Cinemalaya 2025 Roundup

Cinemalaya

In the order I watched them:

Warla

Warla shines in its warm, joyful portrait of sisterhood and its clear look at the daily struggles of transwomen in the Philippines. The characters are vivid and the dialogue lively, but the climactic heist feels messy and unsure. I love it when it's about sisterhood and their playful banters. Bernie steals scenes, and Kaladkaren shows real acting chops. Her face belongs on the big screen.

Padamlagan

Jenn Romano's Bikol-set Padamlagan, has a clear vision but uneven execution likely due to constraints. Its elegance and restraint invite reflection, spotlighting the 1972 Colgante Bridge collapse, Peñafrancia procession, and the presence of revolutionaries under Martial Law, stories many may not know. Ely Buendia has a few moments and clearly tries.

Habang Nilalamon ng Hydra ang Kasaysayan

Dustin Celestino's second Cinemalaya film feels bolder and more assured, echoing yet distinguishing itself from his 2023 entry, Duyan ng Magiting. It is still driven by words, parts, and conversations, this time circling what I find to be satirical "all fiction" disclaimer while clearly shadowing real events from the 2022 Philippine elections. His characters speak like sharp thinkers almost philosopher-like, often infusing Greek myth. People rarely talk this way in real life, which I find to be exactly the film's spell. The dialogues are lively, probing, and full of ideas about hope amid corruption and misinformation. Even without the themes, the multiple dinner-table clapbacks and confrontations slap. The ensemble shines, with standout turns from Dolly de Leon, Mylene Dizon, and Jojit Lorenzo, all nailing the biting script.

Raging

Apart from Dustin Celestino, Cinemalaya 2025 also features a second entry from 2023 with Ryan Machado. Raging, which is technically polished and skillfully crafted, but it sadly pales in comparison to his Cinemalaya debut Huling Palabas. While his first film was rough around the edges, it felt miles ahead more intriguing, lively, and fresh. Raging lacks that same spark. Even the dependable Elijah Canlas seems to do more than the role requires. Raging is polished, yet it leaves little to chew on. Gorgeous film.

Republika ng Pipolipinas

Republika ng Pipolipinas features my favorite performance of the festival. Geraldine Villamil is subtle yet striking, inhabiting the lead role of a woman so tired of the country that she created her own. She embodies the character so fully that it feels too real. Scary real. It is smart casting. While Villamil is already seasoned in both indie and mainstream work, she disappears into the part and deserves even wider recognition. The satire-mockumentary form is familiar in Cinemalaya, yet this is a welcome return. Its premise, a micronation led by a Pinay drained by the country's frustrations, is sharp and timely. The film is both hilarious and crazy, yet you leave feeling the grit, heaviness, exhaustion, and anger that mirror what's currently happening on the streets.

Open Endings

Open Endings excels through its genuine care for its four main characters, evident in both its writing and filmmaking. The film deliberately avoids flashy aesthetics, choosing an engaging tangled plot over style. It steers clear of typical "hugot" moments and iconic dialogue, focusing instead on authentic character development. The ensemble cast is a perfect blend of veteran actors (Janella Salvador and Jasmine Curtis-Smith) with promising and charismatic newcomers (Leanne Mamonong and Klea Pineda). The film presents beautifully flawed characters without judgment, even when their advocates in media most of the time attempt to portray them as perfect due to discrimination they face. Unlike other films that might sanitize their characters (see Warla), Open Endings embraces complexity without preaching. It simply allows its characters to exist as they are, creating a more honest and compelling narrative. Strong ending, too!

Cinemartyrs

Cinemartyrs is a unique, avant-garde film that engages despite its convoluted themes. It blends genres, shifting between meta, horror, and documentary styles. The subject matter also evolves, exploring filmmaking, women's roles, and regional representation in the Philippines. The film's explosion of ideas, genres, striking visuals, and creative sounds creates a great cinematic experience, with lingering images and thought-provoking messages. Its confident storytelling and clear love for cinema, especially women's roles in it, make it memorable. Think of Babylon's ending.

