Lawrence Fajardo's Posas - Social Commentary as First Rate Entertainment

It’s just another day in the life of Jestoni Biag (Nico Antonio), a petty cellphone thief operating in the backstreets of Quiapo and the contiguous areas. Jes is a devoted brother to a mother and a younger brother who are entirely dependent on his daily earning, dismissive of Jes’ means of finding his keep. Her mother keeps reminding him, “Magpapakabait ka, anak” as though it would suffice to keep Jes out of trouble. One day, he finds Grace Rosuello (Bangs Garcia) waving away her new iPhone. He easily snatches the gadget away from Grace, unaware that the call center agent has actually seen his face and could easily identify him from a line-up. Jes then peddles his loot to Musngi who buys them at a fraction of their original price.

Meanwhile, Grace is desperate to recover her phone for its “sentimental value”. Truth is, she has sex videos with a married man conveniently hidden in her phone. She has to claim the phone before her dilemma gets out of proportion – and no bureaucratic red tape is too tedious for the frantic girl. She seeks the help of SPO1 Santiago (Jake Macapagal) and PO1 Damian (Nor Domingo) who are receptive for the wrong reasons: “Ang laki ng dyoga.” Like a bizarre twist of fate, Grace spots Jes. A mad pursuit ensues until they finally collar the suspect who’s reiterative of his innocence. Jes is booked at the police station (Sta. Cruz Central Market station) where he meets Police Inspector Domingo (Art Acuna). They take Jes to a holding place where he is subjected to torture until all that’s left is his resolve to come out of the situation alive. Jes takes Inspector Domingo and his cohorts to Musngi. They recover Grace’s phone back. Jes is eventually released, but becomes part of a bigger web of criminal enterprise. From here on, he has to hand a percentage of his loot to Inspector Domingo as payback for the P100,000 bail that the precinct loses upon Jes' release. Was he truly scot-free? As a valedictory deed, there’s one more mission he had to accomplish; one that would pull him deeper into the iniquitous mire.

Director Lawrence Fajardo once again tackles a gritty tale that covers the repulsive bureaucracy that a willing complainant has to go through just to report a crime and pursue its rightful claim in the judicial system. It also spotlights the incongruous exercise of law enforcers where regulations are concerned to protect the right of any accused individual “until proven guilty”. This chasm of malfeasance is deftly depicted by Zig Dulay’s interminably succulent script. In fact the audience is roped into this long drawn out situation where, sometime in the narrative, you feel the need to come up for air. Rich with an atmosphere of fraudulency and corruption, the audience is given insight into a bureaucratic stigma that haunts the different arms of the government. It just leaves you cold. In fact, the closing scene shows a sign that underlines the raison d’etre of these institutions: “to prevent crime” and “to enforce the law”. But what have they become?

“Posas” (Shackled) is buoyed by a consistently competent ensemble. The actors have somehow embraced realism giving “Posas” a sense of urgency. In fact, it inspires neurosis. Who can you trust? How do you distinguish the good from the bad guys? These questions become exigent when viewing this film.

Nico Antonio has consistent characterization, sufficient enough to inspire empathy. He has a distracting affectation (the way he stares), but he’s a newbie. He will surely finetune his thespic skills with time. Bangs Garcia, on the other hand, has evolved into a compelling actress. When she’s on screen, you feel the energy emanating from her. To think I used to consider her a mediocre presence. How things have changed in two to three years. Susan Africa makes the most of her screen time. When she tries to convince the officers that “Mabait ang anak ko,” she was more than believable, only to change tunes when she finally saw Jes behind bars, “Walang hiya ka! Sinabi ko sa yong mag ingat ka!” She knew all along what kept her son busy.  

But the revelation in the movie is theater actor Art Acuna playing Inspector Domingo. With his lean frame, calm delivery and mild demeanor, he succeeds to impart a level of malignity and truculence without even raising his voice. He scared the bejesus out of me. He likewise imparts charm in savagery, which is antipodean at best.

“Amok” is still my favourite Lawrence Fajardo film, but “Posas” isn’t too far behind. It’s a good thing that a week after Cinemalaya closed the festival, “Posas” found its way into commercial theatres. In fact, people were able to see “Posas” for a mere P109 at most SM Cinemas. How’s that for inexpensive, albeit world-class film making? This is social commentary and applicatory entertainment. What more do you want in a film?

Nico Antonio as Jestoni Biag, the cellphone thief.

Bangs Garcia as Grace, the call center agent who loses her cellphone in Quiapo.

Tony Gilroy's Bourne Legacy - High Adrenaline Spectacle

Tony Gilroy’s “Bourne Legacy” follows the events that transpired after Operation Blackbriar (“Bourne Ultimatum”) has been unraveled. As a result, the C.I.A. had to scrap “Project Outcome”, a covert operation that produces genetically enhanced agents. Since this shut down is essential to the integrity of the C.I.A., everyone associated with the creation of these agents, including the scientists at Sterisyn Morlanta responsible for these color-coded medications has to be eradicated. Dr. Marta Shearing (Rachel Weisz) escapes the wanton annihilation of her colleagues with the help of Aaron Cross (Jeremy Renner), the lone surviving agent who unwittingly escaped the scavenger hunt a.k.a. the assassination plot. Before this, Marta's only known Aaron as "Number 5", having seen him only 13x (during his physical examinations) in the last 4 years. Marta flies to Canada (her sister lives there) with Aaron, but operatives are hot on their trail. Trouble further ensues because Aaron is running out of medication, and the only way to outwit their enemies was to remain physically strong and mentally astute – characteristics provided by the drug. While most of the drugs have been decimated, a “raw material” plant is still operational. Where? At the other side of the world – in frenzied Manila!

