Tony Reyes' Si Agimat, Si Enteng at Si Ako - What People Deserve

Enteng Kabisote’s (Vic Sotto) life couldn’t be more satisfactory, but for his mother-in-law Ina Magenta’s (Amy Perez) occasional surprise visits even during Enteng and Faye’s (Gwen Zamora) intimate moments. One day, Enteng finds another visitor from the kingdom of Amuleto, the sword-bearing warrior Agimat (Bong Revilla) who needs his help: Agimat, you see, is getting hitched to warrior princess Samara (Sam Pinto). The new couple wants the Kabisotes’ halcyon lifestyle on Earth. The earthly couple has been married for 25 years – and Agimat and Samara want the same. But what if invaders try to overrun Agimat’s kingdom again? “Iilaw ang aking kuwintas, at agad akong babalik,” assured the amorous warrior. Unfortunately, life in Manila isn’t a walk in the park. Agimat has scanty skills for the modern world so he relies on Enteng for his family’s daily sustenance. After all, Samara is heavy with a child.

Meanwhile, environmental activist Angeline Kalinisan Ortesa, aka “Ako” (Judy Anne Santos) is tickled pink when she finally meets the legendary duo. “Super duper guapo,” Ako giggles interminably. She briskly insinuates herself in the enviable company, prodding occasional “group hugs” at every possible turn. This annoys wives Faye and Samara no end, seeing Ako as a husband-grabbing opportunist. Who wouldn't when they find the pretty stranger wetting her knickers whenever she’s around their husbands? Unknown to them, Ako is herself an “engkantada”; a magic-wielding princess who mean no harm. But these marital concerns are the least of their problems. In the netherworlds of Engkantasia, Amuleto, and Diwatara (Samara’s kingdom), an onslaught of invasion looms. The dark forces from the evil kingdom of Tokatok have plotted a takeover. When Aiza (Aiza Seguerra) and her friends get captured by the alien forces, the rest of the world is under siege. What to do?  

Agimat, Enteng Kabisote and Ako

Director Tony Reyes’ “Si Agimat, Si Enteng at Si Ako” is narratively spare and its content artistically destitute. Employing “invasion” (again) to move its plot, and spruced up with the alacrity akin to grade school children, the movie is spreading itself too thin. Haven’t we seen this before? They introduced a new character in Judy Anne Santos’ Ako, but this hardly makes up for its cinematic vacuity. No one really roots for a girl who salivates silly in the company of married men; forget that she’s the svelte Judy Anne Santos. Moreover, the annoying Ako is bereft of any form of empathy, making her presence silly and negligible at best. That she fawns over an in-law hating hero and a potbellied warrior, both wrinkly, is one for the books. Something has to be said about sensory deprivation that makes people weak in the knees in the company of curmudgeonly protagonists.

The film is loud. As it careens recklessly towards its conclusive comeuppance, it drives into auditory overkill. Il n’est pire eau que l’eau qui dort,right? The shallowest makes the most noise to compensate for its hollowness. There’s a gay-and-pink version of Hulk (John Lapus), a shameless Sun Cellular product placement, a gang of white-painted ethnic tribesmen, a horde of alien invaders who look like bad Disney squids, and CGI effects circa 1990. Yes, Virginia. In the age of ubiquitous high technology, we’re back to cheap special effects: the screen turns dark whenever a special effect is introduced. And this one is co-produced by 4 or 5 film companies, GMA Films included? How much did they invest in it, P10,000 each and zero brain activity? Alleluiah, pagpalain ang nagtitipid. Yet this film is raking oodles at the box office! The Filipinos who trooped to the cinemas to watch this – and in the process, ignored Nora Aunor’s “Thy Womb” or Mark Meilly’s “El Presidente” – get what they deserve. Garbage!

Enteng gets a massage from Faye.

Samara fights the ethnographic nemesis

The diwatas join forces.

