120-frames-per-second film-making a trend in the world of cinema, or at least, in his world. Pioneering this technique on his 2016 military drama Billy Lynn's Long Halftime Walk, it lapsed to eye-catching but divisive reception. But obviously, it did not stop Lee from pursuing it.

Instead, he ventures with an explosive and action-packed material, not necessarily turning his back from what he's used to shooting. After all, one of his films was Hulk. But it's certainly a change from his emotion-filled film streak.

Photo Credit: United International Pictures

Gemini Man stars Will Smith as Henry Brogan, a first-class assassin ready to retire but was suddenly chased by a young operative leading them to a global game of cat and mouse like any other action movie in recent years. The twist is they seemingly could predict each other's move. Smith is joined by Mary Elizabeth Winstead who showed minor action skills, Benedict Wong as Smith's sidekick, and Clive Owen, a former Marine officer seeking to create his own military organization of elite soldiers through clones.

Gemini Man put clones in a nutshell, simplifying a complex idea in ways that are not necessarily new plot-wise. Not surprising considering that Lee has been eyeing this material for years and many films about clones have passed before this was even conceived. What stands out from other clone films, however, is Lee's continuous conception of fresh ideas to the way we see movies. It's really admirable considering he's been doing extraordinary things in what's typically viewed as usual film-making. Unfortunately, it doesn't always work especially the de-aging CGI effects. But the intention is very much appreciated. That's why, as cliche as this sounds, this should be watched the way Ang Lee intended it to be seen.

Photo Credit: United International Pictures

Seeing this in 120 FPS and in 3D or in the most immersive way possible would make the experience worth it. It's truly an experience and I seriously believe that Lee has given new meaning to the word cinematic. There are standout scenes that I haven't seen, experienced rather, in a cinema before even if the scenes include a usual motorcycle chase scene, or the leads running away from a thousand bullets. They're astonishing.

Apart from its action, it's about humanity--what's humane and inhumane about the process. But that's only a footnote from this movie and putting meaning to an obvious film about techniques and choreography, both cinematography and stunts, might even be a reach. This is sad because Ang Lee used to make films that bring out emotions in his audience even in his first effort in utilizing the technology. Gemini Man might seem to be the most immersive and hyper-realistic, but it's also the most emotionally distant.

'Joker' Review: A Commanding Joaquin Phoenix Acting Circus

Comic book movies found the newest light of day in Todd Phillips' Joker. Although light may not be the best term to associate it with, as it's definitely one of the grimmest movies of the year.

Photo Credit: Warner Bros. Pictures

With the surge of superhero movies, and now super villains, Joker took it up a notch with its approach and content--staying away from superpowers and focusing more on its subject's descent to madness. The declaration stating that there will be before-and-after Joker might be true after all. I wouldn't be surprised if the succeeding origin movies from now on will continuously reinvent the genre. If not, they'll sidestep to another existing genre that's rarely used in comic book movies. I'm almost already certain that Birds of Prey will use the same technique as this. Although this isn't that original anyway especially with Christopher Nolan's The Dark Knight that still feels fresh after a decade since its release.

But there's definitely a change. One that could surprise especially the superfans both in a good way and in a bad way. It's very much about Arthur/Joker and very little about his connection with Batman. There are no magic tricks, but what it has is Arthur's genesis that is disgustingly humane and harrowing. In a way, Todd Phillips' Joker asks the viewers to sympathize with this sad, sad creature but overall it feels wrong however unfortunate his past and present were.

It's a simplistic straightforward story but the journey to its core is startlingly dramatic. It turns from heavy drama to horror and it rarely takes detours to its descent. If it does, it's about his mother and his past. When it stops, it makes a commentary about the garbage situation of the contaminated Gotham city that's not exclusively referring to it as a place but rather as a community. "It's crazy out there", he says. Other than that, it's really about Arthur, his condition and his longing to belong.

As straightforward as it is, it has an incredible amount of craft injected into it. Hildur Guðnadóttir's score and Lawrence Sher's images complement the filth of Gotham, the madness and emotions of Arthur, and the overall eerie vibe of the film.

Then there's Joaquin Phoenix who might really be the best of his generation and with the Joker role, he's able to show what he has in him. Sometimes it's overbearingly good, and sometimes it's inordinately not. It's a commanding performance from start to end. One that's also associated with physical transformation. He pretty much utilized the material as his circus and it feels like he had a good time with it while taking it seriously at the same time. He can't not take it seriously because Arthur's origin is really dark and disturbing. His 'Joker laugh' is also pretty bothersome as it should, making it a scary disease you wouldn't want to wish even to your worst enemy.

'The Goldfinch' Review: John Crowley's Glossy Portrait Loses Its Hue

John Crowley's follow-up to his critically acclaimed Brooklyn is a film adaptation of the Donna Tartt novel 'The Goldfinch', and sadly, it's a bit of a setback. Crowley attempts to juggle all the characters and storylines at the same time that it seems like he's forgotten to imbue the novel's essence and moral. It's compelling in its seriousness and fun in its lightheartedness but together it feels like an explosion of tone that shifts from time to time to time and never established an overall distinct atmosphere.

The Goldfinch weaves between two periods in the life of Theo Decker, who was orphaned as a kid (Oakes Fegley) when his mother was killed in a terrorist bombing while they're at the Metropolitan Museum of Art, destroying precious pieces of art excluding The Goldfinch painting, which he took possession after a dying man from the explosion asked him to "take it". As an adult (Ansel Elgort), Theo still keeps the priceless painting reminding him both of the tragedy and his beloved mom.

