2012 Philippine Movie Report - A Rundown of All Commercially Shown Filipino Films

Did you watch one Philippine movie in 2012? I did 142, and this number roughly represents the country's film output last year. But the inclusion criterion for this: they all had to be available in commercial outlets and open to the general public to patronize. Excluded here are films that premiered and had a single screening in dusty university halls, cultural centers and museums. Worse still, beer joints and bars that clearly depreciate the medium. They had to be accessible for the viewing public to want to shell out their hard earned cash. After all, contemporary art has to be sensitive to the economics of its patrons. Film works kept in a cave might as well be kept there forever, and never to be seen til kingdom come. Food not served on the dining table, and hidden in the cupboard, isn't meant for consumption. No film maker, regardless of his genius, is worth risking your life, limb and sanity for.  

2012 THE YEAR IN THE MOVIES

A bumper crop year has been experienced in terms of film output. And the magic number is 142 - the total number of films shown in commercial establishments. This is nothing short of impressive. Compare this from 2011's 105 titles and 2010's 73, it's clear that the Pinoy film makers have burned the midnight oil to produce their disparate narrative, transforming them into cinematic visions. Are we richer and wiser for these ouvres? In some ways, we are.  

What's more inspiring is how our cineplexes have warmed up to the idea of the legitimate and, well, not-so-legit "indies". Last year, festival fares saw regular commercial runs in SM and Robinsons Cinemas nationwide. At no other time has there been this considerable number - 17 independent films:  Antoinette Jadaone’s Six Degrees of Separation from Lilia Cuntapay, Aureus Solito’s Busong, Benito Bautista’s Boundary, Brillante Mendoza’s Captive, Dante Nico Garcia’s Madaling Araw, Mahabang Gabi; Emerson Reyes’ MNL 143, Emmanuel Palo’s Santa Nina, Joseph Laban’s Cuchera, Jun Lana’s Bwakaw, Lawrence Fajardo’s Posas, Lee Meilly, Imee Marcos and Nelson Caguilas’ Pintakasi, Marie Jamora’s Ang Nawawala, Mark Meilly’s Donor, Marty Syjuco’s Give Up Tomorrow, Nick de Ocampo’s Cine Sine, Sheron Dayoc’s Halaw (Ways of the Sea), and Zig Dulay’s Huling Halik. The audience was hardly there, but it's a start. 

MAINSTREAM

Mainstream Cinema lorded it over at the cinema tills, raking in millions for their mostly predictable, escapist products. Star Cinema, still the country's number one film outfit, produced and released 17 movies (including a remastered version of Bernal's "Himala"), while its perceived rival, GMA Films, had 10. While 10 hardly compares to 17, GMA has started to experiment with alternative names, employing Jade Castro for "My Kontrabida Girl" and Erik Matti for "Tiktik: The Aswang Chronicles". Mac Alejandre, one of their tired favorites, came up with another elementary effort, "Just One Summer" which eventually tanked and lasted for a mere two days in theaters nationwide. They even ventured into co-production with an Indonesian film outfit for Muhammad Yusuf's "The Witness" with Gwen Zamora (Faye of the "Enteng Kabisote" franchise) as its lead and the sole Filipino in its all-Indonesian cast. Of course, we know what happened to Andoy Ranay's "Sosy Problems". 

Viva Films mainly banked on co-productions and the box office draw of Wenn Deramas, Anne Curtis and Vice Ganda, but they failed to come up with a single film project for their main property, Sarah Geronimo. Gerald Anderson's presence provides hypersensitivity reaction to the people around the young actress. Otherwise, they'd have produced box office gold from Geronimo and Anderson's pairing. Don't people just love the plight of "Romeo and Juliet"? Viva produced and released 8 titles, three of which were box office behemoth from Deramas ("Sisterakas", "Moron 5 and the Crying Ladies" and "This Guy's In Love With You, Mare"). Meanwhile, GMA's biggest star, Marian Rivera failed to come up with a single film project although she was seen doing cameos in a few films. Dingdong Dantes once again won an acting award for a film produced by his mother studio's rival. 

And where is Sharon Cuneta whose career seems to be in limbo? Her TV5 transfer could only muster a show with a dead 4PM timeslot, and no one came to watch. While many of us, my parents included, miss her dearly, it's ill-advised to grace the screen looking overly satiated. She's reduced to humorous references. In "Melodrama Negra", for example, she's referred as "From Superstar to Super Ferry." People may laugh at these glibs, but my mom at home can't keep playing her "When I Love" and "Bituing Walang Ningning" CDs forever. She will eventually get tired of them. I have.