My ranking (so far):
1. Habang Nilalamon ng Hydra ang Kasaysayan

2. Open Endings

3. Republika ng Pipolipinas

4. Cinemartyrs

5. Raging

6. Padamlagan

7. Warla

The 2025 Cinemalaya Film Festival will take place October 3-12 at Red Carpet cinemas in Shangri-La Plaza, Gateway, and additional partner venues.

MMFF 2024 Roundup

Metro Manila Film Festival

In the order I watched them:

Espantaho

Watch Espantaho if you find pleasure in seeing actresses serve tears, rage, and intense acting all at once. It's well-acted, though we've seen Juday, LT, and Chanda Romero perform even better in other roles. Watch it for the horror and you'll likely be disappointed. It follows the horror formula that Chito Roño thrived on during the 2000s with films like Feng Shui, Sukob, T2, and, if we must include it, even The Healing. Sadly, it's outdated and not at all terrifying. At points it's even unintentionally funny. If it's trying to be camp, then it's quite vanilla in its attempt. There's also a lack of emotional connection in many of its death scenes. The supporting characters' deaths elicit no grief, with mourning reserved only for the main character.

And the Breadwinner Is...

So much hype surrounding And the Breadwinner Is... as it's a fusion of Jun Lana's indie sensibilities and Vice Ganda's mainstream appeal. There's also anticipation regarding what's been said about Vice performing in a heavy drama. The film lives up to the hype. It's as heavy as it can be, and it's not without surprises, which include a mashup of Vice's previous film characters. If you look at it as a whole, it's really just a simple story. The film was created for Vice, with the timely theme of a breadwinner in mind. Together, they've made the character Bambi, and to an extent Vice, a saint and a hero, which is very much deserved. The ensemble is good. The movie as a whole is really just fine.

Isang Himala

Frankly, the music is not that memorable :( , which doesn't help the film, especially for a musical in this climate. I appreciate the use of film as a medium to elevate the stage production, though I can't help but think that it could have done even more. It's limited, but it did well. Still, much credit should be given to Pepe Diokno and his team. This is a challenging musical to adapt, and they did what they could. There are powerful moments, especially the ending, but it's Himala - it would be a failure if the message alone wasn't conveyed. The performances are great.

Uninvited

Always fun to see Vilma Santos be vengeful in movies. If there's one thing I loved about this film, it's that it reminded me of her other (and superior) revenge film, Ikaw Lang, her collaboration with another MMFF director, Chito Rono. What it also reminded me of is how good Aga Muhlach actually is at acting. I thought he was superb, as were the rest of the cast. It's also the most well-made of the bunch. It's simple, no fat, and there are no over-the-top scenes, even when most revenge films call for them. I find this to be its weakness too. However, it's hard to say there's not much to it when what is shown is actually heavy, serious, and brutal. Ate Vi's Mystic River.

The Kingdom

Very impressive to see a Filipino film dissect an alternate universe where the Philippines was never colonized by any other countries. It even confidently declares in its very first scene, before the title card appears, that we wouldn't allow any foreign ships to fire water cannons at us in our own territory. This serves as a great introduction to a very gaggy film, filled with politics, twists and turns, and even epic storylines. It's probably the most fun I've had among the six films I've seen because not only is it engaging, but it's also a film we haven't seen before. Sure, the political aspect is a rehash of other power-chasing themed films, but then again, those films are rehashes of any other film of the same kind. Highly recommended.

Green Bones

Green Bones has a strong Kore-eda influence, making it a great introductory film for Philippine viewers who are unfamiliar with the Japanese filmmaker. It's an earnest film that encourages viewers to take a closer look at its flawed characters, connect with them, and empathize. While the theme may be too familiar to those who have seen many of Kore-eda's works, Green Bones is good enough to be discussed alongside the Japanese director's filmography. A bold claim, but same themes naman eh. However, the standout aspect of this film is its revolt disguised as a parable. Not a surprise because Ricky Lee is one of the screenwriters. The film serves as a critique of our society, yet it is portrayed with a tender and compassionate touch. Lots of sunsets, a cat, a tree of hope, frowns-turned-smiles, and sinners trying to be good. A massive improvement from Zig Dulay's previous MMFF film, Firefly.