Photo Credit: Warner Bros. Pictures

Like most literary material, it's one with a lot of side stories and characters that all revolve in the main character's life. It has Samantha (Nicole Kidman), a cold but kind socialite who took Theo in after the tragedy, Samantha's household which includes her children Platt, Kitsey, and Andy and her husband Chance, Theo's deadbeat father (Luke Wilson) and his promiscuous girlfriend, Xandra (Sarah Paulson), Pippa, Theo's unrequited love and obsession, Hobie, (Jeffrey Wright) as Pippa's guardian and later his mentor, and the side-character I enjoyed most, Boris (Finn Wolfhard) who was sort of a bad influence but ended up being one of his closest friend.

All of these characters and their relationship with Theo are distinct, compelling and pivotal to his story. And yet, their combination couldn't save the narrative that struggles to find its rhythm throughout the film.

Photo Credit: Warner Bros. Pictures

On a positive note, it looks glossy and gorgeous throughout. No surprise since Roger Deakins shot this. From the crispness of the images to the warmth of the lighting that exudes from the screen, it's one that could count as a masterpiece, if only the script could. There are several shots in the film that linger and there are also several scenes that have Deakins' signature where the subject is shot against the twilight. It's beautiful, but not enough to save the film.

Despite all this, it's still a compelling story, only told ineffectively. It was just a story, but nothing to take in. Theo's trauma remains his from start to finish.

'Ad Astra' Review: Brad Pitt's Melancholic Space Contemplation

In a decade where space films have become a norm, James Gray's own version emerges as he uses space only as a facade, a magnificent veneer exquisitely shot by Hoyte van Hoytema, to orbit the meaning of human existence.

In Ad Astra, Brad Pitt as astronaut Roy McBride travels to the outer ends of the solar system in search of his missing father and unravel a problem that's threatening mankind. But as vast as the universe is, the film goes beyond and larger than this plot. Like the space as a facade, this adventure is not just about finding a missing dad. Rather it ends up being about one's place and meaning in life and the universe.

Often shadowed with McBride's melancholic contemplation via confessionals or voice-overs, Ad Astra has a sincere and sentimental vibe to it. Max Richter's breathtaking score heightens this but it's also not devoid of gripping action that we mostly see in space movies. It's still complete with moon chase scenes, blood, and other space absurdities that are almost always imperative in sci-fi movies. Richter never falters whichever scene his music is in.

In a way, director James Gray still gives in to the unspoken requirement of a space movie but at the end of it, he still triumphs in what he does best--exploring human emotions in his own gentle way and he always does so by adding other layers like exploration or immigration and not just your ordinary day-to-day story.

I've only seen two of his movies before this, and it's impressive how each one is so distinct yet all are affecting. Once his films end and his name appears in the credit, there's an immediate feeling of reflection and extra sadness that goes with it. Says a lot by how perfect he ends his films--whether it's the lingering shot of The Statue of Liberty in The Immigrant or the wife's refusal to discontinue his husband's exploration of a lost city in The Lost City of Z.

Brad Pitt's expressive and nuanced performance is not to be taken for granted. His performance is just as good and appropriate as Gray's vision. Both of their hearts beat together in this "space of life" story. One could say that he's probably in a sad and reflective state while doing this which is perfect for the material.

Ad Astra overall does not have the action-packed excitement of other space films, but it's just perfect in its own unique way. As even in its reserved action elements, it's able to explore more techniques in showcasing what's out there beyond Earth and by the end of it, we contemplate with Roy not only about his life but ours as well.

'Downton Abbey' Review: An Arc-Filled Reunion Makes For a Lively Period Drama

Whether you've been following the beloved period drama for years or you're a new visitor to the English country house, there's a big chance that you will be attached to the plethora of characters in Downton Abbey. I'm an outsider looking in but I ended up wanting to 'wiki' the TV show after watching because of its lovable characters--both the Crawley family and their servants.

Photo Credit: United International Pictures

I know that it's always nominated at the Emmys and that Dame Maggie Smith is its scene-stealing gem, and then I know nothing more. The film affirms these as Dame Maggie Smith is truly a joy to watch who is also easily the best part of the film. The veteran actress knows how to make the audience laugh out loud with her always reliable sharp tongue. And the talented ensemble knows how to follow her lead.

That being said, the film is clearly a fan service, which is not bad at all considering that it doesn't put the outsiders out of place. It's very much welcoming even if sometimes it feels as if you are expected to already been informed of their dynamics before joining their community. It's packed with plot for many of the characters that I could only assume are a continuation of where the TV series left off, but it kept the film lively with no dull moments. It's even very inclusive and liberal for a period drama, not devoid of the present political weather.

It's also not without new characters that fit the established dynamic of the Downton community. It's still set in the 20s but with higher stakes as the Royal Family King George V and Queen Mary are stopping off the Downton before their trip to Yorkshire. With them are their own staff that alienated the Crawley's dedicated maids. The presence of the Royal family wasn't very much felt, but there’s a fun and riveting square-off between the maids because of them.

It is the newcomer Lady Bagshaw, played by the regal Imelda Staunton, that provides the exciting parts though, especially that she's added to be the Dowager Countess' banter partner. Even if she's mostly underutilized, her character could bring new drama if they decided to create another sequel.

Much like any other TV show turned into a movie, Downton Abbey's existence feels like a reward for its loyal fans that whether a continuation is needed or not, its overall vibe feels like a product of the cast and crew's love for this material. The result? A lively and pleasant reunion for everyone.

