Joyce Bernal's "Da Possessed" - Gold in Misery

Three ghosts are out to settle score when they are inadvertently dug out from an unmarked grave on a land where a casino is being built. Problem is, our would-be hero Ramon (Vhong Navarro) is a wimp, a “lampa”, with a weak heart. But he desperately needs to work to save his family’s house from foreclosure. He meets and falls in love with Ana (Solenn Heussaf), the spunky daughter of the casino’s owner Don Demetrio (Joey Marquez) who has a shady past.

Meanwhile, our ghosts (Empoy Marquez, John Lapus and Aaliyah Belmoro) have to intermittently take over Ramon's body to coax the truth out from the murderer who happens to be Don Demetrio. Will Ramon solve the ghostly trio’s dilemmas: revenge, a proper burial and finding a playmate? How will this affect Ramon’s burgeoning relationship with Ana? Will he save his family out of their financial rut? Guess.

Director Joyce Bernal spins an oft familiar yarn that’s not too far removed from her other collaborations with Vhong Navarro in the distant past. In fact, if you feel a certain degree of déjà vu while watching the movie, don’t worry, it isn't you.

But the spirited cast which also includes Joy Viado, Smokey Manaloto and Beverly Salviejo more than makes up for the narrative cliché.

Vhong Navarro hams it up and succeeds even in brain-dead comic punchlines. He has always been a brilliant comic. Try the banana jokes. “Paano pababalikin ang saging?” Answer: “Tu---ron! (Tarah)” “Paano mo paaalisin ang saging?” Answer: “Tanggalin mo ang B. Ana-na!” Are you laughing already? The jokes are a hit and miss affair, a tack not unfamiliar in Joyce Bernal’s slapstick comedies. Most of the jokes are highly dependent on the comedic intuition and quick wit of the actors. When Mama Belen (Beverly Salviejo) was abducted, Ramon’s sister-in-law Marie (Matet de Leon) insightfully deduced: “Nasa abandonadong bodega!” When asked how she knew, she replied:  “Lahat ng kinikidnap, si Mara (Clara), si Marimar, si Claudine, si Kristine Hermosa, lahat sila dinadala sa isang abandonadong bodega!” O nga naman.

Navarro perfectly complements with the gorgeous Solenn Heussaf who continues to amaze us with her spot-on characterization even in comedy. Heussaf has been known for her emotive honesty so it’s a surprise to find her perfectly tempering her Ana character with deft precision. Listen to her speak Tagalog like the natives, if that isn't impressive compared to other half-breeds, I don’t know what is. The girl just works hard so you don’t cringe listening to her speak her lines. Have you heard from the once-again-bankable Papa Piolo inviting you to “Download the Eb…”? “Epp?” Ah, “application”! Epp daw kasi eh. Ohgawd!

Like other Vhong Navarro movies, there’s a dance showdown somewhere in the movie. Vhong and Solenn in fact danced a hip-shaking Christian Martinez novelty tune with a large crowd at a mall. The theme – Bollywood! Irony isn't lost in us because wasn't Solenn in the amateurish “Mumbai Love” which had execrable musical numbers?  This is how a Bollywood musical number is done, Benito Bautista! Stop rationalizing that good choreography and cinematic execution require an enormous sum of money.

As for Vhong, his recent traumatic run in with fellating ladies and rich extortionists seem to have revitalized his sagging movie career. His last film with Star Cinema was 3 years ago with Chito Rono’s “Bulong”, wasn't it? His “Shake, Rattle and Roll’s The Invasion” for Regal was 2 years ago. Who regularly watched "Todamax" on TV? 

Now, scroll through your Facebook page. It’s easy to find dimwits calling him “idol”. While we are glad that Vhong recovered from his assault and that the arrogant Cedric Lee and company are wallowing in their legal woes, we shouldn't be quick to place philanderers on pedestals just because they survived an ordeal that would have been prevented had he not taken “foods” to a shadowy acquaintance’s condo in the wee hours of the night while his girlfriend waited at home. And some elevate him to being a “hero”. Would he have seriously apologized, albeit tearfully, to his partner and kids on national television had he not been caught? "Idol", you bet. Go figure.

Emerson Reyes' MNL 143 - Misguided Elements

At the heart of Emerson Reyes’ “MNL 143” is Ramil (Allan Paule) who has raked the populace of Metro Manila within the last 5 years searching for Mila (Joy Viado), the girl who got away. They were supposed to share a future together, but 13 years ago, Ramil up and left without saying goodbye, but for a letter saying he was leaving town to work abroad. Big mistake. He has since returned home to make amends.

But today was Ramil’s last day. Five years into his search, he’s throwing down the towel and taking another stint for a job overseas (Saudi Arabia). Mila was never found. Regret cloaks Ramil’s remaining hours in the chaotic metropolis. As he winds down his day, a familiar face flags down the FX taxi Ramil is driving. What’s left of his romantic past?

Framing Ramil’s eleventh hour search is a cornucopia of characters who come and go, as passengers hop in and out of our protagonist’s taxi, as he plies the Philcoa-to-Fairview route: a testy old woman who does nothing but complain; two would-be OFWs whose interest is piqued by a Japanese seatmate; a wife who unexpectedly learns of his hubby’s job dismissal; a couple of enthusiastic film students; a cell phone snatcher; a band of gay men discussing the ritual of giving gifts to their disengaged lovers.

The constant and kinetic introduction of a variety of characters may insinuate passage of time to highlight Ramil’s emotional logrolling, but they don’t contribute much to the main narrative. In fact, much of it is cinematic ruse and deflects from the story at hand. The central plot has been disregarded in favor of the tacky page-flipping of its hundred-and-one disparate anecdotes. Allan Paule packs an insightful wallop as the regretful Ramil. Unfortunately, his chemistry with Joy Viado is awkward; a major blunder – only individuals with lofty invention would consider it brilliant casting. It wasn't  The pairing itself displays parsimonious chemistry. It is misguided at best; the product of an obstinate, albeit arrogant artistry. That’s just too bad since director Emerson Reyes is technically proficient. His story telling is a different matter altogether.