Boy Pick-Up The Movie - Verve and Extended Silliness

Boy Pick-Up (Ogie Alcasid) has got his “rock and roll” in place. This allows him to lord it over during the Pick-up Competition (a street-wise freestyle modern Balagtasan, if you will) where he remains undefeated. This ballsy strut allows him to survive in his own little world where he struggles with unemployment, neighborhood skirmishes, unpaid rent, and the lascivious transvestite landlord Sharona (Diego) eternally seducing him. Things perk up for the beloved protagonist when he unwittingly fills up an urgently vacated position at a newly opened Heaven’s Bakeshop – James (Victor Aliwalas), the pastry chef, was caught by his betrothed and shop owner Angel (Solenn Heussaff) in syrupy flirtation with one of the girls. With James’ departure, Boy is asked to demonstrate his specialty: the fish cake (a P20 besugo decocted with flour and a yellow polka dot bikini – huh?) Soon, every customer in the bakery is salivating for the heady, slavering aroma of the delicacy. With heavy demand queuing in the shop, disaster is averted. Boy gets hired as the shop’s popular new pastry chef – to the consternation of shop assistants Mayumi and Bogart (Survivor castaways Maey Bautista and Albert Sumaya). Moreover, Angel is irresistibly drawn to the nonchalant charm of her new employee.

Unknown to Boy, storm is brewing elsewhere. Boy Pick-up’s popularity has spawned a heart break. When Gabs’ bride (Sarah Labahti) embarrassingly drops him during her wedding march, the groom is fraught with desperation. He finds himself saved from suicide and imminent death (he almost drowned) by a mysterious character who transforms him into a goth toughie (six facial piercings, dark lipstick, dyed hair and the penetrating look of an avenging resurrection), vowing retribution for his lost love. Gabs metamorphoses to the menacing Bagwis (Dennis Trillo).

While Boy and Angel bask in their mutual fondness, Bagwis stalks the duo with menacing fervor. He must take Boy Pick-up down, but how? By taking what’s most important to him: Angel, his job, his pet fish Goldie and his championship. And at the next round, Bagwis takes all these with an easy swipe. Boy loses everything. What’s a local hero to do? With the help of Boy Back-up (Eri Neeman), Boy enlists the help of the “Master” (Joey “Pepe” Smith) to regain his “rock and roll”.  

The birth of Bagwis: from heart break to attitude.

Sharona looks like a wigged Bituin Escalante. Here, he shouts: "I don't need money! I have money!"

Ogie Alcasid and writer Aloy Adlawan pick a rambunctious segment from a popular television gag show and expound it into a cinematic piece. After all, this has a huge, albeit loyal following (netizens take the world wide web to show their appreciation through various fan pages). People who are not familiar with the characters will nonetheless find something pleasant with the film because the performances are perniciously enthusiastic, you can’t help but embrace the zaniness therein. However, there's a limit to embracing absurdity and this will eventually catch up if left protracted. After all, even humor has to have logical strain to be truly intelligible or coherent. Flights of fancy have short windows of expiration - and when inadvertently amplified, even the diverting portions will get dragged down. Like this one.

Ogie Alcasid embraces Boy Pick-up with such encompassing amplitude, you sometimes forget how silly the situations he gets himself in. Surely, there are moments of character inconsistencies: Boy Pick-up starts with a pucker, a protruding pout and a delivery akin to a slowed down record. Midway into the film, he forgets these and delivers his lines a la Ogie Alcasid. It's the element of invariability that makes the mark of an unforgettable filmic hero. 

Solenn Heussaff shines anew in another out-of-the-box portrayal as shop owner Angel. Though not part of the Bubble Gang posse, Heussaff's inclusion lends the story a sense of groundedness; that indeed this isn't all insanity, providing adequate leverage for the situational drama that the movie requires. Her performance is succinct, adorable (read: hindi maarte) and vanity-free, you know exactly why Heussaff is gradually turning out to be one of the country's best new talents! Her chemistry with Alcasid is so palpable that we had to laugh when she pours her sadness over bagoong and green mango ("May bagoong pala ang kamay ko" - then she bawls like a baby). I have never had so much fun watching something nonsensical. It's not such a wonder then why Sam Pinto - whose beloved Neneng B. character is such a household name - is relegated to "extra" duties in the film. She appears only during competitions, regaling the championship stage with her utter beauty - and nothing else! Knowing what I know about Pinto's thespic capability, she would have brought disaster to an already logic-challenged piece.   

Director Dominic Zapata peppers his movie with a dazzling array of cameos (Boy Abunda, Dr. Vicky Belo, Jackie Rice, Ian Batherson, Antonio Aquitania, Lilia Cuntapay as Boy Pick-up's mother,Gabby Eigenmann, Director Joey Reyes, Bong Revilla, Michael V, et.al.) and myopically gathers some of the most absurd jokes I've ever had to encounter. In fact, some of them don't even have punchlines to speak of, it's ridiculous. Here are a few:

 Boy Pick-up: "I put the win... in penguin." (He has a toy penguin that blows bubbles on his dresser.)