'It: Chapter Two' Captures the Novels' Heart, Horror and Humor

Just two years ago, the remake of the beloved Stephen King's quintessential horror novel ended with the Losers' Club sitting in the sunshine after defeating the evilest alien clown Pennywise below their town's deepest sewers. Together they had a blood compact to return to their town if ever Pennywise comes back.

Photo Credit: Warner Bros. Pictures

Two years later for us, and twenty-seven years later for the Losers, IT reappears. And with the mega-success of the first, this is a surprise to no one. Only a few days after the showing of It (2017), moviegoers had been screaming for a sequel, if only to watch more of the eccentric and relatable kids. Not to mention, people were posting their own cast for the adult versions of the Losers all over social media and while it was too good to be true at first, it was confirmed only a few weeks later that a sequel is a go, with Jessica Chastain as the adult Beverly--a picture-perfect adult version for Sophia Lillis--and other big names in Hollywood.

So much potential is expected in Chapter Two, and that's likely one of the main reasons why this flick has an almost three-hour running time. The Losers are beloved, and Pennywise is iconic. It would be such a shame to put any of them to the side. Unfortunately, it's also the reason why it's a bit of an overkill. Director Andy Muschietti's longing to continue what he successfully started doesn't pay off most of the time.

First and foremost, the young cast of the first one is way more fun, watchable, and perhaps more appropriate for the villainous clown. Jessica Chastain, James McAvoy, Bill Hader, Jay Ryan, Isaiah Mustafa and James Ransone as the adult cast, as prestigious and tested artists and perfectly cast as they are, don't hold a candle to the chemistry of the young group. It's not that they don't have charisma, their adult dynamic is just not as fresh and compelling to watch. Individually, they're given enough material to shine but the flashbacks with the young cast remain to be a favorite. I guess, adults and clowns really just don't mesh well.

Photo Credit: Warner Bros. Pictures

The good thing is that there is a lot of flashbacks. After all, the main theme of It: Chapter Two is about conquering their deepest fears from their experiences in the past, not necessarily with Pennywise. It's in this theme that truly elevates the film. Somehow, its unapologetic sentimentality works best because it captures the heart of Stephen King's novels and some of his early movie adaptations like Stand by Me.

Then again, this film is way more than that. This sequel is BIG as in it's not afraid to take its time in showcasing new ideas and tricks to scare and tell the stories of all the characters, Pennywise included. Everything it's supposed to tackle, it did--from their past insecurities leading to their current situation, on why they have to return to Derry, on why each character had to do what they needed to do--all in order to stop the evil that's been giving them nightmares since they moved on from their childhood. They covered all their bases even though the film feels like it could trim at least an hour and it will still be as effective, if not more.

But no complaints. If it means more airtime for the young Losers, then it's A-okay. Ultimately, it's about the past and present anyway.

'Once Upon a Time... in Hollywood' Review: Quentin Tarantino Reminisces 60s Hollywood

In his ninth film, Quentin Tarantino used "Once Upon a Time...", a phrase often used in fairy tales, also used in spaghetti western films in the past like Once Upon a Time in America, Anatolia, etc. a genre Rick Dalton, his main character in this film, dubbed as a genre for washed-up actors. For his version, he used 1960s Hollywood as his backdrop.

On one hand, Once Upon a Time... in Hollywood's narrative feels like Tarantino is purely reminiscing on the golden era of Hollywood, where hippies are everywhere, cinema is alive, Bruce Lee is alive, and feet can be placed on top of theater seats. On the other, it also tells us that Hollywood as media, teaches us of violence and killings, save for I Love Lucy.

Photo Credit: Columbia Pictures

On the surface, this feels like an episodic stories of three characters living in this era: a has-been actor Rick Dalton (Leonardo DiCaprio), star of "Bounty Law", a hit TV series in the 50s and early 60s, whose transition from TV to movies never materialized; a stunt-man double slash best friend of Dalton, Cliff Booth (Brad Pitt), who also serves as Dalton's driver and confidant; and Sharon Tate (Margot Robbie), the admirable actress who just happens to be Rick's neighbor in Cielo Drive. Surrounding these characters are a mix of real and fictional personas ranging from Roman Polanski, Steve McQueen, the Manson family, and others Tarantino chose to integrate into his oeuvre.

Like any other Quarantino film, it’s grand and cinematic. Barbara Ling's production design of old Hollywood matched Robert Richardson's illustrative cinematography is divine. But Once Upon a Time... in Hollywood is also quite a bit of a mess, a signature Quarantino mess that is. Some of his choices for this film, might not be surprising considering his past choices in his previous films but questionable nevertheless--inconsistent labeling of 60s celebrities that I see as lazy storytelling, sudden editing shifts that don't make sense particularly with Dalton and his director in the trailer park for the film "Lancer", and other substories and additional characters that don’t necessarily add up to the plot or resolution, but only exists for Tarantino's drama. I imagine these are all essential in Quarantino’s world, but not necessarily appealing to some viewers. OUATIH might be criticized as a film that requires research before actually seeing it, or else, one might find oneself asking questions. Intentional? Maybe.