BUSIEST

A big output doesn't necessarily mean one artist is prolific. This shows in the list of the year's busiest directors, most of whom (except for Richard Somes) have some of the most execrable filmography in the history of Philippine Cinema:

1. G.A. Villafuerte - 6 
2. Darry dela Cruz - 6
3. Cleo Paglinawan - 4
4. Jigz Recto - 3
5. Paul Singh Cudail - 3
6. Richard Somes - 3
7. Wenn Deramas - 3

It is to be noted that Darry dela Cruz and Cleo Paglinawan come from the same production firm. If one directs, the other assists or does P.A. work. What's interesting is, their films are all interchangeable. They have the same look, same actors, and similar setting. G.A. Villafuerte, meanwhile, is known for films that complete principal photography within 24 hours. One-day shoot and he has a finished product, then he floods social media with self-glorifying publicities, starting with "Another Masterpiece from..." In Villafuerte's world, masterpieces are made in a day. Imagine that! :)

YEAR'S REVELATION

The news-worthy revelation in the film crop year is the mushrooming of the male-oriented erotica, aka the Pink Films. While there were 25 titles of the genre in 2011, last year had a staggering 45 titles! If you combine the output of Star Cinema, GMA Films, Viva Films and Regal Films, they would hardly come close to the number of Pink Films released in 2012.   

The male specimen has indeed turned into a more bankable object of desire. Meanwhile, the screen nymphets were reduced as side shows. Genre-specific stars were born: Alvin Duckert, TJ Morello, Bench dela Torre, Glenn de Luna, Jeremy Ian, Charles Delgado, Miko Madrid, Jerome Pineda, Migz Alcantara, Lance Lopez, Jonas Gruet, Rocco Mateo, Marco Ronquillo, Norris John, Xyrus Arruejo, et.al. The list is endless. Each one is willing to wave his dangling wand for these “brilliant” directors.  Jeff Luna, 2011’s “it” boy still graces some titles ("Bugaw", "Salo", "Galaw"). 

Interestingly, Crisaldo Pablo, the Dean of badly-made Pink flicks, was only able to muster a single commercial release, “Masukista”. Another title, the horrible “Bagito” (with Joeffrey Javier) was shown at last November’s Queeriosity Film Festival. The previous year (2011), Pablo had 6 commercial releases, most of which found an audience in Robinson’s Galleria. While this is good news, i.e. that Pablo’s mediocrity is finally nipped and neutered, other equally clueless film makers of dubious caliber mushroomed incessantly. One new, and particularly discombobulated director is Benny Andaya who megged “Uhaw sa Piling Mo” shown a week prior to MMFF. 

BLOG RECOMMENDS

While 142 Philippine-produced films spell hundreds of viewing hours, writing about each of them is doubly hard and close to impossible. So we write what we can. About 700 to 1000 pages get read in this blog everyday. I closed this blog for 3 weeks last November and actually contemplated on "calling it a day", but I reckon it isn't time to fold the tent just yet. For the hundreds of souls who lingered around, thanks for joining me here. As a side note, go look for Craig Zobel's "Compliance" and Ang Lee's "Life of Pi". These are spectacular films that shook me to the core and had me 1. getting so disturbed and agitated for a full 24 hours (after watching "Compliance" overseas); 2. believe once again in the magic of the cinema and reaffirm the presence of God. "Life of Pi" is funny, edge-of-your-seat exciting, heart-poundingly suspenseful, and visually sumptuous. I cannot recommend them more.   

MILESTONES

A milestone in the local silver screen was the release of Tony Gilroy's "The Bourne Legacy" which presented the bowels of chaotic Manila and the otherworldly beauty of Palawan to the world. The production maybe American, but many of us treated it as our own. A big chunk of the film franchise rankled with local color. And we can only sit back with sheer amusement as authentic slice of the metropolis is served on silver screen platter. Another surprise is Im-Sang Soo's Palme d'Or nominated "The Taste of Money". While this is mainly a Korean production, sexy actress Maui Taylor figured prominently in a delectable role whose character substantially shifted the plot of this twisty, sexy, albeit Shakespearean-flavored suspense drama that puts our local teleseryes to shame. Partially shot in Cebu, with a slew of Tagalog lines, the film was shown for 2 weeks at the Galleria prior to the Metro Manila Film Festival. Very classy indeed!

