'Killers of the Flower Moon' - Love Crosses Paths with Greed in Martin Scorsese's Multilayered Epic About the Osage

In the 20th century, oil brought wealth to the tribe of the Osage who's considered as some of the richest community in the world overnight. These Native Americans instantly attracted the whites who exploited, manipulated, and stole as much Osage money as they could before resorting to a massacre.

Based on a true story and told through the fascinating romance between Ernest Burkhart (Leonardo DiCaprio) and Mollie Kyle (Lily Gladstone), Killers of the Flower Moon is an epic western crime film, where love crosses paths with greed. A deadly sin disturbingly portrayed by Robert de Niro as a greedy cattle farm owner, William Hale, who considers himself an ally of the Osage despite his cruel intentions.

Photo Credit: Paramount Pictures PH

Killers of the Flower Moon is a harrowing story about the deaths of the Osage tribe, but the power dynamics between Burkhart and his uncle, and Burkhart's love story with Mollie, are also what keeps it chillingly fascinating. It is in a way a character study of how humans are blinded by greed, and how love blinds wisdom. Leonardo DiCaprio, Lily Gladstone, and Robert De Niro are a powerhouse of a trio. All acted their soul off with DiCaprio showing certain mannerisms that's reminiscent of Marlon Brando in The Godfather.

Martin Scorsese on the other hand has proven to be a solid storyteller from time to time, but he's got some new tricks up his sleeve on how he started and ended this 3-hour saga in a way that feels proper on how to tell a harrowing story about a tribe he doesn't belong to. He's playful, he's risky, but his usual simple and straightforward storytelling make this a breeze to watch.

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Killers of the Flower Moon opens in cinemas nationwide, October 18. 

A Hellish Pre-Halloween Horror Unleashes in David Gordon Green's 'The Exorcist: Believer'

Experience the terror earlier with its midnight screenings nationwide (also on its opening day Oct. 4)!

Photo Credit: Universal Pictures International Ph

One of the scariest and most iconic horror films ever made The Exorcist is celebrating its fiftieth anniversary. From its veins, is a new chapter that would summon new nightmares in Blumhouse's 'The Exorcist: Believer'. Directed by Halloween ressurector David Gordon Green.

“The Exorcist: Believer” opens October 4. Terror starts to strike at the midnight screenings on its opening day at your favorite theaters!

Follow Universal Pictures Ph on Facebook and Instagram pages. #TheExorcistBelieverPh

Ayala Malls Cinemas x FDCP Presents World Cinema Festival

Featuring a slate of critically-acclaimed films across the globe--Charlotte Wells' Aftersun, Vicky Krieps-starred Corsage, Cannes Grand Jury Prize winner Close, and 2022 QCinema-showcased Return to Soul.

Ayala Malls continue to recognize and celebrate the arts and culture in the country and strive to provide its cinema lovers with a rare moviegoing experiences through exclusive offerings such as these critically acclaimed films that we can only look forward to at Ayala Malls Cinemas.

FDCP, on the other hand, extends its advocacy to deliver a rich cinematic experience for the Filipino audience, bringing a rare lineup of films that would be more accessible for moviegoers.

Here's hoping that moviegoers would enjoy this rare yet accessible cinema showcase in hopes to expand the experience and knowledge that Filipinos usually see in our local cinemas.

Book your tickets at any of your favorite Ayala Malls Cinemas -  Manila Bay Cinema, Greenbelt 3, Trinoma, Solenad, Capitol Central, Central Bloc, Centrio Cinema, Abreeza and Harbor Point.  Admission prices at P250 in Metro Manila and P200 in provinces.

Follow Ayala Malls Cinemas on Facebook for more of the latest updates. 