Margot Robbie as Sharon Tate | Columbia Pictures

The good side is the trio of Leonardo DiCaprio, Brad Pitt and Margot Robbie is extremely likable and compelling. DiCaprio's Rick Dalton might be one of my favorite performances from him. He's committed but less serious, and he brought both humanity and caricature to his character that most of the time doesn't work for other actors. Pitt is as usual, reliable. There's not enough meaty scenes from him except for his fight with the real but very fictional Bruce Lee, where we once again witness his signature Fight Club fist-fight moves, this time under the direction of Tarantino. Margot Robbie is the most interesting one. Her characterization of Sharon Tate based on Tarantino's world could be seen as a filler. But she's a much-needed presence in the man-filled world of 60s Hollywood. The ensemble as a whole is quite good. Tarantino is known to work with a lot of actors in his films, but there's always a true standout among his sea of talents, and in this film, it's Margaret Qualley, the young actress who held her own while acting with Pitt. And how can I forget Brandy? Cliff's adorable pitbull who also had a pivotal scene at the end.

In the end, Once Upon a Time... in Hollywood might be difficult to grasp because of its setting and its lack of structure. Quarantino has no motive to teach us about it. Instead, he wants to reminisce the good old times of what may be considered as Hollywood's Golden era, where dreams are made of and actors truly care about their careers, somewhere Tarantino would probably want to be in right now.

Cinemalaya 2019: Ruby Ruiz is Amazing in 'Iska'

Photo Credit: Cinemalaya

Director: Theodore Boborol
Starring: Ruby Ruiz, Pryle Gura, Soliman Cruz

Ruby Ruiz is not a rookie when it comes to Cinemalaya, or indie films for that matter. But it's rare to see her leading a film, and in Iska, she doesn't only lead it, she carries it with all of her acting prowess. Needless to say, she's amazing.

Ruiz plays the titular role with a killer combination of humor and grit. Iska is a grandmother who works double-time to take her special grandson, left behind by her daughter, to a special needs orphanage. She lives with her husband, played effectively by Soliman Cruz, a driver who doesn't want to do anything with their grandson, and often rapes her whenever he wants. She shows more care for their dog, 'Doggy-dog' because of that. Together they live in the slums where neighbors fight vehemently and people gossip as their daily routine.

The film begins with a single-shot long-take of Iska and her grandson in a small room of her house where all the noise from the outside can be heard, as she tries to stop him from crying so she can go to work where she earns minimum wage. In this first shot, the film has already established Iska's warm love and patience for her grandson, while setting up the difficulty of Iska's condition.

On a positive note, Iska never seems to lose the tenacity to survive. Her love for her grandson and her dog fuels her to keep going despite the hardship she faces every day. She's also very charismatic, hardworking and friendly, and people love her for it. These qualities make her lovable, not just for the people around her but for the audience as well, and again Ruby Ruiz's acting helped a lot to make Iska compelling.

Credits to director Theodore Boborol and screenwriter Mary Rose Colindres for making this captivating despite its distressing subject. For every unfortunate event in the film, they make up for it with their witty script that includes UP culture, past Cinemalaya entries and other film references. Then again I'd go back to Ruby Ruiz and the rest of the cast who all made their characters as believable, and their condition as bearable as possible.

The film is truly engaging until the second half happened, where stakes become more serious and more complicated for Iska and her grandson. If not for that one scene, a personal favorite, where Ruby Ruiz starts counting 1 to 100 in the most compelling way, it would be just pure torture--which I think was intentional.

When the film took a turn, it just couldn't live up to its almost perfect first half. I'm not entirely sure if Iska should be tagged as based on a true story, but I'm pretty sure it was implied. My problem with that is the film slightly felt incomplete, especially with its sad ending. Unless that's the message Theodore Boborol wants to convey or highlight--that poverty is the devil no matter how good the intentions of the characters are. Throughout the film, we've rooted for Iska to overcome all the odds to provide a good life for her special grandchild, so the ending felt quite a bit like a betrayal. If the ending is based on Iska's real story, here's hoping that the real-life Iska and her grandson are currently doing just fine.

Cinemalaya 2019: 'Children of the River' -- Children Left Behind by War

Photo Credit: Cinemalaya

Director: Maricel Cabrera-Cariaga
Starring: Noel Comia Jr., Ricky Oriarte, Dave Justine Francis, Junyka Santarin, JR Custodio, Juancho Triviño, Rich Asuncion

Happy to report that Children of the River is not an artsy and ambiguous film about children spending their time in a river contrary to what it looks from its trailer and poster. It's actually a lighthearted film about a group of best friends in a small community who start their day with a phone call before spending time together: whether playing make-believe soldiers in a forest or watching basketball in their barrio. It's a portrait of friendship, self-discovery, and family in the province. It's generally fun until it's not.

Children of the River has bigger themes than its surface. Most of the film is spent on the bonding of four best friends, portrayed by Noel Comia Jr., Ricky Oriarte, Dave Justine Francis, and Junyka Santarin. They perfectly capture the innocence kids in barrios do in their day-to-day lives. The theme of acceptance becomes the sole focus when Comia's character Elias, starts to discover feelings for an outsider named Ted. It's difficult to not compare this to Call Me By Your Name, especially since they share several cinematic parallels, from the bikes to the dance party, and at one point they even changed his name to Elia.

It's a feel-good film until they reveal that the phone calls they've been receiving are from their fathers who are soldiers fighting in Marawi. It suddenly turned into a huge bowl of cliche and lines become overly-sentimental, which weirdly works just fine during the first half of the film. Jay Manalo as a war survivor even has a long monologue about soldiers and it's too preachy for it to be moving.

But throughout the course of it, I've grown to appreciate the friendship formed in this film. Its depiction of kids being kids is very close to reality, and the thought of families being left behind because of war is effective.

