2015 Movie Honor Roll: "Honor", John Lloyd, Nora and Tirso Lead Year's Top Achievers

2015 – It wasn’t exactly an exemplary year in Philippine cinema. Nevertheless, some left a few indelible images in my mind. Let’s call them celluloid magic.

Nora Aunor is a wandering mother in search of her missing child, seemingly oblivious to the inscrutable grief in post-Yolanda Tacloban in “Taklub”. Tessie Tomas struggles to relearn her 3 R’s as she dreams of finishing 6^th grade at the age of 70 in “Old Skool”. LJ Reyes seeks to rescue her rebel father from the clutches of Marcos-era soldiers though her romantic liaisons with soldier Luis Alandy in “Anino sa Likod ng Buwan”. 

Coco Martin’s brother Ronwaldo (see bottom poster) drives around in his motorbike with an aging Kapampangan poet in a sparsely vegetated, dusty sitio in “Ari: My Life with a King”. Bea Alonzo comes to grips with the failure of her overbearing husband John Lloyd Cruz whose ineptitude has put a toll on their marital lives in "A Second Chance”. 

Andi Eigenmann sorely pretends she’s being possessed by the restless spirits of a notoriously haunted theatre hall in “Tragic Theatre”, the first local film to open 2015. 

Mercedes Cabral refuses to leave her shanty by the bamboo groove despite her boyfriend’s constant pleadings in “An Kubo sa Kawayanan”. A gay teenager gets bafflingly pregnant and soon becomes object of the town’s attention, derision and devotion in “Miss Bulalacao”. 

John Arcilla navigates the revolutionary trenches of the Katipunan with acid tongue and impassioned demeanor in the runaway hit, “Heneral Luna”. Piolo Pascual rescues beautiful damsel Rhian Ramos from her abusive husband in “Silong”. Meryll Soriano parries the wrath of her customers when her financial scheme goes belly up, leaving hundreds of her friends in financial ruin in “Honor Thy Father”. Angeli Bayani endures the ridicule of her co-rebels when she was found to have run off with the group’s money in “Iisa”. 

Toni Gonzaga travels to Batanes and falls in love with her good-looking assistant in “You’re My Boss”. Ricky Davao is the chilling crime boss who abducts young women and caters to canine culinary while operating his small town crime syndicate in “Dayang Asu”. 

Raymond Bagatsing recreates a delectable Nick Joaquin persona that’s compellingly watchable and unforgettable in “Dahling Nick”. Bimby Aquino Yap embarrassingly fumbles his five-line poem in "All You Need is Pag-Ibig”, proving once and for all that there’s no such thing as “dugong artista”. Ditto those ridiculously vapid Concio sisters. 

Liza Soberano becomes a reluctant TV host for a provincial travel show while boyfriend Gerald Anderson lies in a coma in “Everyday I Love You”. Teri Malvar finds redemption in another hellhole when she’s taken in by a kind-hearted taxi driver in “Hamog . 

Vice Ganda singularly redeems the asinine narrative clutter of another Wenn Deramas flick in “Beauty and the Bestie”. Cherry Pie Picache adoringly searches for her real mother despite the elaborate show meant to mislead her in “Manang Biring”. This last scene in Carl Joseph Papa’s rotoscopic experiment still lingers and haunts my reveries two months after I’ve seen it. If that isn’t the palpable power of cinema, I don’t know what is.   

What are your unforgettable cinematic moments? "Honor Thy Father" leads the pack with lead actor John Lloyd Cruz turning in his career best performance. Superstar Nora Aunor, meanwhile, disregards theatrical pretenses and those fancy ocular spotlights in Mendoza's antithesis to the typical Pinoy melodrama.  Here are the year’s best films and performances.

BEST FILMS of 2015 (in descending order)

1. Erik Matti's "Honor Thy Father"

2. Brillante Mendoza's "Taklub"

3. Joel Ferrer's "Baka Siguro Yata"

4. Ara Chawdhury's "Miss Bulalacao"

5. Ralston Jover's "Da Dog Show"

6. Jerrold Tarog's "Heneral Luna"

7. Lawrence Fajardo's "Imbisibol"

8. Carl Joseph Papa's "Manang Biring"

9. Alvin Yapan's "An Kubo sa Kawayanan"

10. Jun Robles Lana's "Anino sa Likod ng Buwan"

Best Performances by Male Actors in Lead Roles (in descending order)

