Paul Sta. Ana's Oros - Business of the Dead

Makoy (Kristoffer King) and his family live in the squalor of Baseco. But he has a lucrative job as a “kasero” (money manager) in a saklaan (an illegal cards game). But the ruse doesn’t stop there. To further earn revenue from his gambling depot, Makoy sets fake funerals to allow others to make money. Among his clients is Aling Linda (Tanya Gomez) who has been hosting her counterfeit burol (wake) for the past two weeks – and she wants to extend this for a month. Meanwhile, neighbor Annabel (Angelita Raymundo) is desperate for extra income and wants her own “wake”. She negotiates with Makoy who turns to the funeral parlor for unclaimed corpses for Annabel’s fake burol. Makoy hires his younger brother Abet (Kristoffer Martin) to help him out. But Abet has more pressing concerns (he is being hunted down by a former girl friend’s brother). In fact, he would rather steer clear from this if he had a choice. Meanwhile, he is assigned to man Annabel’s wake.

Unfortunately, these operations haven’t gone unnoticed. Discretion is contentious when something as public as a saklaan involves the community. Tipsters have notified the local authorities and a raid is in the offing. That night, Annabel gets her corpse, and the two-week funeral she hosts commences. However, the local authorities have other plans. They carry out raids in both Aling Linda’s and Annabel’s burol. Makoy eludes arrest. But several of his personnel were taken. But where is Abet? Why hasn’t he surfaced after the raids?  Makoy scours his area’s police precincts but he couldn’t find his brother. What’s become of Abet?

Director Paul Sta. Ana creates a world of moral and physical destitution where even the dead is turned into a commodity. Nothing is sacred anymore when hunger pangs numb the conscience. To be honest, “Oros” belongs to a genre I scoff at – “Poverty Porn”, but unlike “Intoy Syokoy ng Kalye Marino”, the slant of the narrative does not offend. 

The film is buoyed by the natural grace of Kristoffer King (who’s fantastic); the candor and charm of GMA tweener, Kristoffer Martin (who’s a revelation in his first indie film). Sometime in mid-chapter, the story gets tedious. The scenes unnecessarily go on and on, like a child that needs validation. I start tossing and turning in my seat. And I realize that the film could pack a wallop with a shorter running time. Rommel Sales’ cinematography is at times gritty; other times ethereal (like the opening shots at a smoky dump site). But nothing shakes you more than a subtle form of ellipse technically employed by Sta. Ana to conclude Makoy’s dilemma. Indeed, the human mind is such a potent generator of emotions - more than visual impulses.    

Baseco's world of squalor

Saklaan in fake wakes

Christopher King navigates Baseco as though he isn't acting.

Kristoffer Martin turns a page in his professional career. He becomes an actor worth noticing.

Kristoffer King plays Abet, Makoy's younger brother. He is a compelling presence in "Oros".

"eXsena" Lures Jeff Luna, Charles Delgado and the Pink Boys

There was a time when guys were mere afterthoughts in skin flicks. These days, with the economic viability of pink-flavored flicks, guys have become centers of attraction, while baring ladies are treated as disposable decoratives. I think times have dictated the showcasing of guys as "objects of desire" instead of the fairer sex. This trend is evident in the current crop of exploitation films being churned out by 2nd rate production companies like Leo Films who's producing male-oriented films week after week. One such flick is the fly-by-night indie called "eXsena".

Darry dela Cruz’s “eXsena” gathers some of the country’s most in-demand pink cinema boytoys - Paolo Rivero, Kristoffer King, Charles Delgado, Jeff Luna and Rob da Silva (of "Lagpas") - apparently, to knock some sense into viewers’ libidinous heads as the gay indie cautions them about the hazards of poverty and male prostitution! Sounds noble, doesn’t it? But “nobility” should only be attributed to something (or someone) illustrious - like the British Queen perhaps, who’s born into it.

While the movie isn't as bad as Cris Pablo’s schlongs-and-gutterfests nor as brain-dead as Adolf Alix’s self-indulgent "Temptation Island" parody he labelled “D’Survivors,” Darry dela Cruz's film isn't that much different from other perfidious gay flicks that use every conceivable tricks in the Exploitation 101 Handbook to eke out scenes that “artistically” display their actors’ assets (or liabilities, depending on how you look at it) in flagrante delicto. And which “actors” can do this daunting task of displaying phallic cartilages better than King (“Serbis”, "Indie Boys") and Delgado (“S.R.O.", "Pagnanasa", "Junior,” “Senior”)?

Luna, Rivero, King, Delgado and Da Silva - Pink Film boytoys in "eXsena"!