Like previous years, local film makers won in international film festivals, but we don't give a premium on their wins if they can't even get screened for their countrymen. This is why our very own Brillante Mendoza is commendable for continuously battling mainstream scruples against his "kind of films". French Superstar Isabelle Huppert came to the country to shoot a Mendoza project. This was more than big deal. Moreover, our Cannes-winning director screened his "Captive" for the local audience. As if this wasn't enough, Mendoza took Nora Aunor and "Thy Womb" to international audiences before eventually serving it on silver platter at the Metro Manila Film Festival. 

In Brisbane, Australia, for example, Mendoza's "Thy Womb" fetched A$22 (P950) for a seat at the Brisbane International Film Festival while other world titles were cheaper at A$18. Yet "Thy Womb" enjoyed packed screenings. Disturbingly, its MMFF screenings took the other route, as it was pulled out from cinemas way before its one-week run. This is, of course, alarming. Haven't we reached a level of maturity where cinema appreciation is concerned? But having Mendoza in the list of 8 participating entries is a triumph in itself. It's a foot in the door, so to speak. There's something to celebrate here.

Up next, the Best and Worst of 2012!

Without much further ado, ladies and gentlemen, here are the movies of 2012.      

Adolfo Alix, Jr.’s Mater Dolorosa

Adolfo Alix, Jr’s Kalayaan

Alejandro Bong Ramos’ Butas 2

Alejandro Bong Ramos’ My Amiga Girl

Aloy Adlawan’s Ang Katiwala

Andoy Ranay’s Sosy Problems

Antoinette Jadaone’s Six Degrees of Separation from Lilia Cuntapay

Antonio Mercader’s Galaw

Archie Dimaculangan, Franne Cheska Ramos and Jono de Rivera's Balang Araw

Armando Lao’s Ad Ignorantiam

Armando Reyes’ Dorm Boys

Arnel Madroquio’s Ang Paglalakbay ng mga Bituin sa Gabing Madilim

Ato Bautista’s Palitan

Aureus Solito's Busong

Aureus Solitos’ Baybayin

Bb. Joyce Bernal’s Of All The Things

Bb. Joyce Bernal's Kimmy Dora and the Temple of Kiyeme

Benito Bautista’s Boundary

Benny Andaya’s Uhaw sa Piling Mo

Bianca Catbagan and Jose Antonio de Rivera's Suntok sa Buwan

BJ Morales’ Dama

Brillante Mendoza’s Captive

Brillante Mendoza’s Thy Womb

Cathy Garcia-Molina's Unofficially Yours

Cesar Montano's Hitman

Chito Rono’s Shake, Rattle & Roll 14 – The Invasion

Chito Rono’s The Healing

Chris Martinez’s I Doo Bidoo Bidoo

Christian Linaban’s Aberya

Cleo Paglinawan’s Bikini King

Cleo Paglinawan’s Bugaw

Cleo Paglinawan’s Itlog na Pula

Cleo Paglinawan’s Mga Lalake sa Balsa

Crisaldo Pablo’s Bagito

Crisaldo Pablo’s Masukista

Dante Nico Garcia’s Madaling Araw, Mahabang Gabi

Darry dela Cruz’s Extra Serbis

Darry dela Cruz’s For Adults Only

Darry dela Cruz’s Malasado

Darry dela Cruz’s Midnight Temptation

Darry dela Cruz's Daklot

Darry dela Cruz's Frontal

Deo J. Fajardo’s East of Paradise

Dominic Zapata's Boy Pick-Up The Movie

Dwein Baltazar’s Mamay Umeng

Edz Espiritu's Hubo

Cleo Paglinawan and Crisaldo Pablo's films.