***

Boy Back-up: "Ano po ba ang gamot sa depression?"
Brod Pete: Ayon sa kasulatan, heto ang gamot: (sings) 'Mister DJ, can I make a request...' Pero instead na mister, ito ay "master" (alluding to masturbation)

***
Bong Revilla: May ibibigay akong "bong" para sa iyo?
Neneng B. (Sam Pinto): "Ano?"
Bong Revilla: "Ibibigay ko ang 'bong' puso ko."

***
Boy Pick-up: "Bakit bilog ang buwan, ang zero, ang aquarium...?"
Angel: "Bakit?"
Boy Pick-up: Kasi ikaw ang isda sa puso ko." (Didn't I say silly?)

***
Person 1: "Sana ikaw na ang Y."
Person 2: "Bakit?"
Person 1: "Kasi ikaw na ang kasunod sa ex ko."

***

Person 1: "Kape ka ba?"
Person 2: "Bakit?"
Person 1: "Kasi gusto kitang ma-kape-ling!"

***

Angel: "Bakit duck yan?" (Referring to Boy's umbrella handle.)
Boy: "Kasi pan-duck!" (pandak)

***
Moymoy: Mangga ko is 'awesome'.
Boy: "Ma ah-sim!" (asim)
Moymoy: "Awe-some"

***

Boy: "Bakit problema ko parang kuting?"
Angel: "Bakit?"
Boy: "Meow!" (Huh?)

***

Boy: "Angel, taxi ka ba?"
Angel: "Bakit?"
Boy: "...dumating sa buhay ko." (Really now!)

***

Bagwis: "Sirena ka ba?"
Angel: "No!"   (And the joke is...?)

As you see, some of the lines here verge on the esoteric so it's set up like a hit and miss predisposition. But most of them rely on the boundless enthusiasm of its peppy cast who shows what camaraderie does to even the lamest jokes. There is much to do with the evolution of Dennis Trillo's "Gabs" who turns into the certifiably menacing "Bagwis", but what promised to be a full throttle showdown ends up into a mediocre finish coupled with a fast resolution (Labahti embraces Trillo after losing to Boy Pick-up at the rematch) that didn't deserve the "creation" of Bagwis. It's a case of much ado over nothing. If anything, this movie shows Trillo's versatility. In fact, he does a mean "pick-up" spiel; and puts a believable streetwise swagger.

"Boy Pick-Up The Movie" runs like a protracted gag show - but it really is one. Its humor is patchy, but the performances more than make up for the unevenness of the material. When actors are as exuberant as these lot, you tend to forget that there really is nothing much in the cinematic paraphernalia but a bunch of fake peso bills.

Certifiably sinister

Bubbles Gang posse

Sarah Lahbati finds Gabs again.

Boy Pick-up and Angel reunite.

The "Master" espouses rock and roll.

Cesar Montano's "Hitman" - Inferiorly Channeling Pen-ek Ratanaruang's "Headshot"

During a short, albeit relaxing getaway from work sometime November last year, I chanced upon Pen-ek Ratanaruang’s “Headshot” in Bangkok’s Lido Cinema. It ran alongside the Cannes’ winning apocalyptic drama, “Taking Shelter” and Julia Leigh’s surreal “Sleeping Beauty”. In the movie, Tul (Jayanama Nopachai), a hitman sustains a near fatal head wound that leaves him in a coma for 3 months. Fast forward to three months hence, Cesar Montano’s “Hitman” opens in local cinemas with dejavu’ish plot that had me thinking, “I know I’ve seen this before”. Unfortunately, that’s where comparison ends.

Ben Murillo (Cesar Montano) is sidetracked for years after miraculously surviving a gun shot in the head. Left for dead, Ben was comatose for 7 years, but he is gradually recovering. His memory has been spotty since then. One day, he meets Gina (Sam Pinto), a popular model who, unknown to Ben, is the daughter of Amando (Ricky Davao), a casuistic character who runs an illegal ring of activities that range from white slavery and drugs to gambling. At the very heart of this business is Tomas (Phillip Salvador), the head assassin. Tomas is tasked to eradicate any impediment, including Ben, a promising assassin under Tomas’ care. When Ben tells his superiors of his intention to retire and leave the group, the big boss decides to obliterate Ben.