'Mission Impossible - Dead Reckoning Part One' - A Gripping and Ageless Mission Impossible

Feels like forever since a movie, with almost a 3-hr runtime for that matter, gripped me in the cinemas from start to finish. Whether I am just busier than usual or it's just the quality of movies (doubtful), it feels like it no longer matters because the tandem of Tom Cruise and Christopher McQuarrie delivers yet another awesome Mission Impossible in Dead Reckoning Part One. In which the stunts and action set pieces still feel exhilarating even if Cruise has been cheating death movie after movie after movie. We're still reeling from Cruise's stunts in Maverick yet there's no sign of stopping for him. Seems like the more he ages, the more he wants to outdo what he's done in his previous films. We are not complaining. 

Photo Credit: Paramount Pictures

For this instalment, the nemesis is as timely as what all of us online people seem to be reading everywhere--an AI called The Entity which aims to have total control of all the information on Earth. A dangerous tool greedy corporates want to acquire. Even timelier, the film opens with an accident underwater set in a Russian submarine. Ethan, along with his team, are tasked to save the world from this Machiavellian Entity by getting hold of the key that controls this AI. As you know, things are always almost impossible in these movies so even if we know that everything will be a success, the action packed journey in between is what matters. And boy it did. With several obstacles, one being Hayley Atwell's Grace, a paid thief that gave Ethan a run for his mission and Esai Morales' Gabriel, Ethan's new adversary also in search for the dangerous key. Hayley Atwell is a great new leading lady in the upcoming MI movies. Her fun and flirty dynamic with Tom Cruise is fun to watch. Also helps that the audience couldn't always tell if she's to be trusted or not.

Much has been said about the stunts, the story, the stars, and the new characters, what Mission Impossible also always delivers is utilizing spectacular landmarks. In this movie, the streets of Rome, the rusty ancient cityscape of Venice, and the lush green landscape of Austrian Alps were utilized well for edge of your seat sequences. The Austrian one is a personal favorite.

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Rated PG, Mission: Impossible - Dead Reckoning Part One opens in PH cinemas July 12. 

'Evil Dead Rise' - Prepare Your Appetite for a Bloody Gorefest

An appetite for serving up gory frights reunites the producing team behind the original and successive “Evil Dead” films: producer Rob Tapert and executive producers Sam Raimi and Bruce Campbell. They are joined by accomplished filmmaker Lee Cronin to take the action to new places (and heights) with “Evil Dead Rise.”  Since 1981, the cult classic “The Evil Dead” has spawned a long-lasting IP and a passionate fanbase that transcends generations. Planning to create an eagerly awaited new film in the franchise, Raimi met with studio executives in 2018 and pitched the idea of doing something new theatrically, leveraging the property while expanding the storytelling.

Photo Credit: Warner Bros. PH

In keeping with “Evil Dead Rise” director’s (Lee Cronin) vision, Ayala Malls Cinemas lets the audience in an immersive ultimate fear experience as the family fights for survival against a demon-possessed mom turned into a non-stop killing machine.

As Lee Cronin is quick to bring horror back to the basics, he shares, “I hope audiences are going to love the horror, because first and foremost, when you make a horror movie, you want it to be scary and entertaining. I think moviegoers will enjoy the visual verve and restlessness of the movie when it really gets going, along with the fresh experience—this is very much an ‘Evil Dead’ movie, but it’s really in the here and now. And hopefully, it will be an entry point into an even greater ‘Evil Dead’ universe than the one we know to date. I think great horror is something that you watch and then it follows you home, when you turn the lights out. This really takes the horror home.”

You’ve been warned, with an R-18 rating by the local censors board with no cuts, the film’s irreplaceable experience of fear in horror on the big screen is heightened with Ayala Malls Cinemas’ up-to-date state-of-the-art cinema technology.  Prepare to step into a riveting summer of thrills where the sights and sounds of horror are inescapable inside Ayala Malls Cinemas when “Evil Dead Rise” is finally unleashed on May 10.