1. John Lloyd Cruz in “Honor Thy Father”

2. Raymond Bagatsing in “Dahling Nick”

3. John Lloyd Cruz in “A Second Chance”

4. John Arcilla in “Heneral Luna”

5. Allen Dizon in “Imbisibol”

6. Piolo Pascual in “The Breakup Playlist”

7. Jericho Rosales in “#Walang Forever”

8. Dino Pastrano in “Baka Siguro Yata”

9. Jun-jun Quintana in “Water Lemon”

10. JM de Guzman in “Tandem”

1. Nora Aunor in “Taklub”

2. Bea Alonzo in “A Second Chance”

3. Claudine Barretto in “Etiquette for Mistresses”

4. Teri Malvar as in “Hamog”

5. Jennylyn Mercado in “#Walang Forever”

6. Alessandra De Rossi in “Bambanti”

7. Angeli Bayani for Chuck Gutierrez’s “Iisa”

8. Tessie Tomas in “Old Skool”

9. LJ Reyes in “Anino sa Likod ng Buwan”

10. Mercedes Cabral in “An Kubo sa Kawayanan”

1. Tirso Cruz III in “ Honor Thy Father”

2. Lou Veloso in “Water Lemon”

3. Ricky Davao in “Dayang Asu”

4. OJ Mariano in “Hamog”

5. JM de Guzman in “Imbisibol”

6. Anthony Falcon in “ Anino sa Likod ng Buwan” 

        1.  Meryll Soriano in “ Honor Thy Father”

    2. Annicka Dolonius in “Apocalypse Child”

    3. Anna Luna as in “Hamog”

    4. Mercedes Cabral in “Da Dog Show”

    5. Nova Villa in “ All You Need is Pag-ibig” 

FIRST FEATURES

I love first features because they're baptisms of fire for the film makers. Tension associated with such works usually ignite a degree of creativity that's fresh or original. First time directors are usually on a quest to tell stories that, in their mind, could make a difference. In some instances, these stories become masterpieces because these become carefully told tales in exquisitely calibrated yarn-spinning. 

Some get overwhelmed by the experience. Angelina Jolie, ("In the Land of Milk and Honey"), admitted to having a "meltdown" saying, "I felt very small and, who am I to take this on? What have I done?" Others tend to be more pragmatic about the artistic process. Sam Mendes (" American Beauty") remembered, "“I made a very conscious decision early on, if I didn’t understand something technically, to say, without embarrassment, ‘I don’t understand what you’re talking about, please explain it.’”  But while there are masterful works (Katski Flores' " Still Life", for example), execrable films also turn up, like former sexy actor Carlos Morales' "Piring" which was screened during last year's ill-organized "World Premiere Festival" (FDCP). 

I've a minor quibble with the casting of Kapampangan Poetry King Francisco Guinto in "Ari: My Life with a King" (who won "Best Actor" for the festival), but there's no denying that Catu's first feature is solid film making that deserves a bigger audience. For this list, I've decided to include the short film, "Lisyun qng Geografia", directed by Petersen Vargas though the film strictly belongs with the 2014 releases. But I don't care. I feel it deserves special mention because in my book, it is a complete film. If it were longer, it would have been a legitimate and valid first feature from the talented director. So here's the list.

BEST FIRST FEATURE FILMS 2015

1. Ara Chawdhury's "Miss Bulalacao"    
2. Chuck Gutierrez's "Iisa"   
3. Cia Jorge's "Old Skool"    
4. Carlo Enciso Catu's "Ari My Life with a King"    
5. Mihk Vergara's "Patintero Ang Alamat ni Meng Patalo"   

Ronwaldo Martin is this year's breakthrough artist in "Ari: My Life with a King". Coco Martin's younger brother commands attention.

Earlier this year, I was bestowed relative, albeit cringe-worthy immortality when a starlet named "Katy Pena" came into being and topbilled one of those gag-inducing Pink Films called "Huling Hininga". I had nightmares that night, of course. I thought it was going to be my last breath :)

While we're on the subject of overachievers, let's not forget foul-mouthed director Cathy Garcia-Molina who romps off with the year's biggest non-MMFF box office winner, "A Second Chance". Let's hope she learns romcom-style jargons that befit her supposedly respectable stature instead of curses directed only towards lowly bit players. Otherwise,troglodytes with such attitude don't deserve the public's patronage. Photoshoots as light and breezy as the one above seem inappropriate for her flowery vocabulary. Angelina Jolie would be very glad to lend her head piece, don't you think? A change of name is in order? Cathy Garcia-Maleficent?