My Ranking (so far):

1. Green Bones

2. Isang Himala

3. The Kingdom

4. Uninvited

5. And the Breadwinner Is…

6. Espantaho

'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.

-----

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.

-------------

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.

'Puss in Boots: The Last Wish' - Puss in Boots Faces Final Life in Dreamwork's Newest Mashup of Fairy Tales

Felines as we know them are supposed to have nine lives and the Shrek universe as we know it is a twisted and sometimes dangerous fairy tale land, and as a cat who's a self-proclaimed legend, who's as adventurous as other princes and super heroes, and who has a severe case of hero complex, it is imperative that Puss in Boots (Antonio Banderas) has reached his final existence. Now with only one life left, he embarks on a journey into the Black Forest to find the mythical Wishing Star and restore his multiple lives. This time with new fairy tale characters including Kitty Softpaws (Salma Hayek Pinault), the friendly little dog that no one cares about Perrito (Harvey Guillen), Goldi (Florence Pugh) and her three bears (Olivia Colman, Ray Winstone, and Smason Kayo), Jack Horner (John Mulaney), and Wolf (Wagner Moura). All serve as either instrumental or a hindrance to PiB's adventure

Photo Credit: Universal Pictures

The first half of this sequel reminds us of Puss in Boots as a character--a hero to some, an outlaw to others--and most definitely a devil-may-care feline who feels he can conquer anyone, until Wolf who appears like 'Death' of the Four Horsemen of Apocalypse put him into the reality of his existence. This drives him to be more careful, even hiding among a house full of cats, while he seeks to restore his mojo through the legendary wishing star. But alas, danger always seem to follow his trail especially when Goldi and her three bears and Jack Horner are also hunting for the same treasure.

It's in the second half, which is the search through the Black Forest, that made this film interesting in its themes, characters, story-arcs, and visuals. As PiB is accompanied by Kitty Softpaws and Perrito, his arrogance is put into perspective when as powerless and tiny as Perrito could find easier ways through the thorny dark forest where the wishing star lies. On the other hand, grumpy Goldi along with the family of bears reflect on their family-hood while big and greedy Jack Horner seeks redemption from those who made him feel worthless during his younger years as a performer.

The Black Forest as a setting makes for a visual feast especially that it changes into colorful, dark, folklorey, dangerous, and easy depending on whoever has it in hand. It even captures an animated colorful and transparent forest wall of Alex Garland's Annihilation.

The voice acting is also commendable with Olivia Colman's British accent voicing Mama Bear as my personal favorite. She's able to consistently blend both the fun and emotional bits of her character while staying true to her schtick and sound. Antonio Banders and Salma Hayek Pinault's voice also meshes really well. Doesn't hurt that they both play alpha characters in the forefront.

Puss in Boots: The Last Wish, overall, is a surprise. As a sequel, it has a completely different story to tell that doesn't only elevate the characters, it also has something to say about family, friendship, and one's legacy. While the first half feels like a narrative summary, the second half completely feels like a full throttle in adventure, visuals, and jokes with the last act appropriately including an epic duel that showcases 'Puss' as a tough as nails character.

-----

A DreamWorks Animation and Universal Pictures feature, 'Puss in Boots: The Last Wish' opens in PH cinemas, December 7.

'Violent Night' - Gory Night, All is Fun, All is Wild

Often times, Christmas movies especially in the country are always associated with a heavy family drama with a big confrontation as its climax. Then there are few horror movies, thanks to MMFF. This film festival that literally opens during Christmas day knows that horror is a fun and perfect genre that bonds cousins and siblings together in a jampacked theater. Then there are way more unconventional holiday movies that pop out from time to time--the Krampuses, the Office Christmas Parties, the Die Hards, and now Violent Night, the newest and craziest semi-origin film about the real Santa Claus we've never seen before. Played by David Harbour, Santa is now jaded, old, cranky, but he still has reindeers, he still has gifts to give, and he still has a list of people who are naughty and nice.