Darry dela Cruz's films

Emerson Reyes’ MNL 143

Emmanuel dela Cruz’s Slumber Party

Emmanuel Palo’s Santa Nina

Enrico Santos' My Cactus Heart

Erik Matti’s Rigodon

Erik Matti’s Tiktik: The Aswang Chronicles

Frasco Mortiz’s The Reunion

G.A. Villafuerte’s Hardinero

G.A. Villafuerte’s Hayok

G.A. Villafuerte’s Kapa

G.A. Villafuerte’s Nympho

GA Villafuerte's Ang Lihim ng mga Nympha

GA Villafuerte's Id'Nal (Mapusok)

G.A. Villafuerte's films

Gabs Ramos’ Mestizo: A Beautiful Boy

Gerardo Calagui’s Marcie

Gigi Alfonso Javier’s Flames of Love

Gino Santos’ The Animals

Gym Lumbera’s Anak Araw

Han Salazar’s Adam’s Apple: Kakagat Ka Ba?

Ian Lorenos’ Alagwa

Ishmael Bernal’s Himala (nationwide release)

Jade Castro's My Kontrabida Girl

Jerome Pobocan's Born to Love You

Jigz F. Recto's Kasalo

Jigz Recto’s Binatilyo

Jigz Recto’s Patol

Joel Lamangan’s Migrante

Joel Lamangan's The Mommy Returns

John D’Lazatin, Mae Czarina Cruz, Frasco Mortiz & Dodo Lumibao’s 24/7 in Love

John-D J. Lazatin's A Mother's Story

Jose Javier Reyes’ Mga Munting Lihim

Joseph Laban’s Cuchera

Julius Cena’s Mga Dayo

Jun Lana’s Bwakaw

Karlo Montero’s Ken at Abel

Kevin Dayrit’s Catnip

Khavn dela Cruz’s Edsa XXX

Krizzie Syfu's Tahanan

Lando Jacob’s Wanted Boarders (Males Only)

Lawrence Fajardo’s Posas

Lawrence Fajardo’s The Strangers

Lee Meilly, Imee Marcos, Nelson Caguila's Pintakasi

Lem Lorca's Bola

Lemuel Lorca’ Intoy Syokoy ng Kalye Marino

Leonardo Q. Belen’s Pinoy Super Kid

Loy Arcenas’ REquieme!

Lucas Mercado's Hiram na Ama

Lucas Mercado's Imahinasyon

Ma. Isabel Legarda’s Melodrama Negra

Mac Alejandre’s Just One Summer

Mae Cruz's Every Breath You Take

Marie Jamora’s Ang Nawawala

Mark Meilly’s El Presidente

Mark Meilly's Donor

Marty Syjuco’s Give Up Tomorrow

Mes de Guzman’s Diablo

Michael Angelo Dagnalan’s Paglaya sa Tanikala

Miko Jacinto's Salo (Share)

Monti Parungao’s The Escort

Muhammad Yusuf's The Witness

Nick de Ocampo's Cine Sine

Noli Salvador’s Kapalit ng Ligaya

Nuel Naval’s A Secret Affair

Olivia Lamasan’s The Mistress

Pam Miras’ Pascalina

Paul Singh Cudail’s Ang Jowa

Paul Singh Cudail's Hawla

Paul Singh Cudail's Maligalig

Paul Sta. Ana’s Oros

Raymond Red’s Kamera Obskura

RD Alba’s Biktima

Rene Cruz Jr.'s Three in One

Richard Somes' Corazon Ang Unang Aswang

Richard Somes’ Mariposa sa Hawla ng Gabi

Richard Somes’ Supremo

Rico Maria Ilarde’s Pridyider

Ron Morales’ Graceland

Ronaldo Bertubin’s Gayak

Rory Quinto’s Suddenly It’s Magic

Ruel S. Bayani’s One More Try

Sari Lluch Dalena and Keith Sicat’s Himala Ngayon

Sherad Anthony Sanchez’ Jungle Love

Sheron Dayoc's Halaw (Ways of the Sea)

Soxy Topacio’s D’ Kilabots: Pogi Brothers Weh

Toni Te’s Ganid

Tony Reyes’ Si Agimat, Si Enteng at si Ako

Topel Lee’s Amorosa

Tyrone Acierto’s The Grave Bandits

Vincent Sandoval’s Aparisyon

Wenn Deramas' Moron 5 and the Crying Lady

Wenn Deramas’ Sisterakas

Wenn Deramas’ This Guy’s In Love With U Mare!

Will Fredo’s In Nomine Matris

William Mayo’s Yakman: The Gigil King

Zech de la Cruz's My Naughty Kid

Zig M. Dulay's Huling Halik

2012 opened with two local releases: Pokwang's "A Mother's Story" and  Jigz Recto's "Kasalo". Which Pinoy film opens 2013?