Aaron and Marta lose themselves in the underbelly of the great metropolis, staying in a decrepit apartment in a squatter’s shack. But while they manage to get hold of the drug and infuse it on Aaron, they’ve been tracked! Soon, they find themselves - once again - running for dear life, navigating the congested thoroughfares of Manila, hopping on creaky roofs of rundown shanties, sliding through colonial stairways of a riverside. Will they succeed to get away?

There’s no denying the entertainment quotient of this breakaway narrative strain. In fact, it’s a cut above other action flicks in terms of cinematic exigency and realism. It takes on former “Bourne” director Paul Greengrass’ kinetic energy; the constant heart-pounding mobility fuels the attention of the audience. There’s hardly a smudge of computer-generated effect, thus we palpably join the protagonists as they are being chased all over the Philippines.

The story isn’t seamless. Why annihilate a perfectly useful group of “almost” super humans? I can think of a hundred uses for them. Send them to Syria to bring down a dictator. Fly them to Patikul, Iligan, Cotabato where bandits eschew ideology as convenient smokescreen for human and property pilferage. Transport them to China so they can stop the usurpers from claiming lands too far from their country. See? They have urgent uses. Besides, isn’t it a waste of tax payer’s money to just eradicate a whole program of super agents? Why does the CIA kill their own like they’re merely swatting flies? The logic behind the assassinations doesn’t quite take.

Jeremy Renner and Rachel Weisz enjoy a chemistry that allows their scenes to rankle with pulsating energy. Forget Jason Bourne and that cute guy named Matt Damon. Heard of him? This story stands alone quite beautifully. In fact, I don’t understand the thousand-and-one references to Jason Bourne, except that Bourne could guarantee a built-in audience. Ka-ching! I can expect a sequel with Aaron and Marta without thinking too much of Jason Bourne. The latter’s had his trilogy after all.  

Jeremy Renner squares off with Edward Norton

DISCREPANCIES

My heart leapt every time a familiar Filipino gets his screen time. But I noticed discrepancies in their scenes. This is explained by the fact that the Pinoy cast were instructed to do improvs (a thespian’s extemporaneous reaction and spoken lines to given scenes). A Filipina pharmacist (Ruby Ruiz) would talk to Marta in Tagalog: “O ayan ang mga gamot... libre yan...for free!” Highly improbable. One, no one gives free medicines to foreigners or to anyone for that matter (unless you're a re-electionist politician, that is); not in a country where medicines are hard to come by. Two, an educated Pinoy – like a pharmacist – will obviously talk to a Caucasian in English – not Tagalog! Marta may have visited the Philippines 5 to 6 times in the past; it doesn’t make her fluent in the vernacular. Sure, many of our countrymen will briskly offer that their English isn’t good, but that’s all smokescreen. Pinoys understand and speak English. It’s the country’s medium of commerce and instruction. Period.

Then there’s a security guard (John Arcilla) who speaks the Queen’s Language with a peculiar twang. Was that Middle Earth accent? Or was it Mount Kiagot twang? Before accusing me of being “burgis” again, please note that my reaction to an idiosyncratic accent is very visceral. My hair stands on end and I get shivers running down my spine. This was exactly my reaction when I heard John Arcilla speaking in English at an interview in “Ti-vehhhhhhhhhhh Patrol”. It was a baffling moment. There are accents and there are twangs. Then there’s Pinoy English. We don’t need twangs as employed by Jericho Rosales, Piolo Pascual and Diether Ocampo, do we? No, we don’t, John Arcilla.

When another Pinay finds Marta hiding at a corner of her shanty, she unhospitably screams "Magnanakaw! Magnanakaw!". Highly unlikely – again! A “squatter” who finds a Caucasian in her home would probably give her shanty to her visitor. I kid you not. That is Pinoy hospitality. She won’t shout like a maniac! Besides, what can a beautiful Caucasian woman like Rachel Weisz steal in her shanty? A mosquito net? A katol? A sandok? A bakya? A kaldero?  

THE STAR OF THE FILM

More than the Pinoy actors, it’s really the bowels of Manila that take center stage in “Bourne Legacy”. Director Tony Gilroy succinctly captivates the temperament and the organized chaos of a congested city – from the fume-filled streets of Edsa to the choked overpass of Baclaran. This unapologetic view of the city underlines the frenetic movement of people, a distinct local color, and the effervescent buzz of an urban jungle that’s unmistakably Manila. I was choking with pride as Gilroy lavishly documents my city the way no one has ever done before. We don’t need to show them the towering buildings of Makati and the glittering malls that pervade in our urban universe. Our comforts are our secret. Shhh. In contrast, the limestone karst mountains of El Nido (Palawan) are what dreams are made of.

It is trite and my sentiments are absolutely selfish, but I’m proud to be living in this country called the Philippines. Sniff!  

As for the movie, this is high adrenaline fun! Do not miss it! 

G.A. Villafuerte's Kapa - Grappling in the Dark

Glenn and Ronald (Miguel Alcantara and Marco Ronquillo) are best friends. While both seem to harbor feelings for each other, Glenn conceals his affection for his visually impaired friend, fearing he might lose him if he told him of his feelings. So Glenn offers Ronald occasional glimpses of happiness by setting up dates with different men, like the mild mannered Gary (Karl Matthew Garcia). Meanwhile, Glenn indulges in coupling with several men: the impulsive Drolan (Whacky Seon) and the amorous Ceejay (Kristian Marquez) with whom Glenn seems to find a more stable relationship.

Ronald, on the other hand, keeps pining for Glenn who jumps from one concupiscent bed to another. Blinded by an accident, Ronald is affectionately kept company by his brother Russel (Darwin Taylo) and his Lola Rosa (Rosemarie Ibarrita). Russel has issues of his own. He’s conflicted by the attention showered on him by Jethro (Alvin Duckert) who doesn’t hide his attraction to the wistful Russel. But something bothers Russel about Jethro which the latter solves by cleaning up his gothic image.