The movie follows Ron (Kristoffer King), a perpetually cash-strapped cameraman who witnesses how the stories of the film’s other protagonists play out. Charles Delgado is 18-year-old Ferdie Romero, a provinciano bit player who relocates to Manila after a gay director-pimp, Leonard Villarama, convinces him he’s got what it takes to be a sexy star (wasn't he another provinciano lured into the big city in "Pagnanasa"?) - this occurs during an excruciatingly vomit-inducing moment they share on the casting couch (a similar scene with Delgado opened "Pagnanasa" produced by the same film outfit!) When Ferdie gets to Manila, however, he realizes that the megman is dirt-poor, and there’s really not much (film) work to be had from the director, who then peddles Ferdie’s sexual services to other gay men.

Meanwhile, Ron is having a difficult time making ends meet, as he is being constantly nagged by his wife (Lorraine Lopez). Worse, he’s unaware that his disconsolate wife is having a scorching affair with a strapping Cebuano hunk (Jeff Luna) who wants to elope to Nueva Ecija with her. Ron manages to steal a colleague’s assignment by dropping his pants in front of his arrogant gay producer (Rob da Silva, who once again bottoms as he did in "Lagpas").

Ron’s ability to “find” work amazes another financially needy cameraman (Paolo Rivero), who eventually shoves his crotch on Da Silva’s face to earn much-needed money he desperately needs to pay off his debts.

Another opportunity presents itself to Ron when he gets to the location shoot of the porn-flick racket he stole from his cameraman friend—darn it, the film’s hunky lead is nowhere to be found! So, he convinces the gay director that he’s more than able to pull off the “challenging” task of performing sex scenes in front of the camera.

Leo Films can't seem to go beyond caricatures. After all, it's obvious that "art" isn't its primary objective, is it? This reduces every actor in this film looking like walking penises, instead of sympathetic characters. As always, King and Delgado are more than willing to strip and shake their chunky nakedness in front of the camera. Rivero at least displays an affecting vulnerability in a role that he’s done ad nauseum. 

But what bothered me most was the expendability of the lone female lead, Lorraine Lopez ("Pipo", "Big Night"). When are females suddenly second-class citizens in sex flicks? When Lorraine finally gets to disrobe, I shivered at witnessing unsightly adiposal excrescences. I suddenly understood why she's just a side show.

Lorraine Lopez: flawless beauty, artistic pose that hide unflattering flabs. Nothing that a few hours of treadmill a week won't remedy.

Note:

Please read our featured post on how Web Criticism is at times populated by wanna-be writers who can't even write yet they posture like critics!! Example - Cinema Bravo!

- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

"Indie Boys" - On Gaudy Satires and Eye Candies

From the poster alone, the intentions of the movie is rather incontrovertible, which is sad since the story could have been a compelling satire on the present state of the Pink Film-churning independent movie industry.

Capsule

It has been 10 years since director Leonardo David’s (Paolo Rivero) last movie, and the famed director is close to getting down on his knees for a chance to work again. But luck is smiling on our protagonist. Liwayway Films' producer (Anita Linda) is forking out P400,000 for a trend-chasing film believed to turn in huge profits for the flagging company (Remember Viva Films' post-80's/90's glory when all they could produce were sex films?) The subculture community is suddenly on a whopper.

But the fun is really just starting for Direk Leo who still has to name his cast and more importantly, write his script! Publicity mill starts its wonders and soon, a riveting line-up of characters are buzzing around Leo: the effete publicist (Shalala) and his underage boytoy (Charles Delgado); the duplicitous newcomer Ryan Delfin (Guio Munoz); the despondent actor-wanna-be Raymond Sanchez (Andrew Miguel) who deliberately throws himself to Leo for a lead role; and Leo's ex-lover Lando (Kristoffer King) who once starred in each of Leo's projects, but eventually fled when the director's luck ran out! This takes Leo on a roller coaster ride that allows him to wield his wand - and will - on people.

Satire

But the anticipated arc of story telling foreshadows an eventual downfall - or tragedy. In the film, vices and abuses of industry people are boldly held up to ridicule; shortcomings of desperate souls are underlined - and we have a gaudy satire that dispenses precarious social commentary on this high-riding system that churns out gay-flavored eroticas! But - "Kailangan may girl na maghuhubad," suggests the excited publicist - to give the closeted guys an excuse to watch the film, without calling attention on their sexual preference. I couldn't say it better! ;->

However, wit is an imperative element of satire, something that is a bit wanting in the script. In fact, some situations driving the characters' motivation wallow in maudlin predictability. Let's take for example the case of newcomer Ryan who's able to snatch the lead role away from Raymond. When it was high time to do his "full frontal" shots, he balked - at the behest of his manager! I thought director Leonardo David is a seasoned pro in the business? Why does he seem too naive and too tentative to wield his authority? Logic doesn't pan out.

Andrew Miguel, aka Mike Chavez in real life, cuts a dashing, albeit bland figure on screen. When he is transfixed and caught on photographs, his profile is arresting, you would take a second glance to stare. But whenever he moves, his facial expression looks clumsy and graceless, which may somehow work for his character - the gullible cad Raymond who would stop at nothing to get what he wants. But you get the feeling that he is holding back, despite being co-lead alongside Paolo Rivero who's commendable as the gay director Leo. In fact, the most that he gets to show is his backside when this is supposed to be his film showcase.