'The Super Mario Bros. Movie' - Brings Back All the Mario Iterations in a Fun and Inventive Way

Seems like one of the best ways to grab the moviegoers' attention nowadays is through nostalgia. We've had The Lego Movie, the recent Dungeons & Dragons, and there's the upcoming Barbie. True enough, The Super Mario Bros. Movie proves this theory by incorporating most of its iterations in a fun and inventive way. Of course, with enhanced animation compared to the past times we've seen these famous plumbers before.

Photo Credit: Universal Pictures PH

There's really not much to say about the movie except that it's super fun and feel good. The same exact bliss that we get when we used to play the classic video game whether in Family Computer, or Play Station, or in our Nintendo Game Boy. Even the challenges and frustrations faced by Mario are present. 

One would even find themselves being reminded of the numerous gameplay it has had. Many of its side characters appeared and while many of them also had minimal airtime, the movie opens up for many sequel possibilities. As despite showing many of its classic characters, there's still a lot more it wasn't able to show. Unless many of them were featured through Easter eggs that only a multiple viewing could suffice.

Story-wise, it's pretty similar to its main video game plot except that Princess Peach voiced by Anya Taylor Joy is present almost all throughout the film, and she's feisty and strong to boot. Not the damsel in distress one could be expecting from this princess. Think of the competitive Princess Peach in Mario Kart.

Overall, it's entertaining all throughout that it's able to make up for the lack of interesting stories. At the end of the day, it's much more interesting in bringing in the fun and nostalgia. Which makes a lot of room for complex and compelling stories for its sure-fire sequel.

'Empire of Light' - Olivia Colman Delivers Another Unforgettable Performance

 Taking us down memory lane on the timelessness of 80's cinemas, Sam Mendes Empire of Light is another love letter to the magic of cinema and its powerful effect in humans and how it's consistently present whether during our lowest of lows and highest of highs, affirming Nicole Kidman's AMC commercial where humans come to this place for magic, to laugh, and to cry.

This couldn't come to a most opportune moment, too. Where cinemas have started reeling again after what seems to be a very long pandemic lockdown, creating similarity on the present time, how the cinemas used to be before and after the lockdowns. It is a valentine not just to cinema, but to movies as exhibited in the cinema locally and around the globe. The film was also inspired by the concern that people weren’t going to these places anymore - places where people usually gather for shared experiences. In our case here in the Philippines, the continuous inflation and the looming and ongoing danger and scare of COVID-19.

Set in and around a vintage cinema in an English coastal town in the early 1980s, it follows Hilary Small (Olivia Colman), a cinema manager struggling with her mental health, and Stephen (Micheal Ward), a new employee who longs to escape the town where he deals with everyday prejudice. Together they unexpectedly find a sense of security through their unlikely relationship and together experience the healing power of music, cinema, and community among their peers in the theater.

First and foremost, the film is incredibly east to look at. Roger Deakins' luminous cinematography is the best part of the film. He's accompanied by tender and romantic score of Trent Reznor and Atticus Ross, a solid and confident direction by Sam Mendes, and yet another absolute performance from Olivia Colman. Too bad, I think it's a bit let down by Mendes script as the story is convoluted with themes that he doesn't necessarily touch on further. Which isn't that bad to say the least. With a film tackling racism and mental health, sometimes there's really no way to face them with full grace and conclusion. What Mendes thrives instead is the inclusion of his apparent love for cinema. That to me is already a plus for Empire of Light. 

'Magic Mike's Last Dance' - Swoonful of Sugar and Sexy Dance

Wholesome is a word I cannot imagine describing anything about Magic Mike but Steven Soderbergh's last instalment for his trilogy is somehow one of the most wholesome movies I've ever seen EVEN when it includes probably the sexiest routine he's ever showcased in it. Either I underestimate the word or Soderbergh just knows those two things can co-exist or it's just part of the film's magic or all of the above. He's Magic Mike after all.

