'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.

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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 ;).

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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.

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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.

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Bones and All opens in PH Cinemas, November 23.

MTRCB Rating: R-16