One day, Glenn takes Ronald out for another “blind” date set up by Ceejay. Ronald is left under the care of good looking Aljer (Xyrus Arruejo) who turns out to be the date from hell. Aljer in fact wants money and when Ronald refuses, he pummels the blind man until he’s black and blue. All hell breaks loose, of course, and Glenn gets blamed for putting Ronald’s life in peril. Glenn, meanwhile, breaks up with Ceejay for setting up the date with the devil. What becomes of Glenn and Ronald’s friendship? Will Darwin even find happiness in Jethro’s warm embrace? More importantly, will the ubiquitous loafer Sarah (Adriana Gomez) ever find another micromini to wear? Heavens, what dilemma!

Glenn and Ronald are best friends.

Russel and Jethro are also attracted with each other.

Director GA Villafuerte concocts a world that barely mirrors any hint of reality. Every darn character is a homosexual. Everyone sleeps around, even the blind! Villafuerte seems to be wallowing in his detached world of despicable characters. This director’s means of building up characters usually end up with several rigodon of bodies humping away without much passion. To be honest, it is not easy to follow any of his characters because they are defined merely by their propensity to sleep around with other ill-defined characters. This is what makes films like this hard to document. The characters are interchangeable. In fact there's nothing much in character development except that they are all horny as hell.

The performances here leave much to be desired. Miguel Alcantara depicts his role with cardboard characterization and his depiction of a garish gay man is nothing short of cringe-worthy. Marco Ronquillo, in his cinematic debut, appears stiff, making viable excuse out of his blind character. In fact, you don’t find any expression on his face, except the element of being completely emotionally dispossessed. More importantly, isn’t Ronquillo, who’s too droll to be a cinema hunk, too old to be a movie newbie?

While we like Alvin Duckert and find him “artistahin”, he has been compromised by his over enthusiasm (“Lihim ng mga Nympha”, “Butas 2”). Darwin Taylo, on the other hand, has to lighten up. He is too serious for his own sake. This is the wrong vehicle for the introspective tack. Far from it, actually. Karl Matthew Garcia shows promise although this may appear to be so because he wasn’t really given much to munch. Xyrus Arruejo looks good on screen. He was substantially sinister in his scenes. My two cents worth believes that Villafuerte, like the exploitative film maker that he is, is priming Arruejo for “bigger” things. In fact, something must be in the works to get Arruejo out of his briefs in Villafuerte’s next films. Well, there’s “Hardinero” awaiting commercial release. Wanna bet? J

Now let’s get to the sex scenes. Most of them occur within a song (one full musical strain is played) and they are shown rubbing against each other’s naked bodies before eventually expiring into droll resolution. I have in fact never seen such apathetic sexual coupling.

The script is a messy excuse of a cinematic drivel. We find Russel apologizing every time he meets Jethro and we wonder why. He avoids Jethro like the plague but when the latter cleans up himself, Russel suddenly accommodates Jethro. Such is love, debah? Pag di na mukhang nangangamoy, tanggapin na. Haha. In another scene, Russel refuses to hold Jethro’s hand, but gamely makes out – in public! So much for discretion.

When Ronald is left alone with the impatient Aljer, the latter turns off the lights. Did he forget that he was with a blind man? When Ronald refused to touch him, he went berserk: “Hindi ako nagpunta dito para babuyin!” But was he harassed? In fact he wanted to be taken advantage of. After recuperating from the mauling incident, we’re suddenly ushered in a scene that has Ronald removing eye bandage. Are we missing a narrative strain? When did he get the eye operation? Ophthalmological surgeons and corneal specialists never do their post-operative follow ups in a patient’s home! They require the use of slit lamps and indirect ophthalmoscopy for this! Moreover, corneal transplants for both eyes are never done in a single schedule! Villafuerte’s laziness and cluelessness really show in these simple scenes.

“Kapa” is further hobbled by an uneven sound and the film maker’s utter neglect to room tone, thus in several scenes, you could hardly hear any part of the conversation – like when Russel met Jethro at a restaurant beside a Tagaytay road. Now tell me, how does one expect a legible story to unravel when they aren't even intelligible? Villafuerte doesn’t care. All he’s after are the intermittent peekaboos of his actors’ peckers. Yet his film’s posters call this “a new masterpiece”! Please excuse me while I vomit. 

The nerve, really!

Miguel Alcantara and Marco Ronquillo

Darwin Taylo and Kristian Marquez

Alvin Duckert: As enthusiastic in his performance as he is flashing his Eurasian jewels.

Whacky Seon: He seconds the motion re: flashing his Asian jewels. :)

Kart Matthew Garcia

Xyrus Arruejo plays the homophobe Aljer. Watch him flash HIS family jewels in his next GA Villafuerte film. :)

Masterpiece daw oh! LOL What is the world coming to! 

Chito Rono's The Healing - The Sick, The Dying & The Doppelgangers

Like many people who get frustrated by the limitations of medical science, Seth (Vilma Santos), an insurance executive, takes her ailing 74 year old father (Robert Arevalo) to Manang Elsa (Daria Ramirez), a renowned faith healer. After some incantations, they were sent home with a medicinal concoction for her stroke patient. To her surprise, the next day finds the old man completely rid of stroke – strong, ambulatory and even virile! Tatang is given a new lease in life. And he starts living his days like they were his last. News travel fast. Soon, Seth’s house becomes an infirmary of sorts, with her circle of friends gathering and seeking her help for a coterie of complaints: a breast mass, diabetes, psoriasis, pediatric blindness, etc. Would Seth – pretty please – accompany them to Manang Elsa? Heck, even her ex-husband’s daughter Cookie (Kim Chiu) is afflicted with kidney disease, and she's gradually wasting away!