Cinemalaya 2019: 'Pandanggo sa Hukay' -- A Depiction of a Woman's Plight

Photo Credit: Cinemalaya

Director: Sheryl Rose Andes
Starring: Charlie Dizon, Ybes Bagadiong, Diva Montelaba, Star Orjaliza, Acey Aguilar, Mercedes Cabral, Sarah Pagcaliwagan – Brakensiek

Iza Calzado returns to Cinemalaya for another film championing women. This year, she plays Elena, a single mother and a midwife preparing for an interview for a job in the Middle East.

It's half light comedy, and half kidnap drama. Unfortunately, these genres don't mix well in this film. The first half is filled with hilarious jokes and silly banters from the cast, while the second half is brutal with not enough sense of danger. On top of that, is director Sheryl Rose Andes' clear desire to present women's issues that in the process, she injects several scenarios and dialogues that feel contrived and don't elevate the story. Even some of the film's metaphors like the Pandanggo sa Ilaw dance that's supposedly about a woman's journey in balancing light and shadows in their lives, as beautiful as it looks, doesn't make much of an impact to the message the film is trying to portray.

The film feels full of stuffing in order to create a feature length movie, but remove all of the jokes and silliness at the beginning, then it might have been a more impactful short film that shows the dangers of a woman's day-to-day life. Watching them eat indian mangoes while chit-chatting is sadly like watching wet paint to dry. The shots are uninspiring, save for the cast making the most out of their acting material.

Women's issues are important to be seen, but there are more cinematic ways to present them. For what it's worth, it's effective in telling the struggles of a woman. It ended in such a way where one would think that life must go on despite it being tough.

Cinemalaya 2019: 'Fuccbois' -- A Sociopolitical Crime Provocateur

Photo Credit: Cinemalaya

Director: Eduardo Roy, Jr.
Starring: Royce Cabrera, Kokoy de Santos, Ricky Davao

I wasn’t high on Pamilya Ordinaryo; I regret missing Quick Change (where can I watch it?), and now here comes Eduardo Roy's newest provocateur, Fuccbois—an intense sociopolitical crime thriller that builds up like a bomb no one knows when it's going to explode. It's about two friends Ace and Miko, who dream of achieving stardom by promoting themselves shamelessly on social media, and joining bikini beauty pageants in gay bars. When Miko received good news about getting the role of a leading man's best friend, a politician ex-lover of Ace blackmails them that could damage their budding careers.

Fuccbois plays like a three-chapter movie that takes its time to establish its straightforward but complicated premise. At first, the film revolves around Ace and Miko's preparation for a beauty contest, from their too-small too-crowded quarter on their way to the bar where it's held. We got to see a glimpse of how bikini beauty contests work. It's funny, especially their dirty introduction to the crowd. Things take a turn when Ace starts receiving a barrage of calls and text from a person named Brithanygaile, who threatens to expose their scandalous sex video.

From there onwards, the film becomes more serious and nerve-wracking. The second act is a bit reminiscent of Brillante Mendoza's Kinatay, wherein it brings the audience along a dangerous journey no one knows how it will end. Turns out Brithanygaile is a politician stressed out from the result of the recent election.

Beneath this crime drama is also a portrayal of a harrowing sociopolitical situation we're living in. Apart from the characters' desperation for fame, where their faces and body are their only currency to survive, the subliminal message about political injustice is sad and provoking. Its significance transcends the sickening images of blood, drugs, and sex it showed, and it lingers even when the film doesn't seem to know when to end.

The more I think about it, the more I appreciate Eduardo Roy Jr’s genius, whose filmography is starting to shape up as one of the boldest and most provoking. Fuccbois agitates, but I hope it gets its message across behind its nasty exterior. If not, I hope it puts the incredible Ricky Davao on the forefront.

Cinemalaya 2019: 'Edward' is Thop Nazareno's Heartwarming Hospital Dramedy

Photo Credit: Cinemalaya

Director: Thop Nazareno
Starring: Louise Abuel, Dido dela Paz, Ella Cruz

My friends and I were seated right behind Thop Nazareno’s dad during Edward’s Gala screening, which also happened to be his birthday. Thop greeted him on stage and we greeted him as well. He smiled at us and said thank you.

During the course of the film, I kept on looking at him every time there's a daddy issue line. Quite intriguing because this is Nazareno's second feature where the lead character deals with his former absent father.

But Mr. Nazareno didn’t seem bothered. Then again, I could only see the back of his head. The only time I got a reaction from him was when he shushed a noisy audience.

Anyway, I love Edward--a fun and modern Huckleberry Finn-vibed story about a teenager named Edward (Louise Abuel), who is stuck inside a crowded, public hospital where he's forced by his stepbrother to take care of his ailing father (Dido dela Paz). The longer he stays in it, the more it becomes his playground. With his sidekick Renz, they roam around the hospital racing with wheelchairs, betting on the lives of the patients, doing nurses' errands and drinking beer in the hospital's open hallways. There he also finds love and distraction in a spunky patient named Agnes (Ella Cruz).

It's Edward's world that Thop Nazareno confidently established. From frame one of a single-shot long-take of a typical hectic scenario in an emergency room to the final harrowing shot of Edward, Nazareno paints his film with such clear vision from start to finish without any excess--a quality I also observed from his first feature Kiko Boksingero.

Also very apparent is his edgier and more playful approach with this film. In Edward, he carefully balanced a fun coming-of-age story with a heartwarming family drama while exposing the tragic realities of life inside a public hospital. He's still not devoid of elegance and subtlety. The way he juggles humor and tragic images delicately is impressive.