Photo Credit: Universal Pictures

The film is set during Christmas eve when Santa is supposed to go house-to-house to give the nice kids their awaited gifts. His silent night turned unexpectedly violent when he enters the mansion of the corrupt, filthy rich Lightstone family who's being hostaged by criminals searching for their stolen millions of dollars.

Given the title, it's truly entertainingly violent. Not only in its action, but even in its script. The Lightstone family's matriarch played by Beverly D'Angelo has a lot of savage things to say about her family, and her children who now have families of their own also have their personal banter for each other. Their crisis is even more magnified when their lives are threatened by these robbers, apathetic, pointing at anyone to be killed first.

Yet, ironically, it still captures the Christmas spirit. As Santa enters the scenario to the family's rescue, they realize each other's importance. Thanks to the youngest and only nice Lightstone Trudy, they were forced to believe in their family and even believe the magic of Santa. These scenes are supposed to be heartwarming but you're already busy laughing and being disgusted by its gore to be touched, which is a welcome reaction for anyone who likes to have silly fun at the movies.

As again, it's terrifically violent. It speeds up during its intense, bloody but fun action scenes and slows down when it shows Santa Claus' origin which is less about him being a saint and more of him being a hardcore Viking, which again shows why he could fight off criminals with such power and intensity. David Harbour's aesthetic and characterization as Santa could even qualify as Jeff Bridges' The Dude.

The best parts, however, are the evident homage to Die Hard and especially Home Alone. Think of Macaulay Culkin Kevin's fun and homemade booby traps but make it way more sadistic and brutal. Some A Quiet Place moment even comes to mind.

Violent Night overall may not be the perfect Christmas movie to watch with conservative relatives. But if your family likes to laugh and banter with (and at) each other, this is a foolproof popcorn flick. Doesn't hurt that the blood in this could even be thicker than your family blood ;).

-----

A Universal Pictures International feature, Violent Night is NOW SHOWING in PH Cinemas.

Rated R-16 by the local censors board. 

'Plan 75' - A Quiet Contemplation of Life and Death in Dystopian Japan

The film's premise is simple. It's an imagined time in Japan where the elderly aged 75 and above can choose the time of their own deaths. It's a government program where it's advertised as something positive and is akin to the country's culture of suicide--their way to get burden off of their families, or so they say. 

Plan 75 carefully dissects this culture by opening it with a brutal suicide, not of an elderly person, and then proceeding it with an introduction of the protagonist Micho who's at 78 struggles to find an apartment, a stable job, and love and care from loved ones. Life ain't easy for the other characters--a Pinay nurse (Stefanie Arianne) working in Japan who needs more income for her daughter's surgery living in the Philippines; and a Plan 75 employee who coincidentally received the processing inquiry of his old widowed uncle he hasn't seen for years.

Photo Credit: TBA Studios

The simple premise becomes complicated once it introduces the lives of these several strangers. The narratives seem disjointed at first until the film reveals that they're interconnected with each other one way or another because of the program. It's a long, quiet journey to get there and I am not quite sure it showed the importance of each characters to the story in the end.

Micho, played by the wonderfully subdued veteran Chieko Baisho, seems to get the complete focus and storyline treatment as a senior citizen brimming with life despite her misfortunes. Her character alone could achieve the film's message about life and death in Japan but the film is also busy showing different ironies for the Pinay OFW and a Plan 75 employee who tries to stop his uncle from availing the program. The result sometimes ends up being uneven especially for the Pinay character whose existence is only to make a point about another character’s life, and another country’s culture and government.

Still, there's a lot to admire in this quiet film. The film captures a consistent melancholic vibe which enhances its life-affirming ending, at least for some of the characters. It's also very clear about its stand about the program and there's a warm abundance of love about life even when its subject is also evidently depressing.