Maui Taylor (below) appears in the Cannes-nominated Korean, "The Taste of Money".  Manila is heavily featured in "The Bourne Legacy".

Maui Taylor plays a maid-cum-sex nymphet for a  very rich and influential family, but there's an unexpected twist that thickens the Daedalean plot.

Note:

Please read our featured post about Cinema Bravo and why we sometimes feel nginig about Web Criticism:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

Panday 2 - Pedestrian Heroes in Oft Repeated Stories

After defeating an evil nemesis, Flavio (Ramon “Bong” Revilla, Jr.), the magic sword-bearing blacksmith, settles down with his would-be wife Maria (Iza Calzado), a fairy princess, in a small town where the former is hailed as a hero and demigod. But the prophetic Lolo Isko (Joonee Gamboa) foresees a troubling future for the hero: “Ang nakatakdang kadakilaan ay ipinapantay ng luha’t pighati.” Soon thereafter, they receive news that nearby towns are ravaged by fire and invasions. Could Lizardo (Philip Salvador) be alive?

SPOILERS!

The day before her wedding to Flavio, Maria gets kidnapped along with other women. Lizardo, who’s severely disfigured, is indeed alive, albeit with diminished powers. He requires the allure of an engkantada to regain his full strength and youthful vitality. That same night, Flavio gets his wish. While he gets rejuvenated, Maria transforms into an old woman (Rustica Carpio). Flavio, on the other hand, has organized his men to hoist a rescue. With the help of Bagwis, his pet dragon, Flavio charges recklessly, resulting in the death of most of his armada. His people turn against him. Meanwhile, he learns that Bagwis is female, and has morphed into a lovely warrior princess named Arlana (Marian Rivera), a prodigal daughter from the Ragona clan whose people could shift into dragons. Will the legendary blacksmith be able to defeat the energized Lizardo, and in the process, rescue his would-be wife?

In 2009, Rico Gutierrez and Mac Alejandre’s “Ang Panday” outgrossed all its competitors. Moreover, it won a stupendously generous stash of highly debatable awards including Best Actor (Bong Revilla), Best Supporting Actor (Phillip Salvador), Best Child Performer (Robert “Buboy” Villar), among others. It also bagged the Best Picture, a head-scratching feat for something of its artistic (de)merit. This year, it’s poised for bigger things.

Unfortunately, many seats at its second screening on opening day in Greenbelt 3 were vacant. Is this a barometer of the general public’s disappointment or disgust over the turn of events surrounding the death of Ramgen Revilla which highlighted the excesses of a political clan that people are supposed to emulate? Or are people just tired of this Carlo Caparas vehicle? Are people standing up against polygamy, murderous sibling rivalry, hired assassins, unregulated credit card use and clandestine domestic ministrations? Lovely way to paint the modern Filipino family, isn’t it?

But the numbers have surfaced (as of this writing) with “Enteng ng Ina Mo” grossing P91 million, while “Panday 2” churns up a measly P51 million; a far-cry from the first Panday’s box office finish. More than those unreliable figures, I was witness to the empty seats at the 2^nd screening of “Panday 2” while other titles enjoyed full house capacity on their pre-booked 2^nd to 5^th screenings (“Segunda Mano”). Either way, it is a cause for alarm for the senator and the Panday franchise.

Why are we harping on numbers? Because that's what this film is all about. Let’s face it, “Panday 2” isn’t in the realm of artistic and meritorious discourse, despite its coterie of gag-inducing awards in the past. Sometimes, the Filipino moviegoing public is happy with sugar-coated slop and kaning-baboy; thus the mainstream industry sees it fit to provide slop. Sinanay sa kaning baboy, then why else would people look for something else on their cinematic plate?

Now going back to the movie, writing a synopsis for “Panday 2” has got to be one of the hardest things I’d have to endure this season. It’s like painful abrasive scratches cutting through my sensibilities. Besides, isn't it clear that the film stands like a fan movie for GMA’s stable of talents? We see them don capes and body-hugging costumes where the most challenging endeavor they're tasked to do is look handsome or pretty; stand on the background with royal bearing, then get decimated by the advancing evil warriors. The story is peppered with needless characters that keep the narrative too busy to make a dent in the audience’s consciousness.