Meanwhile, there is much internal strife within Amando’s “kingdom”. Tomas is demanding P10 million from Amando for an earlier deal they’ve supposedly agreed upon. But Amando is defiant. Moreover, the web of deceit reaches Alvin (Mark Herras), Amando’s much abused adopted son. When Amando’s other son Mike (Joko Diaz) gets killed in the crossfire, another set of henchmen have been tasked to take Gina who’s estranged from her father. But Gina fortuitously harbors an indecent stash of dirty money hidden somewhere so she conveniently becomes a target.

When Ben hooks up with flirty Gina, he gets thrown back into the same quagmire he once escaped from; the same people who had him assassinated. And this time, he has to protect her to his death. He once lost his pregnant wife to the same people. Never again!

Cesar Montano was always a competent actor. After his Seiko days, his career choices were note worthy. But "Hitman" is a baffling cinematic comeback. Despite his character being a former assassin - who should have a dark, brooding persona (after all, his pregnant wife died and slices of his memory have been staved off his consciousness) - but Montano's Ben is curiously chirpy and upbeat, posturing as though he runs with the hip and yuppy crowd! In fact, he even mutters cringe-worthy english phrases: "See you, guys!" This is how a hitman talks? There's more where that comes from, but we've noticed Montano's awkward penchant for intermittent Anglican lines (think: Piolo Pascual, Jericho Rosales, Diether Ocampo).

Posturing for effect works when you're relatively juvenile, but when you're pushing 50, such tack becomes gag-worthy! I suddenly remembered his "Bandila" interview with Boy Abunda where he would painfully dive into the Queen's tongue, forthwith stalling when he loses grip with the language. In the same interview, he lovingly refers to his mother as "his" - "his prayer", "his dream", "his intention". Bandila, as far as I know, is a news magazine show spoken in the vernacular. Ba't kasi ipinipilit ang 'di kaya, di ba? Speaking Tagalog is never a fault, and running around town to promote an action picture in fractured English can only do your promotion harm! I remember Montano's "Singing Bee" days where even pronunciation of the song's English titles are an afflictive; sheer agony! Desperation to speak the Queen's language should never be caught on camera! Do your practice behind the cam, lest you want your audience nauseating over your despondency!



Sam Pinto looks immaculately beautiful all throughout. Her early scenes look relaxed. She is, after all, portraying the role of a model - so how hard can that be? This is promising since in her past movies, she has always delivered mind-bogglingly flat characterizations. It's clear she needs to do something about her thespic acumen - or the lack of it. As the movie unravels to its hundred-and-one twists, we realize that Pinto is in dire need of help. In a scene where gun men break into her place, as Ben fights the hooded henchmen, Gina (Pinto) comes out of the bathroom looking awkward, not to mention oblivious to the gun shots heard all over the place. She tentatively calls: "Ben? Nasaan ka?" Yet all we witness is a blunt affect, an emotion-wanting facial expression if you will. She didn't look perturbed of the bullets flying around - or her appliances breaking and crashing down the floor. Yeah, forget those bullets! She needed Ben to dry her wet hot bod! Her stark cluelessness was a spectacle in itself. She personified blank emotionality where there should be fear, concern, and even histrionic demeanor!

AFTER THE ELABORATE EXPLANATION

This is repeated in a scene where Mark Herras, playing the avenging brother, delivers a 7-minute spiel about "taking charge" in front of sister Gina who's crying invisible tears. After the line, Herras declares: "Akin na ang kaharian n'yo!" Everyone understood what he was saying. I did! It was retribution and ambition coming into place. Then Pinto replies: "Ano ang ibig mong sabihin?" I almost fell off my chair! After a seven-minute explanation, she obviously didn't get a morsel of epiphany from Herras' confession? And it showed in Pinto's face! She was baffled to bits! Poor, poor girl!

Phillip Salvador does better as the head hitman Tomas who trained Ben. It was inevitable that the "teacher" and "student" would eventually dive into a scuffle. This was cinematic conjecture. After all, Salvador's mano-a-mano with Montano would convey gravitas - in an action showdown between the two formidable action-drama actors, each one as competent and iconic as the other! Unfortunately, the artistic choices for the staging of the climactic shootout comes off with an uneven and misguided strategem. Suddenly, Montano decides to infuse ill-advised humor, one-sided and flat as his leading lady's expression:

During the shootout, Ben would say: "Pinapakain pa ako ng alikabok ng matandang yun."