Seth takes her friends to the healer, but Manang Elsa refuses to see anyone. “May sakit s’ya at tumigil na s’ya sa panggagamot,” explains Melchor, Elsa’s son. They refuse to leave the shaman’s house. A lot is at stake: a medical clearance for work in the Middle East; an approaching wedding; a life free of cancer, etc. The old woman finally acquiesces and accommodates her assertive visitors. Everyone goes home hopeful, but few of them remain skeptical. One by one, Seth’s friends experience the miracle of healing - breast lumps disappear, gangrenous feet clear up, and blood sugar normalizes! Elsa was wrong, Ate Guy! “May himala”, indeed! Even Cookie’s blood dyscrasia and sallow skin clear up like magic! Everyone rejoices.

Then Seth starts seeing crows that appear incommodiously. She also sees doppelgangers of her friends; body doubles devoid of emotions. Then chatty Chona (Ces Quesada), who has always been good natured, turns amok. Is her strange demeanor related to the healing? Would it affect the other “patients” as well? Why is Seth’s father – the first to be treated – unaffected? 

The movie is an ensemble piece, held together beautifully by Vilma Santos though it’s easy to see it’s a walk in the park for the Star for All Seasons. It's a welcome respite to see Santos in a genre far removed from her bombastic dramas. I am a wee bit distracted by her “look” – she looked like our favorite Batangas Governor: thick rimmed glasses, corporate blouses, etc. I understand that she plays an insurance executive, but there has to be a difference between an insurance peddler and a governor, right? But I’m merely nitpicking. Santos is nevertheless a joy to watch.  

I am seeing Kim Chiu in a new light. This is a more adorable Chiu, devoid of her woe-is-me demeanor. She plays the sympathetic stepdaughter afflicted with Glomerulonephritis. Glomeru…what? It’s just a kidney infection, my tita said, who further shared, “We admit cases like that left and right. They’re easy to treat – like UTI - and could be managed as an out-patient case. So it’s weird hearing it as a fatal disease entity.” Sus, I thought it was analogous to a death sentence. J  But back to Kim, she was reasonably compelling. When she suddenly asked Seth, “Galit po kayo sa akin, Tita?” my heart went out to her. I wish Kim’s succeeding projects wouldn’t lay on the melodrama too thick, then I’d be happy to watch her again. In “The Healing”, Kim Chiu eschews an adequately fleshed out character.

SPOILER ALERT!

The rest of the cast should be proud as well. Martin del Rosario (Seth’s son and Cookie’s half-brother Jed) displays a strong cinematic presence that should guarantee him more screen work in the future. Other note-worthy portrayals include Janice de Belen as mother Cita, Joel Torre as Melchor (the healer’s son), Daria Ramirez as Elsa (the faith healer), Robert Arevalo (Seth’s father), Mark Gil (Seth’s former husband), and Pokwang (as Dubai-bound Alma). I am conflicted with Jhong Hilario’s participartion: his wig looked nasty (and fake). Dario, his character, got electrocuted. When he was taken to Manang Elsa, he was already dead. The healer went on to resurrect the dead which should be a taboo, for obvious reasons. And such action necessitates the claiming of another in exchange of Dario’s. Quite a valid scenario, if you ask me.

DOPPELGANGERS

In folklore, doppelganger – the paranormal double of a living person – typically represents misfortune or evil. These entities are a form capable of “bilocation” (St. Pio de Pietrelcina was said to have had such power), but in this light, they are harbingers of bad luck, and may portend illness or an accident. It can be an omen of death. The idea of doppelgangers exists even in Norse and Finnish mythology as well as in the Ancient Greeks and Egyptians. A popular poet, Percy Bysshe Shelly told his wife how he met his doppelganger. Few days later, the English poet drowned in a bay in Italy. Other historical persons who died after meeting their doppelgangers include Abraham Lincoln and John F. Kennedy. It is interesting therefore to encounter the Pinoy perspective on doppelgangers, violent creatures in Rono’s re-imaginings.  

One of my favorite scenes involves the monks at a Buddhist Temple. Since this scene is not exactly commonplace, the praying monks imbue it with a sense of mystery. Rono is quite good with employing local color that, as an audience, it’s easy to immerse oneself in the make-believe world we are witnessing. 

Director Chito Rono has created a feasible scenario that hooks his viewers from the start. After all, we have a rich and inherent tradition of interweaving faith, superstition and medical science. But what makes “The Healing” unsettling is its distinct plethora of events: patient gets healed; crows loom; doppelgangers appear; the patients crack up and go berserk, then turn amok.

In the narrative, chronology of events takes center stage to exploit paranoia and a rankling of supposition, not dissimilar to the “Final Destination” movies. Who follows whom? How will they perish? And Rono concocts this atmosphere of morbidity with inspired compulsion and rabid vehemence. When Ynes Veneracion leisurely saunters towards the concrete with a giant chopping knife while her husband (Allan Paule) stoops down at the center of the road, you want to hit a pause button. There was a chill running down my spine. You know what’s coming – and you watch in frustration until the deed has been consummated! Rono keeps his narrative clamorous all throughout.   

 “The Healing” is experiencing a slow burn – “a fuego lento”. In fact, it is doing an amazing business in its second week. In three different mall cinemas this weekend alone, I saw queues mostly meant for “The Healing”. This is good news for mainstream cinema that has suffered a considerable plunge in theater attendance from January to June 2012. Word of mouth sure works like magic.    