I'd say, good for him. He may have reservations since he dabbles these days as a part-time singer (with a hit to boot: Young Men's "Mas Mahal Na Kita Ngayon"). Besides, he seems a little on the heavy side here, with extra poundage evident around his waist. The other guys in the film aren't as lucky from keeping their genitalia off the screen (Guio Munoz in his after-shower scene, Kristoffer King in a blowjob scene, and a taunting, seducing Charles Delgado opening-and-closing the door while breaking the 4th wall to jeer at his audience - as the film comes to its conclusion).

Andrew Miguel

Aside from the aforementioned actors, Anita Linda gives a marvelous cameo as the revenue-hungry film producer. The scene where she "tutors" her actors how to promote their film (a really tacky, albeit side-splitting appeal for sympathy) is quite instructive and enthralling. Now that is what satire is all about in the hands of a veteran actress like Ms. Linda. Jaycee Parker is thrown in as an inconsequential straight-men's draw. She plays Andrew's invalid sister, dubiously written as an apocryphal character. And is it me or does Guio Munoz look untidy? Must be the hair - or his nail bed? The audition scenes range from crass to hilarious, men in briefs delivering common banal lines that bear words like, "Nadarang ako. Tao lang!" I get shivers every time they get repeated. This film isn't as bad as director Cleo Paglinawan's "S.R.O." but this, really, is like saying, maroon is better than fuchsia, or white is preferable from off-white. Get my drift?

Paolo Rivero and Charles Delgado

Guio Munoz

Andrew Miguel, Guio Munoz, Angelo Cruz and Jeremy Ian (the latter two are hardly seen in the film).

Standing Room Only - Restless Souls in a Rundown Cinema

“Standing Room Only” (SRO) follows Sonny (Rain Javier), Roldan (Kristoffer King) and Oscar (Charles Delgado) as they navigate the narrow, dark and putrid halls of a rundown cinema. The story unfolds from the point of view of young janitor Oscar who closely observes the rollercoaster sexual politics amidst a myriad of struggling souls: Oscar who once held his “throne” as king of callboys where for P300, you can have your way with him; “fresh meat” Roldan who threatens Oscar’s reign; a gun-toting cop (Paolo Rivero) who pines for the affection of one of the boys; a foul-mouthed prostitute Lucy (Sheree) who offers oral pleasures to horned up moviegoers; a blind and monologue-happy vendor (Ana Capri).

On paper, this sleazy underground world has always been interesting, as highlighted in groundbreaking movies like Brillante Mendoza’s “Serbis” and Jacques Nolot’s 2002 porn chic “Porn Theatre” (La Chatte a Deux Tetes), but what cuts the aforementioned flicks way above “Standing Room Only” is how deftly the narratives are told and pieced together; how the characters strut across the screen like real everyday people in dire straits, instead of the caricaturish cardboard cutouts that “SRO” fields, and the technical savvy of its filmmakers.

Charles Delgado

Simply put, this filmmaker’s incapacity – or inexperience! - to adequately use her medium as a visual artist and story teller translates into a mediocre work. The director tries to mine the corrosive, rough-around-the-edges characters that populate her story. With her history as assistant director of some of the worst films we’ve wasted our money on (Project X, Eskandalo, Binyag, Booking, Tutok, Dalaw), we are not surprised where director Cleo Paglinawan gets her cinematic acumen: Joven Tan! Are we surprised then that “SRO” turns out the way it is? Unfortunately for her, Paglinawan acquires Tan’s bad habits as well!

Here are a few reasons why: In several scenes, we hear “instructions” being whispered to the actors – so you are then transported to reality that this is really crappy filmmaking with hurried and unrehearsed scenes, and understudied roles. Sound was also bad. In a scene where Sheree chats with annoyingly over-eager Ana Capri, the quality of the sound changes (from muffled to noisy and back) each time the frames change from one character to the next! Capri and Sheree are given enough “balls” to shine, but they only succeeded in annoying me!

And once again, Sheree turns out to be such a turkey! There are glaring lapses of judgment too – Rain Javier is cast as the callboy has-been whose time had passed. Customers suddenly favor the arrogant newbie Roldan (Kristoffer King), but isn’t it obvious? Kristoffer King looks older than good looking Rain Javier who never looked awkward despite the way his character was written (he was always sullen or distant). Javier is enigmatic; he smolders on screen! Charles Delgado does well too; his “innocent look” sits well with the “ingénue” character that eventually lorded it over at the dank cinema! The cottaging scenes mostly appear farcical; scenes that you would probably hear as anecdotes from stand-up shows, but these celluloid situations require a certain amount of sensitivity and intimacy to be taken seriously - not stand-up humor!

Kristoffer King