Unofficially Yours - Quandaries of Falling in Love

After an anonymous sexual rendezvous at the beach, a couple fortuitously meets again as work colleagues in a newspaper company. Cess (Angel Locsin) is a zealous writer for her paper’s lifestyle section. Macky (John Lloyd Cruz) is a dentist who’s pursuing a different career trajectory – he wants to become a writer. As fate would have it, Macky becomes Cess’ writing protégé! Unfortunately, the dismissive Cess makes it clear their concupiscent rendezvous was nothing but an uncomplicated lay in the hay, strictly with no strings attached. Macky is disconsolate because he wants more from her. In fact, he couldn’t get Cess off his mind since the day she surreptitiously left without a word.

Though work constantly throws them in each others’ company, it becomes clear that their attraction wasn’t a fleeting circumstance. And they continuously end up sharing their beds, in a frivolously and savagely passionate affair. “Malabo ba yung tayo?” Cess would ask Macky, just to underline the noncommittal state of their relationship. What’s a guy do if all a girl wants is his sexual stamina? Would he deny her sexual advances? And why is she being emotionally elusive?

Director Cathy Garcia-Molina goes for the romantic jugular to weave the tale of Macky and Cess caught in the quagmire of their romantic past. It becomes a dilemma when physical coupling spills on their agreed emotional boundaries. And the only other way from there is to commit, something that Cess isn't willing to do. We later learn the reason behind her apprehensions; turned out it was a valid excuse to get twice shy about a commitment.

MAGIC

John Lloyd Cruz and Angel Locsin candidly depict what could have been prosaic characters running on hackneyed plot, but their kinship has evolved into a cinematic partnership that translates into something akin to magic - on screen. It's such a sedulous connection; this credibility never wavers despite the peppering of a multitude of contrivances designed to concoct a brew not dissimilar to "My Cactus Heart". Wasn't the latter also about a commitment-shy heroine?

Cruz and Locsin scorch the screen as they parry the blows of an impending emotional avalanche; one that they'd have to directly face - sooner or later. Locsin has transformed into a very confident actress. Her wanton disregard of vanity is contributory to this, thus she's able to plummet into unflattering expressions that would seem silly on other less insightful actresses. These made her more captivating. But then, that's easy when you're an exceptional beauty, isn't it? :)

MEANT

The rest of the charming cast provides more than adequate distractions complementary to the protagonists' story. Tetchie Agbayani, playing Angel's eternally hopeful mother, is particularly winsome. Her scene with Angel at the kitchen was memorable. Cess asked her mom: "Ba't parang di ka nagsasawang masaktan?" She replied: "Hindi lang ako napapagod magmahal. Pwede naman akong magpahinga sandali. Kung hindi, paano ko makikilala kung meron mang nakalaang magmamahal ng tunay?" These lines could have easily turned mawkish; instead, they were breezy, but nonetheless decisive and sincere. Her sentiment warrants attention - and introspection.

QUIBBLES

The film also has obvious careless (and imagined) details that needed remedial measures: Journalists fumbling around the frenzied press room in 3-inch heels? Seriously? Ouch! Then there's the oversight about Macky's Dental Education - where? University of Santo Tomas! While it was indeed established in 1904, it has since been abolished. The last dental graduates have probably set sail with Limahong to rediscover the Spice Island. Where then did Macky finish his dental education? Then there's the on-the-job "writing" tutorial. Such active coaching really occurs in a hectic work place like the Manila Bulletin? Kinda like medical interns and clerks "training" in hospitals? Highly unlikely. No wonder no one reads them :) Oops!

Once a newspaper takes you in, you've already developed a style; the same style responsible for getting you "in". No one's there to laboriously teach you technique! The mechanics of an interview isn't learned in the press room, that's for sure! But these are quibbles easy to disregard, simply because the story becomes real; it comes alive right before our eyes.

OBSERVATIONS

Now that I've mentioned Cruz's thespic gifts, let me zero in on a few minor distractions. John Lloyd Cruz should start doing something about his unsightly bulges soon! He has "man boobs" (as well as a distended and flabby abdomen) and he isn't even 30 yet! It's unbecoming to be a romantic lead and have Sharon Cuneta's lipid excrescences. Has he given birth? What's his excuse for his pudginess? Romantic leads should fulfill a certain physical criteria because it's part of his trade to look physically fit! Furthermore, seeing him walk around sockless is cringe-worthy! Sooner or later, this unhygienic habit becomes an olfactory nightmare.

BEDAZZLED

Finally, Garcia-Molina has mastered the art of romantic bedazzlement. She relishes her narrative condiment with giggle-worthy lines (On not falling in love: "Huwag kang mag alala, di kita pipilitin!"); quirky characters (Macky's roommates, Macky's exceedingly healthy family, Cess' nosy workmates) and songs that make your heart flutter (Janno Gibbs' "Binibini", VST & Company's "Ikaw Ang Aking Mahal", Eric Santos & Angeline Quinto's "If You Asked Me To"). Sometime before the story folds, a musical duet ensues - complete with doo-wopping back-up singers. Now, that's unabashed romanticizing! Heck, even the third wheel, Vincent Villegas (played by the radiant Patrick Garcia) is swoon worthy!