Han Salazar's Adam's Apple: Kakagat Ka Ba? - Biting Temptation

Sherman Diaz and Jigs Garcia (Jay Enriquez and Iman Rivera) share a seemingly blissful three-year relationship. While hard working Sherman works as a garment store clerk, impetuous Jigs awaits for two things: a nursing board exam and a Canadian visa. When impressible Kiko (Rei-Jan Reinoso) moves in next door, Jigs starts getting ideas about their bedroom proclivities. After all, both Sherman and Jigs are uncompromising “tops”.  And isn’t it convenient that the next-door minor seems like a compliant ally who harbors a crush on Jigs’ affable lover? Though Sherman initially balked at the idea, Jigs eventually prevails. But Sherman warns it’s going to be their “first and last time” with Kiko, he tells both guys. But for Kiko, the ball just started rolling and he falls deeper in love. Moreover, Kiko’s presence stirs green-eyed monsters in Jigs. Trouble is, Kiko has turned suicidal one time Sherman drove him away. Humans are, after all, creatures of emotions, not just instinct and sexual impulses. One cannot completely engage in sex absolutely devoid of emotion. That’s what separates us from beasts.

But the call of the flesh is sometimes irresistible even for lovers. Jigs gets caught sodomizing Kiko when Sherman was supposed to be away. Another eventful day, Sherman surrenders to the seductive lure of former housemate Joel (Jeff Luna), not realizing that 1) his freeloading lover is stealing money from his stash; 2) he was being set-up and videotaped by Jigs. Once Sherman learns of the ruse, there’s nothing left to do but part ways. These turn of events downspirals into an act of violence that turns the lives of our protagonists upside down. Is there still a future worth waiting for Sherman and Jigs together? What becomes of Kiko? Will Arnold (Drigo Padil), Sherman’s long time friend and co-worker, successfully insinuate his affection into Sherman’s heart? 

Sherman and Jigs

Rei-Jan Reinoso is the impressionable minor Kiko.

The film isn’t completely devoid of merit in terms of narrative content. How would one face deception, which is a valid concern especially among same-sex relationships (men, gay or otherwise, are by nature polygamous)? In which adulterous demeanor do you amplify fortitude or offer forgiveness? Director Han Salazar offers middling answers, simply because his story telling is as inept as his film making skill. It doesn't offer viable answers. Salazar is further scuffed by his predilection to show off his actors’ “assets” so while high-profile Pink Film directors like G.A. Villafuerte (this talentless director scours the radio, late TV and social media to promote his vomit-inducing films) always fails to “deliver the goods”, Salazar successfully offers full frontal scenes from Enriquez, Rivera and Reinoso (and they’re not just blink-and-you-miss moments). In short, the raison d’etre of this genre flick is actually fulfilled. Is this exploitative? How can anyone argue otherwise?

Jay Enriquez and Iman Rivera aren’t bad for newcomers, but they offer perfunctory more than inspired performances. It’s actually Rei-Jan Reinoso who’s able to impart a sense of subservience to his “curious and infatuated minor” role. Earlier publicity items claim that he was a mere minor when they filmed this, thus its alleged dilemma with the MTRCB, but I guess this was just an interest-generating rumor. The genre’s audience would lap it up knowing it had issues at the censor’s board. However, I’ve seen links showing Rei-Jan as a doting father to his real life child. This should make him not quite the innocent that he is perceived to be, right?

Jeff Luna, playing Joel, shows a smudge of improvement in delivery – and this is good news. Pink Films' "it-boy" is finally moving forward. In fact, Jeff isn’t as monotonous here as he was in his previous films. But his side story (he’s cash strapped, thus cannot afford a placement fee for his job application in KSA) is rather an “intervening item” in a fledgling narrative. In one scene, Jeff is shown storming away from his girlfriend. He was livid with anger because his overseas application was forfeited when his girlfriend (Jesica Ruiz) clandestinely reveals to Jeff’s employers that she is pregnant! Why would that even matter? It’s not like Jeff and Jesica were married in the story. More importantly, the company was hiring Jeff, not Jesica!
    

Director Han Salazar (“4some”, “Fling”) would do well with a better script. He may also fare better with less exploitative tack. Haven't we had enough of flicks that paint the contemporary world as one filled with horned out guys who -jeepers! - all turn out homosexual? It’s about time Salazar takes full advantage of his learnings from past assistant directorial stints - “Dekada ‘70”, “Feng Shui”, “Minsan Pa”, etc. Hasn't he learned anything from Chito Rono? If he doesn’t improve in his next project, then it’s high time he dig himself a cave and stay there as long as I'm paying my own admission fees. That should make this world a better place. Obviously.

Sherman fantasizes about Joel.

Then Joel shows up to seduce Sherman.

Jay Enriquez as Sherman and Drigo Padil as Joel's friend and co-worker.

Jay Enriquez is Sherman

Iman Rivera is Jigs

Note:

Please read our featured post on Cinema Bravo and why Web Criticism isn't always about good and reliable writing:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html

Leonardo Q. Belen's Pinoy Super Kid - Slap-Happy Stupidity

After planning a ruse that would cancel a school exam (for the sake of a friend who isn’t ready to take it), Alex (Buboy Villar) gets expelled from school. But what’s more heart breaking for him was getting booted off his Boy Scout Platoon. Alex lives and breathes the scouts’ ideals. This is when he starts having nightmares concerning a band of thieves – their movement, their operandi. Heck, he even gets the exact date, time and address right! With the help of his friend Buddy (Jerould Aceron), he produces a sketch of these thugs and turns them over to a police sergeant (Rey PJ Abellana) who scoffs at Alex’s allegations. After all, who in their right mind would readily admit clues straight out of a child’s dream? But Alex’s nightmares linger on, diligently tracking down the baddies’ operations. 