-----

PLAN 75 opens in Philippine cinemas nationwide on Dec. 7.

'Bones and All' - Luca Guadagnino's Bloody Refreshing Blend of Romance and Gore

Bones and All is one of those movies that has a certain cinematic magic or what I would call, cinemagic :3, for how it's able to blend poignant scenes of romance and disgustingly morbid gore and make both of those aspects work at the same time, while giving the whole vibe of the movie another certain flavor that makes it distinctive as a whole.

Photo credit: Warner Bros. Pictures

There is no surprise there when you have a confident helmer in Luca Guadagnino, re-teaming with his muse Timothée Chalamet, adding yet another memorable character to his resume. Whether it's Guadagnino's skills or Chalamet's charisma or both, it doesn't matter as Bones and All has that cinemagic, soaring as one of the bests of the year so far.

In Bones and All, a young woman named Maren (Taylor Russell) is forced to live on her own until she finds sanctuary in a young man living what seems to be a nomad life, Lee (Timothée Chalamet). They join together for a roadtrip odyssey until young love dawns on them and the reality of their situation bites ruthlessly.

It's a unique movie that involves blood, coming-of-age, and love, only a few like Guadagnino can blend its otherness perfectly. Supporting actors and characters of Mark Rylance and Michael Stuhlbarg (reunion with Chalamet and Guadagnino) provide effective horror through their creepy performances. Stuhlbarg's resemblance with Joaquin Phoenix actually helps. While Taylor Russell and Chalamet's young romance accompanied with Trent Reznor and Atticus Ross' soundtrack score deliver the sensitivity and heart of the film. Put them together and it's a tender juicy fresh kind of movie we rarely see in each of its own genre.

-----

Bones and All opens in PH Cinemas, November 23.

MTRCB Rating: R-16

'Triangle of Sadness' - Ruben Östlund's Riotous Take on Differing Class and Power Play

Watching this with a crowd of Filipinos, no less than the scene stealing star of the film Dolly de Leon literally in the middle of the theater, is already a memorable cinematic experience by itself. So to witness this riotous ride of double Palme d'Or-winning auteur Ruben Östlund's take on classes and power is truly an overwhelming reward I can imagine for any Pinoy cinephiles. Not to mention, that it's  bring compared to Joey Gosiengfiao's iconic classic <i>Temptation Island</i> which is a reminder for me to finish it the next time I bump into a copy. Lastly, its third part which is set in an island gives off major Survivor vibes, not only in its setting, but most of all in its outwit, outplay, outlast theme of survival. Case in point, this is a movie for me even when I have some reservations with some of its aspects.

Photo Credit: TBA Studios

Triangle of Sadness is divided into three parts which could all stand on their own as short stories although these parts are related to one another and has connected themes about class and gender roles that Östlund tells in the least subtle ways. The first introduces two influencers who boost each other's IG followers, Carl (Harris Dickinson) and Yaya played by the late Charlbi Dean. It revolves around their character's lovers quarrel that's rooted from the bill of the fancy dinner Yaya suggested for both of them. A seeimingly tad shallow issue from the onset but the takes and insights by Östlund are bitingly valid as it went on.

The second part finds the two lovers in a yacht where other rich passengers aboard. Here Östlund continues his takes on gender roles and extends its satire on philosophies about class, power, and politics. This isn't new. Currently, there's even The White Lotus that tackles the same themes but Östlund takes it to the literal extreme involving numerous projectile vomits and overflowing of shit. Apart from the two drunken face-off of words heard throughout the ship from a filthy rich Russian and the yacht's American captain that admittedly could probably be cut in the film and it would still work.

Finally, in an ironic fate for some of the passengers, they find themselves in an island where they're stripped off of the luxury they're used to have with them 24/7. Although in a film like this, irony is part of what to be expected. And here's where our unsung Filipino actress Dolly de Leon start to shine where her character Abigail, a toilet manager OFW, starts to command the survivors and refuses to give up the power she's started to gain. Same can be said with the actress who's stolen the spotlight from any of them and never holds back even in the film's last few seconds.