I tried not to swoon. But I couldn't help myself smile!

Forever And a Day - KC Concepcion Impresses in Cinematic Jewel

Eugene Silvero (Sam Milby) stands at the fork of a road. As product developer of a shoe company, he is suddenly missing target sales from his ambitious and expensive new product. And his company is pulling its plug. Meanwhile, Raffy Salvador (KC Concepcion) is facing her fears head on. She has a Stage 4 Lymphoma (a cancer in the lymphatic cells of the immune system), but has had enough of the crippling effects of chemotherapy. To escape from each of their dilemma, they separately head to and find each other in dreamy Bukidnon’s recreational camp where they gradually fall for each other. But Raffy has reservations for an impending relationship. Would Eugene back off if he knew of her condition? Would he be able to convince Raffy to give chemo another go?

In Cathy Garcia-Molina’s “Forever And a Day”, the answers take a rather pragmatic route, and much like real life, the repercussion of some decisions doesn’t always end in “happily ever after”. The film is an exposition on acceptance more than it is about dealing with grief, and in more ways, this is an unusually brave project for a mainstream production bent on concessions that usually dumb down their audience.

KC Concepcion sheds off her theatrical affectations, the vicarious habits that used to underline her distracting enthusiasm displayed in Joyce Bernal’s banal effort “For The First Time” and Joel Lamangan’s “When I Met U”. In Maryo J. de los Reyes’ “I’ll Be There”, KC was able to flaunt flashes of controlled brilliance, but “Forever and a Day” ushers an inspired chapter when the Megastar’s daughter is finally proving her worth as an actress in serious contention. And though it doesn’t seem so, Concepcion is really just three years in the business, though we presume to have known her forever. Her mother wasn't this proficient on her fourth film (Eddie Garcia's "Cross My Heart"). Can you imagine what she is capable of doing on her 10^th year in the business?

As the suffering Raffy, KC pulls away from the usual broad strokes integral in Filipino melodrama. There was a degree of subtle constancy, an unwavering dedication to her character. She never faltered. In fact, her inherent ardor is quite palpable from her facial expression to her body movement. If you’ve never heard of graceful grief, this is how it’s done. And if Raffy fails to tug you in the heart strings, then there is something very wrong with your affect. Suddenly, KC is doing something right.

Sam Milby does well himself as the embattled corporate planner. His motivations were quite understandable, and his concerns thrusted the gravely battered “male ego” to the fore. Gone are Milby’s heavy handed, ultra-emphatic deliveries. He has truly evolved into one of his generation’s most dependable actors (see "Third World Happy" for proof). It also helps that he generates a simmering chemistry with KC.

Bukidnon and Cagayan de Oro provide a dreamy backdrop to the emotional predicaments experienced by the protagonists. They perfectly provide a tableau that helps move and highlight the narrative. After this, who wouldn’t want to visit that side of Shangrila?

Director Molina is truly the modern-day exponent of cinematic quotations, but there’s a line in the film that doesn't sit well with us. While Raffy sits beside Eugene, she then looks down, gazes at her shoes and says, “Shoes are the least appreciated things in this world,” which I beg to disagree. We're aware that she was spewing commentary on the seeming expendability of life. But shoes? If that were true, we wouldn’t have an Imelda Marcos. I wouldn’t be buying a pair once a month. Moreover, there wouldn’t be a Eugene Silvero in a movie like “Forever and a Day”. Shoes are indeed much appreciated; people slave away just to plan on buying one. Despite this minor quibble, there are other note-worthy lines. When Raffy talks about the helplessness of her condition, she likens this to “Parang nananakawan… nadaya, even if you’ve done everything right.” Bad things indeed happen even to good people.

The movie is chivalrous in many levels, and we have to tip our hat to Molina’s audacious foray into movie world’s Neverland. Yes, you won’t find a Filipino movie as indomitable in its commitment to delve into the realm of mortality, bereavement and acceptance! It has moments of unabashed mawkishness – the protracted spiels at Raffy’s bedside, but we understand its exigency. More than anything, the film dispenses lessons that most cinematic stories omit or decide to ignore. When life threatens to make a sudden halt, we still try to make the best of our remaining hours. Regardless of its brevity, life is still a precious gift.

For a change, I won’t complaint about the film’s B-rating from this dubious organization called C.E.B.

"Forever And a Day" is clearly a cinematic jewel!

Sam Milby is Eugene Silvero.