If Maria (Calzado) is an engkantada, why was she so helpless during her abduction? Couldn’t she summon her queen mother (Lucy Torres) for help? Did they actually forget that fairies are supposed to exhibit magical power? They should have asked Vic Sotto for tips about the fairyworld. And what was the loathsome witch Baruha’s (Lorna Tolentino) raison d’etre in the story? Did she do anything in the movie that merited her abominable presence? She would intermittently appear in her sinister meanderings, looking at a cauldron, and annotating as events unravel in Flavio’s life. She was expendable. If they took her out of the movie, it wouldn't have mattered. If she was Lizardo’s partner in crime, why were her inspired comments hurled against Lizardo (read and weep): “Ang laki mong pangit mo! Tanga kang Lizardo ka! Lagi kang nauutakan ni Flavio!” Yet Lizardo successfully ravaged the essence of the fairy princess. Should I underline this sense of disconnect?

Then there's Phillip Salvador returning as the opprobrious Lizardo, this time made up like a Joker wanna-be. He used to be one of the most competent actors in the business. He was a Brocka baby, an actor's actor. But in his advancing years, all that's left of his thespic gifts are his disproportionate and unfettered emotional dynamics. Remember "Baler" and KC Concepcion's "For The First Time"?

Benjie Paras (named Zanburo in the first Panday, then renamed Alulod in this chapter - make up your mind, guys) was given enough screen time to parlay his comic gifts but, let's face it, Paras' limited comic repertoire annoys more than amuses. Rhian Ramos returns as Emelita who has joined the "ambeks" - the "fish monsters". In her scene, she transforms into a sharp toothed ghoul, reminiscent of the tiyanaks. When most stars are given flattering parts (as princesses and valiant warriors), all they could bequeath to the embattled Ramos is that of a tiyanak-looking ogre? Such abortable star-making cameo, I should say. Poor girl. Mo Twister surely succeeded in his scorned-lover's vendetta.

Then there’s the Ragona Tribe headed by the illustrious King Daluyong and Queen Ibira (Eddie Garcia and Alice Dixson). This was a peace-loving race which could morph into fire-breathing dragons. Most of the GMA artists were hired to populate this tribe of dragons: Joshua Dionisio, Barbie Forteza, Bea Binene, Jake Vargas, Alden Richards and the lovely Kris Bernal who played Alira (Arlana’s sister). When they were invaded, they shifted to dragons yet were readily overwhelmed by Lizardo’s villains who were a third their size. I had to laugh in spite of myself. Defeat seems impossible when you have 1. Manpower, 2. The size (they’re dragons, for pete’s sake), 3. Flight, 4. Fire-breathing weapons, 5. Claws. Have you ever seen such helpless dragons? Only in the Philippines. They couldn’t even protect their queen and their princesses. What gives? Lizardo’s men only had swords. But this narrative strain may have been fabricated , regardless of how brainless it is, to make Flavio’s vengeance doubly sweeter, debah?

But when it was time for Flavio to face all these henchmen, all he had to do was swing his sword on air one single time, while popping gum balls from the sidelines; the sword was doing all the work, and that was that. Ho hum! Despite the “wisdom” of this sword to fight its own battle, we have a hero who lost his wife, and further lost the family of his Marimar-wanna be dancing dragonlady Arlana. How dependable can you get?

Envisioned as the local version of “The Lord of the Rings” and “Harry Potter”, its spectacle is lost in its vacuous drivel. Technology should help move a plot. Instead, the story takes the backseat to glorious computer-generated images. There was never a single moment of authentic emotion, thus it's a senseless endeavor to dispense empathy. In fact, Maria’s death felt uneventful. It came to pass without much fanfare when it should be one of its cinematic highlights.

Mac Alejandre’s “Panday 2” is supposed to deliver stuff of legends, yet all we have is a well choreographed passing of air. It has a middling storytelling acumen replete with vignettes of ideas not fully realized. It has a protagonist with legendary might, and an equally bulging tummy. It's a growing conundrum. What have our action heroes become? Heaven help us.

Marian Rivera is Arlana who was Flavio's dragon Bagwis before Maria bit the bullet. Heroes need dainty damsels too.









Lorna Tolentino plays evil witch Baruha who does nothing but laugh the whole movie through. Her nonsensical presence is impudently underlined by the blatant fact that there was nothing vaguely funny to merit her laughters. Schizophrenia, perhaps?





Impressive CGI's, vacuous drivel.