"Nakakatakbo pa ang matandang 'to eh may rayuma!"

"Ang daldal ng lolo ah."

"Akala ko tuhod lang ang mahina, pati pala mata!"

Yet all these lines were mere passing of gas where Tomas was concerned. In fact, he never acknowledged any of them. And there's something about badly delivered humor without a reciprocating audience, right? It drives the salient point that it's falling on deaf ears because it just isn't funny! How do you reconcile someone with a massacred family and a bullet in his skull delivering jovial lines as though he's in a sitcom?

This discrepancy of character is similarly evident in Phillip Salvador and Ricky Davao's characters where they play brothers. Phillip inconveniently calls Ricky "kuya"! Is anyone blind? Ricky maybe heavily built, but you can't deny Phillip's seniority where facial features are concerned. By at least a decade! His facial integument sags and his wrinkles abound!

Mark Herras looked alarmingly gaunt. It looked like a sea breeze could throw him down easily. He's cachectic and tuberculous. If he's gunning for the action genre, he would need to bulk up a bit - instead of looking like there's an on-going famine in the Philippines. In fact, I didn't realize it was Mark until the latter half of the film when he was finally given lines! When his character came out of his shell, he was emphatic, bearing pellucid motives. He understood where his character Alvin was coming from. That was good enough for me... as long as he doesn't use his brawn when there's none.

"Hitman" underlines a few of the reason why the action genre died a natural death. Like its predecessors, Director Montano's film is recklessly written, even incoherent in narrative structure. The story is derivative; the skill in film making unimpressive. Montano's action hero is an amalgam of characters that contradict with his past and present. In fact, you don't understand how he became as he has become. There's a palpable disproportion to the way he's depicted, making it easy not to empathize with him. Heck, I never even found myself sympathizing with Ben from start to finish. All I kept thinking was how he was able to enveigle Sam Pinto to do bath tub scenes and half a dozen of lip service with him! Inspiring eh?

As for mirroring Ratanaruang's vision, it's better if we forget this connection all together. Someone's bound to deplorably suffer in comparison.

Tul, a hitman, sustains a bullet wound in the head in Pen-ek Ratanaruang's "Headshot".


Pen-ek Ratanaruang's Headshot

Sam Pinto and Cesar Montano's constrained pairing. She speaks English, he speaks quack.

Cesar Montano postures like a yuppy action hero: "See you, guys!"

Worst Performances of 2010

What constitutes a bad performance? That should be an easy dissertation, any time; any day.

One giveaway criteria is the presence of the blank facies, unless you're portraying the role of a catatonic schizophrenic. The wooden or statue-inspired amble, which Ciara Sotto perfected in "SpEd Hearts". The monotone delivery where you seem to be reading an essay in front of the camera. The shallow soul, where the exigency of an emotion is depicted through verbose lines and eardrum-shattering squalls, instead of a well-invested emotion (like much of the characters in "In Your Eyes"). The over-eager, under exposed actor who tries hard to stick out from his scarce screen time (not unlike several of Emir's "maids" but gloriously exemplified in brazen and insolent splendor by Melanie Dujunco). The black-and-white 2-D characterizations in actors who can't get a middle ground between emotions like disappointment, anger and hatred. The inability to assume any other persona other than what others know (much like Mo Twister, and why not, when you're already chirpy and charming, right?).

Sometimes, an exceedingly beautiful face gets in the way. Look at Sam Pinto. When you look at her, you are transfixed in time, the way she magically suspends herself in a single facial expression. She's upset? She's happy? She's occupied? Might as well wear a mask, it's a single expression! Another example is Rocky Salumbides. Check out his photo down below - now that is a face steep with expression! His photo just explodes with several degrees of emotion. Unfortunately, on a moving image, it is the same unmoving face, removed of all the muscles that create movements to convey emotion.

Another point to consider is the absolute lack of insight in a given role. Are you a testosterone-raging lothario? Then why do you speak like an 8 year old girl? Then, there's the oversimplification of a character. When a script assigns a sad persona, like someone who is dealing with extreme personal tragedies, do you mope in woe-is-me fashion for 2 full hours?