Photo Credit: "Warner Bros. Pictures"

Mike Lane aka Magic Mike (Channing Tatum), now a bartender in Florida, returns to the dance stage unexpectedly after a hiatus, when a wealthy socialite Max (Salma Hayek Pinault) lures him a career offer he couldn't refuse--direct a stuffy 19th Century set play into a modern expression of feminism in an elegant and opulent London theater Max acquired through her ongoing marital settlement. Which instantly reminded me of School of Rock except it's about dancing, and strip dancing to boot--classical to rock, stiff and grand theater to a strip club.

Off the bat, that is already a great premise. Then add in the pandemic effects to the mindset of these two lead characters, it becomes even more relatable. Mike's furniture business had to close, and Max' marriage and creativity changed. These circumstances brought them somehow to each other when Max met Mike in a Florida event, and with a sensual dance from Mike, both of their lives changed forever.

The chemistry between Tatum and Hayek Pinault is palpable and their characters couldn't be more different but they're fun to watch. Salma's Max knows what she wants and is not afraid to get it whether through money, her assistant, or through Max. Mike, on the other hand, is broke and all he knows best is dance. He sees this opportunity to get to the stage one last chance and through Max, he was able to get what he needed even when he has doubts.

Last Dance's tone is also way different compared to the first two Magic Mikes. This time a voiceover narration from Max' young but seemingly mature daughter can be heard as the film progresses. It sometimes takes you out from the movie for how different its tone and content to the visuals. Of course, there's the British accent effect when we're used to Magic Mike being super American. Other than that, the narration also tackles the themes of the movie that Soderbergh doesn't always cater through the plot. Through the narration, it confirms the budding love affair between Mike and Max, the apparent changes in her mother's mood, and that the film is also about how dance puts people together--sexy or whatever dance it may be. 

Somehow, Magic Mike's Last Dance feels like a fairy tale with all the narration, the happily ever after, the princess and the savior, etc. It's a swoonful of sugar and sexy dance making it the most accessible instalment of the trilogy. There's still a lot of sexy dancing in this. What viewers would probably miss is the lack of testosterone the first two delivered immensely. In my case, I really liked this. It's my favorite of the three. A feel good movie that we all need every once in a while.

'Knock at the Cabin' - M. Night and Dave Bautista Give New Meaning to 'Talking to Strangers'

How M. Night Shyamalan never ceases to surprise his fans and naysayers in each of his new films, I would never know. But he still does it in Knock at the Cabin which gives scarier meaning to 'talking to strangers'. Going into the film, you already expect that you don't know what's going to hit you and YET, he still manages to induce dread, scare, and intrigue every single time and this one is no different.

Photo Credit: Universal Pictures

Based on Paul Tremblay's novel 'The Cabin at the End of the World', Knock at the Cabin takes adopted child Wen (Kristen Cui) with her parents Andrew (Jonathan Groff) and Eric (Ben Aldridge) at a 'cabin in the woods' vacation when four armed strangers--Leonard (Dave Bautista), Sabrina (Nikki Amuka-Bird), Adrianne (Abby Quinn) and Redmond (Rupert Grint)--out of nowhere disturb their peace. The family then were informed that the world's safety is in their hands by choosing one of their family members to die, no suicides, no volunteers.

An interesting premise that starts right away and develops eerily throughout the film, Shyamalan was able to maintain the mystery about whether these strangers are for real or they are simply members of Michael Haneke school of killers who just appeared to kill people as they like. They are after all led by the monstrous Dave Bautista who can intimidate anyone however pure he may be. Or is he? No spoilers here.

All I can reveal is that it's intriguing from start to finish and the resolution is something profound, as the film somehow explores ideas behind faith and belief, doubt and certainty, love and family, and the limits of both. It's a complex film told in a straightforward yet entertaining manner. That of course is if scary equates to entertaining for you, and it definitely is for me.