These three parts are riotous and no one from the audience who will see it will come out of it unscathed of the shit, the vomit, and thankfully the laughter it's intended to grant. It's not all laughs though when some of its commentaries are truly dark and alarming. Story of our lives told in three wild parts.

-----

Triangle of Sadness opens on Nov. 30 in the Philippines nationwide.

'Black Adam' - DC and Dwayne Johnson Level Up Their Action and Comedy

DC has once again extended their universe and seems to be starting to finally reach the same level as Marvel during its glory days and whether that's good or bad, it's a matter of preference at this point. Sure this doesn't have the brooding atmosphere of Matt Reeves' The Batman nor it has the groundbreaking storyline of the women in and out of Wonder Woman, but this has the same ingredients the audience are going to look for when they watch a superhero movie. Black Adam has it all and with this, it seems like DC is proclaiming that it's their turn or at least they're giving their rivalry a higher competition.

Warner Bros. Pictures

Black Adam wastes no time in the action department, to a point where there's almost no breathing room in between each of the action sequences and if there's any, it either introduces a couple of new characters and superheroes--some are fleshed out, some exists for the needed humor they're usually criticized for, and all are generally likable. This movie also offers a new world with compelling history that elevates this movie even more, and it's great at world building. It's good to see a superhero movie move away from the usual city these movies are accustomed to be set. The middle-eastern inspired Khandaq is actually my favorite part of the film.

Then there's Dwayne Johnson, the go-to person of studios that want to make more money out of their ideas. Here, he's not afraid to be savagely brutal and murderous because the thing is people are going to like him whatever he does. That's probably problematic but it's just what it is. The character he's portraying, Black Adam, the antihero doesn't like to be noble. He only cares about his family and dark sense of justice he likes to wield onto the world. Good thing is there's Justice Society of America, a team of modern day heroes who neutralizes him whenever he wants to be vengeful. So there's him and there's them and the conflicts surrounding their background and goals make for a great popcorn superhero movie. It doesn't hurt that the cast consisting of Pierce Brosnan, Noah Centineo, Aldis Hodge to name a few are in it to have fun and give Johnson more of the spotlight.

Johnson is known for blockbusters and he doesn't veer away from that and instead, DC uses his appeal and what he's known for to make a superhero movie that will capture even more fans. They created a formula that's infused with different kinds of action sequences involving slow-mos, the desert, CGI, flying and all, a character-centric comedy that again is very reminiscent of the Marvel humor, and a cast that's going to make people root for, cry for, and laugh about throughout the film. It's going to bring back the superhero movies people loved during the 2010s and for that it's easy to declare that people are going to love it. Even when it's probably going to be criticized for the same old thing all over again. Case in point, it's entertaining point blank and sometimes that's the only thing that matters for moviegoers and superhero comic and movie fans.

'Lyle, Lyle, Crocodile' - Weirdly Charming--Singing Crocodile, Scraps-Eating Humans, Warts and All

It doesn't matter whether the title "Lyle, Lyle, Crocodile" is giving you LSS of Don McLean's American Pie or that TikTok Pinoy novelty, Paro-Paro G (fly high, butterfly) going into the movie because you're going to have a different one when you come out of it. It's the newest musical movie with songs from the composer of The Greatest Showman. That's the only thing you must know to be convinced that this one has a great set of songs and numbers. Because the more you get to know its premise, the more you might find it weird and random. But that's not necessarily a bad thing when its oddliness would charm anyone with a heart. It's weirdly charming--singing reptiles, scraps-eating humans, warts and all.

Columbia Pictures

To make the premise of this singing crocodile film become less random, let it be known (especially if you don't) that this is based on a book series by Bernard Waber of the same title. It stars a larger than life showman Javier Bardem, a comeback star Constance Wu, and the voice of award-winning vocalist Shawn Mendes as the voice of Lyle, the singing crocodile.