He also brings out the best in his impressive ensemble. Louise Abuel for one is perfectly cast as the boyish Edward who has mastered the look of a carefree kid with an innocent demeanor. His chemistry with Ella Cruz could melt anyone's heart. Cruz, on the other hand, also portrayed her frank and feisty character to a tee, and Dido dela Paz as usual is reliably believable.

Overall, I love Edward most when it’s lighthearted and fun, and less depressing. Edward's funny adventures bring light to a rather grim and dirty public hospital. The shift in tone in the third act, while earned, almost ruined it. But it ended in a touching moment that brought back the heart of the film.

This is my favorite Cinemalaya entry this year.

Cinemalaya 2019: 'Malamaya' -- A Portrait of a Solitary Woman

Photo Credit: Cinemalaya

Director: Danica Sta. Lucia, Leilani Chavez
Starring: Sunshine Cruz, Enzo Pineda

Cinemalaya has been a way for artists, new and old, to challenge their craft and showcase their prowess so it's always a delight whenever they appear in one of the entries. Whether it's a passion project or a career revival, they're exciting to me. This year, Sunshine Cruz is one of the veteran actresses from the mainstream industry to embark in Cinemalaya. Unfortunately, she joins the like of Sharon Cuneta and Gretchen Barretto whose entries don't spark joy.

Malamaya is about Nora, a middle-aged single visual artist who doesn't seem to know what she wants in life. She lives in a house filled with her Obras, and she refuses to sell them for money. She engages in casual sex with a man her age, no strings attached. She attends her friend's art classes to give students a talk about art. And then she meets Migs, played seductively by Enzo Pineda, a young and amateur photographer whose views in art and life are opposite from hers. Their only bonding revolves around sex and cigarettes.

On its canvas, this seems like another film about female empowerment and while there's a case for it, it's barely believable. Malamaya, with its screenplay that sounds like its words are copied straight from an erotic pocketbook, does not give its characters an ounce of likability. The central relationship is toxic and only formed out of lust and sadness. So watching them go bond and fight back and forth is quite tiring which seems to be intentional, but not rewarding for the audience.

Its sensual quality also feels contrived, that it looks like a vanity project for both Cruz and Pineda. There's no way they'd be able to elevate a script that doesn't seem to give their characters a room for redemption. Migs is an immature millennial who doesn't know how to deal with a pessimistic older woman like Nora. Nora, on the other hand, is too passive-aggressive that there's no way to neutralize their exhausting relationship.

Then they also infused it with artistic views, that don't necessarily make a lot of sense to the story, but rather feels like a filler or distraction to convey what they're trying to say about the subject matter. I couldn't even take Nora seriously when she speaks to a class right in front of a projector.

In the end, it's predictably about Nora putting herself first, eliminating all the toxicity in her life--something she could have done after her supposedly one-night stand with Migs--a no-brainer decision if you ask me. Then again, this is art. And we can't like everything.

Cinemalaya 2019: 'ANi' -- A Tiny Step to Local Science Fiction Success

Photo Credit: Cinemalaya

Directors: Sandro del Rosario, Kim Zuñiga
Starring: Zyren dela Cruz, Miguel Valdes, Ricky Davao

No denying that ANi is one of the most anticipated films in this year's Cinemalaya. The marketing for this is tremendous, the trailer looks impressive, and there is huge hype across social media. It just looks good, but our local films especially indie are yet to be tested in terms of heavy CGI and visual effects. Going into this, I thought this would either be amazing as it looks, or it could go terribly wrong.

I watched the Gala screening of this at CCP, and the directors' messages before they screened the film imply promise, which turned up at least my expectations to the maximum. A love letter to parents, they said. The combo of sci-fi and family gave me Steven Spielberg vibes.

ANi didn't live up to the hype.

But it is a tiny step to CGI in local cinema. A welcome contribution despite its storytelling failure. ANi's CGI robot is passably believable, but the rest of the world-building is far from convincing. No one knows what the year 2050 looks like but their future in mind might not be the result that they are looking for. Who knows?

Acceptable CGI is one thing, it's quite another to make good use of it for the whole movie to work. The CGI robot they're proud of, as they should, entered the picture late in the film and everything before it looks shabby. The set looks like a product from the remains of the set of Sineskwela trying to be Ready Player One, which keeps the actors from moving freely and the camera work to be creative. There's clearly a lack of budget and the quality of the film is sacrificed because of it.

Moving the second half of the film to a place called 'The Province' felt like an excuse to drift away from any futuristic setting (although they were able to add CGI farmer robots and they look impressive). But for its every impressive aspect, its basic narrative hinders it from being great. The coming-of-age plot is tired, the PAROS, a robotics company that is supposed to be the main villain(?) is in no way threatening, and the search for the magical grain was left behind to establish 'ANi' the CGI robot. I also don't understand why its English title is 'The Harvest' when they're clearly referring to 'ANi', which is a robot's name.

At the end of the day, this is still a film with good intentions. The ambitious vision is admirable, and the attempt to help the local film industry move forward is acknowledged. But this film also makes us realize that we still have a long way to go in terms of CGI, visual effects and science fiction in general. Maybe next time we'll get help from our own government.

Cinemalaya 2019: 'Belle Douleur' -- Self-Love with a Transcendent Mylene Dizon

Photo Credit: Cinemalaya

Director: Joji Villanueva Alonso
Starring: Mylene Dizon, Kit Thompson

A quick exercise: Try to think of movies with a middle-aged man on the forefront and his leading lady is at least 10 years younger than him. You'll probably be able to name a lot. Now try to think of the same scenario except the actress is way older than her leading man. You'll probably be able to name a few since it's starting to become a trend. But isn't that exciting? I've been hearing and reading a lot of comments, some sound like they're even complaining, on the emerging films about middle-aged women whose appetite for love and life stays blooming. This is why, even though most of these films tackle almost the same points about life reaffirmation, I still appreciate them.