He seeks his Tito Ben’s (Mark Lapid) help, but all their complaints fall on deaf ears. Little did they realize that the sergeant coddles this criminal syndicate. This time around, Alex gets a gift from a mysterious old man (Amay Bisaya) who bequeaths a powerful talisman. From here on, he starts gaining magical powers that could freeze or move people (telekinesis, anyone?) When another heist ensues, Alex, his Uncle Ben and his guidance counselor Karen (Princess Armillos) find an ally in another police officer (Mon Confiado) who, though skeptical, doesn’t turn them away.

When the bad guys get wind of Alex’s gifts, they kidnap him and take advantage of his powers. Soon, more people are abducted: Delia, Alex’s mother (Suzette Ranillo); Gemma, Alex’s crush, and his father Mr. Osorio (Edwin Reyes); even his uncle’s girlfriend Susan (a bargirl). What’s a magical boy scout to do?

Why? This question loudly resonates like a huge gate of tin falling down a concrete. The choice of employing the Queen’s English as medium of expression is befuddling! In fact, the first few minutes felt like a joke. I kinda expected someone cute as Ashton Kucher declaring “You got punked!” Unfortunately, it was all for real! Take one look at Buboy Villar and his physical attributes: brown skin, flat nose with upturned nostrils, eye slits typically Asian – then he opens his mouth and out comes English, in its most horrifically pugnacious form! In fact, this soon turns into a laughfest with teachers, drivers, sari sari store tinderas “trying” their spine tingling twangs:

“Alex is-tole (stole) a copy of dee questions!”

After passing judgment on Alex (he gets expelled – proven beyond reasonable doubt without even hearing a single word from him for his defense), the principal orders an investigation to be conducted by the “is-cool” psychologist Karen: “Find out if Alex is abnormal or is sick of something!” Huh? But wait, didn’t she just expel the child? Investigations are supposed to occur before a judgment, not after a child’s been kicked off school, right?

As a thumbs up for a good job cleaning her dad’s car, Gemma (Aila Mendero) greets Alex with her top-of-the-morning cheer: “Spic and span, Alex!” Ano daw? How can the script writer live with himself using words too far removed from the Pinoy psyche? And you wonder why we’ve been besieged by storms and gusty winds one after the other!

The film must have been shot with a thematic word-of-the-day: “Stupidity”. “Don’t disturb me with your is-tupidity!” “Don’t tell me something stupid!” “Look at your stupidity!” “You’re a fool!” “Don’t be foolish!” “I am participating in your (drum roll, please) foolishness!” The word and its synonyms bloom like the spring all throughout the narrative so you end up counting them. Hmm, there it is again! And again! And again! Stupidity indeed runs around this excuse of a cinematic garbage!

Another illness is its cacologous lines: “She sit down when we want it to sit down!” Hahaha. Ohmygoodness. Please stop me from this unbridled hilarity! In another scene, Alex/Buboy Villar gets chastised, “You’re turning to be a witch!” Has Alex turned into a girl? Or was this kinda like the Boy Abunda mentality of gender equality? After all, “witch” should be applicable to every slice of the gender pie, debah? Para fair! Sure sounds better than its masculine counterpart – “wizard”! By the way, a Colgate commercial rightfully belongs here: “Our project for Colgate Fresh U is to build a lib-lary!” Just a thought.

In another scene, after receiving talisman from a mysterious old man, Alex asks the tindera, “Did you see da old men?” She replies, “I niber sow dat old dibel bepor!” Aw shucks! She sure didn’t!

Most scenes are as detached from reality. Where does the magical old man come from? And why did he abandon Alex when the latter was kidnapped? If Alex could walk through walls, why couldn't he escape from his abductors? In another scene, after a petrifying bangungot, Alex wakes up alarmed, perspiring heavily. His mother rushes to his bed, calms him down, then tells him, “Don’t forget to pray.” Suddenly, agitated Alex is a bundle of joy, beaming with a “Sound of Music” smile, and quite ready for his close up! Did I miss something?

And why does a “superhero” get agitated in the rain? Is this the Gremlins phenomenon? Will he multiply once wet? Where is the “connect”? Then when you've started to consider that thought, this idea gets ignored altogether. Nakalimutan? Manila Bulletin’s Crispina Belen refers to this film as “outstanding”. You wonder which aspect was even vaguely superlative! Yet I am called by a basurero-looking Atenista in his FB ramblings a “pure PR” (he classily declared to his amigas - "mamumura mo talaga ang reviewer na 'yan") and that's just for judiciously enumerating the things I liked about “Kalayaan” (which he calls "epic fail... Basura ng Cinemalaya"; he conveniently dismisses the fact that I also enumerated what I didn't like about it), yet you have entertainment journalists who consider this abomination “outstanding” – and do they get brickbats from basurero-looking bitches? Go figure.

Director Leonardo Q. Belen seems to be living in some alternate universe. His skill and storytelling acumen hail somewhere between the 1958 and 1976 timeline. The sensibilities are dated and too “Piling Piling Pelikula” you somehow expect Max Alvarado, Rodolfo Boy Garcia, and Romy Diaz to jump out of the screen. That would have been more fun, you know. Yes, I was the only soul tinkering with my gorgeous nails in the cool darkness of an SM North Avenue Cinema. It must have been the rains driving people away – in droves, but for once, the inclement weather proved commodious!  If you’re easily annoyed by “is-tupidity”, stay away. If you want fun in clueless film making, try this one out. Laughing is good for the heart. But don’t say I didn’t warn you! 

Lapid consoles Ranillo: "Hanapin natin ang millions ng mommy ko sa Las Vegas. Huwag kang mag alala!" Or was that a different script?

Alex, after getting kidnapped, becomes a "zombie"! You better believe it! :) The original title "Boy Scout Hero" would have been more appropriate!