Instantly, the film introduces Javier Bardem as a washed up magician searching for new tricks to include in his performances. He discovers a little singing Lyle and decided to take care of him so he could be his prop in his performances in return. He's a bit of a charlatan, a con man, but definitely not one dimensioned. After all this is a family film--so as much as his character uses Lyle for money, we get to see his nicer side. And whether his intentions are good or bad, we get to see Javier Bardem dancing and absolutely enjoying himself with his comical dance numbers to the tune of Benj Pasek and Justin Paul's earworms.

Not only Javier Bardem was put to the test, because the film also shows a happy and lively Constance Wu dancing and singing with a crocodile. Her character takes a while to warm up with the reptile, understandably so, but we also get to see her bond with Lyle and even eat scraps as one of their bondings. It's crazy, but again it's cute at the same time.

As most family movies are, it's expectedly heartwarming. So there's also that for families to enjoy when they watch this film together. It's honestly just a harmless, stress-free, feel good movie... that it got me to enjoy it even if there's a lot of it that are too random and strange. That's probably the film's number one appeal next to its music.

-----

Lyle, Lyle, Crocodile is now showing in PH Cinemas.

MTRCB Rating: PG

'The Woman King' - Like a Live Action Disney Princess Movie, But Make it Regally Bloody

Big-budget blockbusters have become exhaustingly repetitive in the past few years so when something as epic like The Woman King, or Top Gun: Maverick, RRR, and even The Batman happen, it already feels easily like a theatrical experience gamechanger. Gina Prince-Bythewood's The Woman King, for one, feels like a live action Disney princess movie, but make it regally bloody. It’s a fierce coming-of-age tale as much as it is an epic display of heroism by none other than Viola Davis as General Nanisca, an aging warrior who has a vision to assist the kingdom of Dahomey from engaging in the slave trade. Here, she is ferocious (as usual) and restrained at the same time, and she's backed up by the next generation of powerful talent in Thuso Mbedu, Lashana Lynch, Sheila Atim, and a whole lot more.

Columbia Pictures

Starting with a prologue that's going to remind of any Star Wars film, it establishes the crisis yet remarkable story of the Agojie in the 1800s, a woman-centric unit of warriors who protect their King (John Boyega) and especially their African Kingdom of Dahomey with battle skills and savagery like no other. Just by this premise, it already feels fresh when most historical epics have men fighting against men for their male leaders. Here, apart from Viola Davis' Nanisca, she's also assisted by her two unique but equally lethal sidekicks--Izogie, an Agojie lieutenant; and Amenza, as her right hand in the army.

It is with Thuso Mbedu's Nawi, a young woman in a village outside the walls of the kingdom that makes The Woman King even more interesting. Her story as an orphaned girl who has had to learn and fight for survival that gives this movie its beating heart. After resisting all of her father's attempts to have her married for wealth, she is handed to Agojie where she makes an impression and possibly a familiar blood to the eyes of Nanisca. Here the film slightly becomes a bit similar to the like of Mulan or The Karate Kid.

But what those other films don't have is this cast of amazing performers where each character, lead or supporting, makes a case for the prize of best scene stealer. Everyone could hold a candle against Viola Davis even when Davis herself gives another commanding performance who knows when to be predominant and when to be subtle. Of course, the credit also belongs to the writers Dana Stevens and the actress and now also a writer Maria Bello who created these layered characters that has significance in each other's lives and the kingdom of Dahomey.

It sounds dramatic but the film boasts of several war battle scenes as well and while they might not be the most compelling we've seen, they're still decently bloody and brutal that made the audience squirm several times. Blood, tears, flesh, bruises, you name it, and all in an elegant African war style.

The Woman King, overall, is a standout among its contemporaries because it knows how to flesh out its characters and provide a good stake of risks for the leads apart from the usual war battles people already expected to come out of something like this. Something that's basic on paper but difficult to execute and this movie skillfully did.

-----

The Woman King opens in PH Cinemas today, October 5th.

MTRCB Rating: R-13