Mylene Dizon joins these women in Belle Douleur, directed by a lawyer and first-time director Joji Villanueva Alonso, about Liz, a single 45-year old child psychologist who finds herself emotionally alone in her antique-filled parents' house after her mother passed away. Through her friends' encouragement to do something fun and reckless, she pursues Josh (Kit Thompson), a young and independent antique shop owner, and together they create a special bond.

The story and the way it was presented is pretty much clear-cut, but boy, it is super fun, sexy and romantic, while staying classy. Not to mention its realistic portrayal of a relationship that their age difference makes little conflict. It helps a lot that screenwriter Therese Cayaba, known for her film Delia & Sammy, created characters that are imperfect, but likable and never toxic. We are drawn to Liz and Josh, not because of their differences, but they actually make a good couple who appears to really care for each other. The fact that they always have great sex is just the icing on the cake.

Credits to both Mylene Dizon and Kit Thompson's effective portrayal, who both are capable of providing the needed sensual nature of their characters, as adequate as their ability to be simply romantic and humane. Both were given sufficient moments to shine, and they did not disappoint. Mylene Dizon has a couple of brilliant dramatic moments, especially in the third act when Liz reflects on her relationship with herself, and her relationship with Josh. In which the film makes an earnest point about letting go and self-love.

Belle Douleur might get criticized for lacking heavy conflict and refusing to dig deeper with its story, but the way I see it, these are also the reasons why it's good and a legitimate fun watch. A personal movie that doesn't confine with the norm, and what can we do when it's based on a true story.

Cinemalaya 2019: Xian Lim's 'Tabon' Wallows in Ambiguity

Photo Credit: Cinemalaya

Director: Xian Lim
Starring: Christopher Roxas, Ynna Asistio Menggie Cobarubbias, Dexter Doria,


Xian Lim, mostly known as a model, actor, and host...has a film at Cinemalaya! He might yet become an interesting director, but his first effort behind the camera, while intriguing, is a complete misfire.

Watching Xian Lim's feature debut as a writer-director is super exciting. Only a few brave souls in the local industry go from acting to directing, so his decision to direct one, an indie film for that matter, is commendable.

The title is Tabon, which to me sounds like it refers to the early homo-sapiens in the country. But the poster looks nothing about it, and the first few seconds of the film affirm it's going to be something different.

It starts with Christopher Roxas' character watching his sleeping pregnant wife from the doorway of a room, with a young girl sleeping beside her. As he closes the door, he looks confused and we can see an ultrasound image of a baby beside him. Fade into black, the blood-spilt opening credits started to roll matched with an extremely terrifying music. There's no doubt that Tabon is going to be a horror.

The first half of the film is really intriguing. Christopher Roxas's character Ian received news that his estranged father Amang Zaldy (Menggie Cobarubbias) is dead. With his wife (Ynna Asistio) and stepdaughter, they went to his hometown to know the cause. The journey leading to it is filled with unsettling scenarios. At one point, they passed a butcher with a weird look on his face, and then they also hit a puppy on their way. If you're a horror movie fan, you just know that these are clues to whatever is going to happen in the movie especially that most of the time, nothing makes a lot of sense.

Everything looks puzzling, and it doesn't help that the confused look never leaves Roxas' face. Then when they reached their destination, the mystery continues to grow larger. At this point, all the answers could be written on the wall, but Xian Lim and Eseng Cruz's script hinders to make it easy for the audience. Ian barely asks the right questions, or he doesn't seem that interested to know about his father's death. But whenever he does, his questions are always left unanswered.

There is a disconnect between the dialogs of each character, and while it may be intended to keep the charades alive, the film just becomes more aggravating as it goes. When it finally started to reveal the resolution, it has already wallowed in ambiguity and didn't get a satisfying resolution.

The film reeks of recent horror movie elements, and Tabon begs to put itself on the same league with them. Ballsy if you ask me, but the premise looks better on paper than Xian Lim's direction. Clearly, he has big ideas for a horror movie but most of them unoriginal.

Still, Tabon shows a lot of promise for Xian Lim and if he continues to make movies of this genre, I might just continue to support out of curiosity.

Cinemalaya 2019: 'John Denver Trending' -- A Society Built By Injustice

Photo Credit: Cinemalaya

Director: Arden Rod Condez
Starring: Jansen Magpusao, Meryll Soriano

First-time writer-director Arden Rod Condez's John Denver Trending is a straightforward-structured, infuriating look of a society adapting to the world of social media filled with vicious fake news and validation. It begins right away with the drama surrounding the titular character John Denver who was shot brutally attacking a classmate accusing him of stealing his iPad. The video went viral which causes his life to go into a downward spiral of unfortunate events stemming from the often unjust treatment of his community.

Without discrediting other equally valuable Cinemalaya entries, this might be the most timely and important film of its batch. The film urges the audience to reflect on how easily people believe the lies created by society by capitalizing on John Denver's situation and the domino effect to his psyche. Although the film immediately established that John Denver is innocent, the film never intended to explore who stole which. Instead, it focused on the growing turmoil after the video trended across the internet.