The Most Indelible & Unforgettable Images from Cinemalaya 2012

When I was a child, some of the most unforgettable images in my mind came from the silver screen. The movies have become a part of my life. When there's anything playing in the cinemas - good or bad, I am there shelling out my dad's (teehee!) hard earned bucks! I like the way they take you to places that one can only dream of. The movies allow you to travel far and wide, expand your horizon within the confines of the celluloid. In this year's Cinemalaya festival, we have compiled some of the most unforgettable (they're not exactly favorites) and most indelible images from this year's entries. If you haven't seen any of these films, there will be scheduled screenings in UP (I think). We share these moments and we applaud the magic of contemporary Pinoy cinema. Spoilers here!

Loy Arcena’s “REquieme”. At the mock funeral of an assassin named Adolf Payapa (a funeral that didn’t have the corpse inside), Swanie (Sta. Maria’s barangay captain played by Shamaine Centenera) makes a befuddling, albeit grand entrance, all decked in woeful black garment and a flowing veil. Payapa is a distant relative; someone Swanie hardly knew. You suddenly realize that Swanie wasn’t mourning for the killer, but for the son – the transvestite Joanna - who left his conservative parents for a new life. 

Paul Sta. Ana’s “Oros”. Abet (Kristoffer Martin) would occasionally stop on his track to fix a slipper that has seen better days. His brother Makoy, a “kasero” in a saklaan, unexpectedly hands Abet a new pair of slippers. Though the moment was brisk and lasted for mere seconds, it was nonetheless fetching and heart-warming. It’s moments like these that make movie going enchanting.

Aloy Adlawan’s “Ang Katiwala”. Ruben (Dennis Trillo), a mild mannered illiterate man who leaves his family in Quezon for a job in Quezon City, rehearses Manuel L. Quezon’s inaugural speech which he heard from a 45 inch vinyl record. As he goes about with his menial chores, we hear Ruben deliver in Quezon’s distinct diction, intonation and temperament. Trillo spellbinds in these scenes. Otherwise, most of the film had us go into stupor.

 Lemuel Lorca’s “Intoy Syokoy ng Kalye Marino”. Doray (LJ Reyes) scours the dark beachside, tentatively checking out the arriving fishermen. The young lass is left alone with younger siblings to feed and she vows to tend to their needs. But what can an unemployed young lady do with no resources to speak of? As Doray appraises her possible source of income, she offers herself up in exchange of a bag of fish (which she then sells at the market). It’s hard not to empathize with Doray’s deprecating dilemma.

In another scene, Cheche (Angeli Bayani), a bar girl in “La Isla Bonita”, gets humped and pounded by a paying customer (Arnold Reyes). I was gripped with fear that the scene would reveal Angeli Bayani’s privates once again. In last year’s gag-inducing “Ka Oryang”, Bayani’s full frontal rape scene – she with the darkest areola and a bushy crotch – had me scarred - for life! I had nightmares for a month, I needed a debriefing. Fortunately, Bayani’s concupiscent scene with Arnold Reyes in “Intoy Syokoy” was dimly lit. More than anything, this middling work heralds the birth of a new actress whose nuanced performance can light up the screen even without saying anything. LJ Reyes is spectacular! 

Julius Cena’s “Mga Dayo”. Ella (Olga Natividad), a supervisor in a hotel’s housekeeping, watches in horror as she opens the door to a room that has almost-literally been swept by a tsunami. There’s vomit on the floor, and turds buoy up lazily in the toilet bowl. For 5 minutes or so, Ella’s reaction evolves into a myriad of emotions – shock, consternation, wrath, frustration. By the time she gets to the bedroom, we were pulling the crumpled sheets with her! Phooey!

 Vincent Sandoval’s “Aparisyon”. Ellipse marks a horrifying moment in the life of new postulate, Sister Lourdes (Jodi Sta. Maria). While fellow nuns (Mylene Dizon, Fides Cuyugan-Asencio and Raquel Villavicencio) watch on helplessly from their hiding place, we hear Sister Lourdes’ plea for help. She gets repeatedly bludgeoned by fists and raped by several woodland bandits. I had to squirm in my seat to shake my repugnance. Other less classy film makers would have filmed a graphic rape scene.

 Jun Lana’s Bwakaw. Rene (Eddie Garcia), a grumpy, aging homosexual, is summoned to “claim” his coffin because the funeral parlor is closing shop. So he has to get the coffin delivered in the evening to avoid catching the attention of his nosy neighbors. Unfortunately, Nitang (Beverly Salviejo) witnesses the delivery. Later that day, Mother Zaldy and Tracy (Soxie Topacio, Joey Paras), along with Nitang (Beverly Salviejo), troop to Rene’s house to attend to Rene’s funeral. Little did they know that Rene’s very much alive! What ensues is one of this year’s most hilarious scenes.

The closing shot is particularly memorable too: Rene, who recently lost his dog, walks a craggy, slightly uphill road, gradually disappearing from sight. Life indeed goes on!

Patrick Sugui is a revelation in "The Animals".

Gino M. Santos’ “The Animals”. With a weekend party in full swing, alcohol and loud music swirl around Jake’s (Albie Casino) upper middle class world. Meanwhile, inebriated girls congregate in the bathroom riddled with grime, vomit and the unflushed excreta. A girl saddles against a toilet bowl, stuporous from intoxication. She dips her hand in the toilet, seemingly unaware of her surroundings. Eww!

 Jose Javier Reyes’ “Mga Munting Lihim”. A protracted argument ensues at a restaurant as Carla (Iza Calzado) unravels to her friends Sandy (Agot Isidro) and Olive (Janice de Belen) the disheartening contents of a journal owned by Mariel (Judy Ann Santos) who died from Pancreatic Cancer. The friends deal with new revelations straight out of Juday’s diary. Though the verbal tussle that ensues is entertaining, I am of the opinion that all this muck raking was pointless. After all, isn’t it clear that despite their differences and scruples against each other, they still end up extending hand when one of them needs it? The smart exchanges may be appealing to a particular demographic, but if they let sleeping dogs lie, they would have all been grief-free. A case of much ado about nothing, if you ask me.  