I suppose it's a bonus that it's also refreshing to see an LGBT couple where their sexuality both does and doesn't matter. The marketing and intrigue of course does not care about their being, but the movie provides flashbacks about their journey as lovers--from their dates, to encountering hate from strangers and family, to forming their own family, and to them as individuals.

Shyamalan made something special here as a whole. If you see this for entertainment and/or for romance, you're going to get more from both sides of the door. If you see this as a fan of the auteur, this is very distinct from his past work. Overall, I think it's a win and the satisfaction will depend from the audience's expectations.

'Babylon' - A Life Lesson from Wild Ole Hollywood

At this point, if everyone has read or seen anything about Babylon whether it's an article, a trailer, or even a tweet--no one going into the movie would be surprised that it is indeed wild, crazy, filled with drugs, sex, parties, and debauchery. These are true yet more than that, it's as much of a love letter to cinema as it is as a suicide note. Its nostalgia for what 'has been' somehow becomes something universal for anyone who's been on a high for something in the past and could not move on or adapt past it. This is going to resonate of course only if one would embrace the insanity of the film's abovementioned 'high'. High on drugs, high on fame, in this movie it's the same thing.

Babylon is Damien Chazelle's take on 1920s Hollywood that is probably different from what we know about it. Class, prim and proper are out of the equation. The multiple characters here have outsized ambition and the world surrounding them is outrageous and exuberant. It stars Diego Calva as Manny, an outsider who's wishing to be a part of the glitz and glamour of Hollywood; Margot Robbie as Nellie LaRoy, a self-proclaimed star also trying to get her way in front of the camera, ready to take the spotlight from anyone; and Brat Pitt as Jack Conrad, the highest grossing and most famous leading man of his time. All three found themselves in a situation when silent films are transitioning to sound, and it's up to them whether they would adapt or get stuck in what they're used to.

Photo Credit: Paramount Pictures

Make no mistake, Damien Chazelle's take is not focused on showcasing what transpired during this time like a documentary. While he magnified the massive changes and difficulty of this transition for filmmakers to actors and up to production assistants through one incredible and gargantuan sequence after another, he always makes sure that these scenes are rooted from his three main characters--what drives them, what are their backgrounds, what makes them high about films and fame. Through these three main characters, we see the ups and the downs, the rise and the fall, not only of cinema but of their rollercoaster lives as well. Chazelle simultaneously shows the ridiculously meticulous system of a film shoot through exhilarating and over-the-top scenes while incorporating the spider webs of connections people who live during this time had to have in order to survive. In a way, it is summarized through Jean Smart's character as Elinor St. John in her one main monologue about, guess what, cockroaches. Justin Hurwitz' compositions vary from vivacious to nostalgic and I still find myself humming the nostalgic ones a few days after I've seen this movie. He perfectly captures the ever changing mood of the film through his score.

It goes without mentioning that this film has an ensemble that made this even more lively as Chazelle already made it to be. Margot as Nellie LaRoy is almost as crazy as Harley Quinn but she's on a different level here. When her character makes it known that you're either a star or not at all, Margot herself could self-proclaim it. Her character requires so much body movement and a plethora of emotions and dispositions and she nails everything to a t. Watching her dance, switch emotions on and off, and you already feel exhausted by what she had to do. Even then, Diego Calva whose character is the main bystander of the film, the audiences' eyes and ears, is the MVP for me. He projects a bewildered face so well, which he makes from time to time throughout the film, that blows every one of the cast out of the park. Think of the kid's face looking to a movie screen in Cinema Paradiso. That's how iconic his face is in this movie. Then again, we have Jean Smart, Tobey Maguire, and even Spike Jonze who all made this way even more watchable.

Again, going into this I was ready for the craziness of it all but in the end, I wasn't prepared for how sad and heartbreaking it's going to be. It has so much to say about the ups and downs of the lives of multiple characters that in a way they serve as a life lesson for anyone with the same magnitude for their ambitions. The movie references are just a bonus, but the emotional beats of the film resonate the most.