Finally, when a character annoys his audience when he is supposed to be charming, that should fall under a "worst performance" category.

We have vegetated on this list for about a week or so. It is such a displeasure to have to pay anything between P150 to 191 (a non-3D seat for the uneven "The Green Hornet" at the Galleria is a ridiculous P191) just to experience any of the aforementioned criteria. But more than anything, we do hope that they learn from these errr... star-making turns!

From 73 commercially released local flicks, this is 2010's Worst Performances: (in random order)

1. Allen Dizon ("Marino:Call of the Sea") as Benjo, a conscientious seaman who constantly worries about his wife (Ara Mina) back home. Even when he was shagging Krista Ranillo (who played a hooker) in Thailand, he was missing his melon-mammary wife.

2. Ciara Sotto ("SpEd Heart") as Rina, a special education teacher turned between her disagreeable dad and her boyfriend (Paolo Rivero). Ciara exemplifies the confused somnambulist. Danica Sotto (a co-star) could have done a lot better than the lethargic Ciara.

3. Toffee Calma ("Parisukat") opens the movie as a frisky "businessman" attacked by a gay serial killer. You do wonder why he never seem to have learned - and done away with his monotone delivery. He was one of the busiest sexy actors of the 90's appearing in one sexy flick after the next, opposite new sex nymphets.

4. Melanie Dujunco ("Emir") as Mylene, an obsequious servant at a royal household in an Emirate state. Dujunco was annoyingly fervid. She was a distraction, sticking out from the flow of an unremitting narrative. For a minor role, she unwittingly called too much attention to herself. As we said before, there are no small roles for good actors, but there's no role big enough for bad!

5. Richard Gutierrez ("In Your Eyes") as illegal immigrant Storm who fancies himself as a big time photographer instead of an unemployed free loader. If there is a criteria for blandness, go look his way. Remember what they say about shallow waters? And you wonder why he has such kaleidoscopic lines in the film.

6. Sheree as Lucy, the foul mouthed cinema prostitute in "S.R.O - Standing Room Only ." Cursing away like there's no tomorrow, spouting peremptory lines ( "Putang ina naman, Nestor. Hindi madaling magbate ha. Amoy Clorox na nga itong kamay ko," "Singkwenta lang? Nagpaputok ka pa sa labi ko. Halos nagkakasugat sugat na nga ang suso ko sa kakalapirot mo.") as though that would make her a thespian of note.

7. Mo Twister ("White House") as Ken, the loud and arrogant radio DJ and horror “housemate” who can’t pretend even for two hours how to be anybody else other than himself.

8. Victoria Haynes ("666") as the possessed teenager Donna who should be banished to la-la land.

9. Carl Guevarra ("Mamarazzi") as Andi Eigenmann's nerdy boyfriend who acts like a shrinking violet with the voice of an 8 year old school girl.

10. Gloria Romero ("Tarima") as the contemptible Lola Imang whose mean and abusive streaks don’t have rhyme or reason. Hers is an opprobrious character made to shout invectives many times over - "Hudas ka, Demonyo, Kapal ng mukha, Patay gutom, Walang hiya!" We've always loved her in anything she's been in, but with Neal Tan and a wanting script, the veteran actress is reduced to caricature.

11. Philip Salvador ("Rosario") as the powerful patriarch of a sprawling tobacco hacienda in the 1920's. Whatever happened to one of the most influential Brocka Babies? When he was younger, he was god. Times have changed though. Check out his one-note performances in the following films: As Daniel Reyes in "Baler", as KC Concepcion's dad in "For The First Time".

12. Rocky Salumbides ("Tarima") as the reclusive inmate Bryan who shines with smoldering dullness. (See above)

13. Guio Munoz (Indie Boys) as the duplicitous new actor Delfin who displayed raw naivete in his cunning persona. Huh?

14. Sam Pinto ("Petrang Kabayo") as Samantha, one of Peter's nosy relatives. In this Vice Ganda comedy, Ms. Pinto exposed herself as having the intuitive sincerity of a shoe brush. And what's with all these roles with names much like hers? Samantha in "Petrang Kabayo", Samara in "Si Agimat at Si Enteng Kabisote". She loves to be "full of herself", doesn't she? ;->

15. Rob Da Silva ("Lagpas") as bushy browed Diego who couldn’t decide if his character was a good guy, a bad guy or that gay guy who loves to take his briefs off.