Adolf Alix, Jr.’s “Kalayaan” (Wildlife) – The film opens with a naked guy seemingly sleepwalking. He heads towards the mangrove until he finds a clearing. A mermaid with greenish scales waits. He walks closer and for what seems like 15 minutes, the mermaid fellates the naked man (Rocky Salumbides). In these desolate islands, lonely men get their kicks from blowjob-loving mermaids. The movie is replete with homoerotic images from start to finish. In fact, It also concludes with another fellatio this time featuring Julian (Thai superstar Ananda Everingham) and another sirena (Angeli Bayani). I have to admit that more people are pointing out the director’s kowtowing streaks, kinda like a glorified Pink Film with directorial indulgences that’s meant to ogle at his actors’ nakedness. Regardless, Albert Banzon’s camera work is superlative.

Mes de Guzman’s “Diablo”. A wide awake Nanay Lusing (Ama Quiambao). Loud radio blaring through the midnight hour. A looming silhouette at the foot of her bed. We get a glimpse of the silver-haired woman through the mosquito net.  The death of a beloved son finally brings her family under one roof. That night, her radio conks out. She is gripped with immense sadness and weeps like there’s no tomorrow… Was it closure? The same night, we finally hear – not the radio – but the loud snore of Nanay Lusing. Images that shall haunt me for a long time.

Emmanuel Palo’s “Santa Nina”. In a desolate quarry of a lahar-ravaged land, Pol (Coco Martin) digs up the coffin of his two year old daughter Marikit. He walks the mile, carrying the preserved body of a child he lost a few years ago. Oblivious to the stare of the townsfolk, Pol takes his daughter home. Another St. Bernadette perhaps? Handsome, cryptic. Pol’s face rankles with irresolute affect. Is there redemption in a child that has long passed on? Vintage and indie caliber Coco Martin prior to getting ensnared by the pitfalls of melodrama schtick. 

Alessandra de Rossi plays Madel, Pol’s cousin and Markit’s mother. She has long moved on, but the unexpected turn of events takes her back to her shady past. And I have to say that every scene involving de Rossi is memorable; the scene with her estranged mother (Irma Adlawan) particularly bristles with pathos.

Raymond Red’s “Kamera Obskura”. Two decades after his incarceration, a man (Pen Medina) sees a city engulfed by new technologies. He gazes at the sky and finds bikes flying in mid-air. This scene alone is worth the admission. With potent images shot in black and white, Red’s “obskura” tackles issues on a sick society. Suddenly, the kingmakers find salvation – “daliang lunas sa sakit ng lipunan” – in an ex-convict with a magical camera stuck in his hand. 

      Unfortunately, the novelty wears off after the first third of the narrative. The scenes go on and on and on, and the verbose subtitles soon turn to tedium. This was the only film I was tempted to walk out on – out of plain boredom! Though its screening was almost full house (unlike “Kalayaan” that was almost empty), people started walking out. There’s a lesson to be learned here: don’t stretch your narrative longer than necessary. Director Red could’ve taken pointers from Michel Hazanavicius’ “The Artist”.

Lawrence Fajardo’s “Posas”. Art Acuna. Art Acuna. Art Acuna. Did I say “Art Acuna”? Menacing and canny, Art Acuna’s scenes as Inspector Domingo scared the bejesus out of me.  Meanwhile, scenes with Nico Antonio (playing Jess, the cellphone thief) feel a bit underwhelming; not mediocre, but lacking a gravitas. In fact, when he was ordered to shoot a gagged man, it felt like another day in the life of a criminal. Nothing too out of the ordinary, it seems. Fajardo’s “Posas” pales in comparison to his “Amok”, but this isn’t saying “Posas” isn’t worth watching. Despite what we pointed out, “Posas” is relevant, persuasive and contemporary. 

Marie Jamora’s “Ang Nawawala”. When an accident kills Gibson’s (Dominic Roco) twin, the overwhelmed mother (Dawn Zulueta) gets confused: “Sino ka? Jamie? Gibson?” (Asking which twin survived the accident). Since then, Gibson has refused to speak. (He blamed himself.) This scene was dynamic because the rest of the narrative anchors from this specific moment!  To be quite honest, it seems improbable that a mother wouldn’t recognize her twins, even in a moment of agitation. At the concluding scene, Gibson sits on the bed beside her sleeping mother. He tries to wake her up. It was after all the New Year. She sleepily asks, “Sino ka?” Then after years of not speaking to his mother, he utters his name, “Si Gibson.” I had goose bumps. Director Marie Jamora conjured an almost seamless narrative, deftly piecing together a compelling story, a vibrant soundtrack that succinctly mashes Kundiman (“O Ilaw”, anyone?) and the live band scene, and a little romantic interlude between Gibson and a charming, but conflicted girl.  

In Sigrid Andrea Bernardo's "Ang Paghihintay sa Bulong", the film opens with an old wrinkly woman fully naked (yup, full frontal) as she's being given a bath by her "apo". The whole household of low lives await for her eventual demise so they could "whisper" (bulong) to her for their own wishes! It stars some of the most gag-inducing characters in the history of Cinemalaya. The ensemble includes Shandi Bacolod ("Ben and Sam") who's as bad as an actor as he is as a director. In Chuck Gutierrez's "Ulian" (Senility), a child searches for her missing lola. The face of the girl looks familiar. Isn't Amalyn Ismael one of the actresses in Sheron Dayoc's "Halaw" ? In Hannah Espia's "Ruweda", a pickpocket in a carnival gets his comeuppance. Beautiful cinematography. Kinetic pacing makes for an urgent narrative. :)