For something that could be fixed by merely shaking hands, it spread like a wildfire revealing prejudice among neighbors, greed from the accusers, the power struggle between school and the police, selfish and foolish intentions in the form of likes, views & validations, and even naivete created by beliefs. All of these was unbiasedly laid out by Cordez, and while it went a bit repetitive along the way, it did not fail in building fury in his viewers, and stigma with his main character.

Meryll Soriano plays the mother of John Denver, who significantly kept her son's sanity intact with all the chaos surrounding him. In a way, she also served as the audience's voice of reason every time people blindly prosecute John Denver of a crime he's clearly never done. In his mother's eyes, and in our eyes, John Denver is innocent.

Unfortunately, it doesn't matter in a society built by injustice, and the film's resolution reinforced the ultimate negative effect when a community chooses to triumph affliction. Sad to say, that's how it is nowadays.

'Crawl' is a Gator-Gore Frightfest

Ever since Steven Spielberg's Jaws, the standard for the genre he essentially invented is almost elusive. But every once in a while, a man vs beast movie diverges from what we've already seen and exceeds our expectations. Few movies on top of my head are 1990's Tremors and 2016's The Shallows. Then there are movies of this kind that are also guilty pleasures. Those that might be ridiculous, but definitely entertaining. See Sharknado, which is already a film series, and the Jennifer Lopez-starred Anaconda. This year, Crawl joins the list and it's definitely up there as one of the most extreme.

Photo Credit: United International Pictures

Kaya Scodelario stars as the aspiring swimmer Haley who tries to rescue her dad from a Category 5 hurricane rampaging Florida. Turns out, it's not only the hurricane she has to deal with as her father's house becomes infested with vicious alligators crawling around their muddy basement.

I've never seen an alligator horror film since Lake Placid and that's years ago. So I'm really excited about this especially that it deviates from the premise of the former. Here, the alligators are not only the villains. I can't even say it's Mother Nature. I could go on and on and blame global warming but it's also not really about it. They also tried to integrate human drama, but no one watches this for that.

It also helps a lot that they are trapped inside the four walls of their house, and there's nowhere else to go. It's like when Blake Lively has to survive a hungry shark on a sea rock where there's no to little wiggle room in The Shallows. The claustrophobic production design is incredible and it maximizes the film's terror value.

Case in point, this is about surviving hostile alligators amidst a torrential downpour, And it's gory, it's action-packed and it maximizes anything terrifying about it. What's different about this is it doesn't shy away from the looming danger. There is no sense that the main characters are safe. As a matter of fact, their encounters with the gators are legit close, and not everyone survived unscathed to the point that their human power seems too invincible to be realistic. But with these movies, the more exaggerated, the higher the excitement.

'Hobbs & Shaw' is Fast, Furious, and Funny

The Fast & Furious movies will not back down from the franchise era of the film industry. After eight films that left a mark in all racecar buffs, heist lovers, and Paul Walker fans around the world, it has now reached a status where they can produce their own spinoff, and alas, they did.

Dwayne "The Rock" Johnson and Jason Statham reprise their roles as the titular Luke Hobbs and Deckard Shaw.

Photo Credit: United International Pictures

The film starts off with an action-packed chase between Idris Elba as Brixton Lorr, a cyber-genetically enhanced anarchist, and Vanessa Kirby as Hattie, a fearless MI6 agent--both are in pursuit of gaining control of a bio-threat virus called "The Snowflake". A huge detriment to mankind, America's Diplomatic Security Service agent Luke Hobbs, and former British military operative Deckard Shaw were summoned to acquire possession of this virus from spreading all across the globe. The catch? They hate each other's guts. To complicate the scenario, Hattie turns out to be Shaw's long lost sister, who also developed a little bit of sexual tension with Hobbs.

Hobbs & Shaw is a change of gear from the franchise as we know it. It was initially about illegal street racing, then evolved to heist and spies, and now it seems like it wants to reach a broader audience by amping up the action, and even the humor. It doesn't hurt that they cast the currently most cash-grabbing charismatic actor, Dwayne Johnson. Combine his toughie but softie persona with Jason Statham's hot-headed macho character, it's a perfect formula for a love-hate dynamic.

Despite being in the franchise since 2011, we only knew a little about their backstories. Hobbs & Shaw changes that effectively by giving both characters a proper intro, not only fleshing out their persona, but introducing their families as well via a side-by-side juxtaposition of their daily routine--from how they start their day, to their family interaction, and their career.

Their huge differences are well-highlighted, so it's really fun to watch the characters endlessly one-up and trash talk each other. It never even gets tiring. Vanessa Kirby's presence is a huge help to distract these two from destroying each other, and from becoming repetitive. Kirby, who's also a comedian and a budding action leading lady, has never been this distinctive in a film since her stint in Mission Impossible: Fallout.

But it's not all fun, as usual, it's still as action-packed as before, if not more. And it helps a lot that they've utilized new locations to provide never-before-seen action. London and Los Angeles may not be new, but the scenes including a toxic factory wasteland in Moscow, and the mountains and cliffs of Samoa are refreshing and incredibly exciting. Idris Elba's mechanic body also makes him semi-invincible and difficult-to-defeat. His final act with Statham and Johnson is epic. Sure, some side details like Elba's robotic body may not make sense, it's still nothing short of entertaining.

Photo Credit: United International Pictures

Overall, Hobbs & Shaw may have deviated from the familiar characters OG fans have learned to love, Statham and Johnson are good replacements from the likes of Vin Diesel, Walker, and Michelle Rodriguez. I won't even be surprised if they take charge of the future of this franchise. And to be honest, they just might.