On the Job - Showdown in Manila

The story and pacing smoothly complimented each other. I like how the intensity just builds up right from the get go during the first scene up until the last one. Wonderfully moody cinematography combines with an excellent soundtrack and some breathlessly tight editing to create a surprisingly dark and nihilistic film.

It's also great to see characters that were fleshed out especially that of the three main characters. We get to know them more instead of simply just following what they do. This is one of the things I like about the film in terms of characterization, we get a glimpse of their individual lives as opposed to just going right at the center of the conflict.

This film pretty much shows what an ensemble really is. There are really no small roles here, as everyone's given something to do and they all did their parts well. From the opening assassination to the hospital shootout to the sequence that closes the film, the action beats in "On the Job" are technically polished while simultaneously visceral—even intimate—in their brutality. Matti and his cohorts have scored a home-run here.

I actually wanted to watch "Foxcatcher", but the screening was sold out, so I decided I'd go and watch this instead. And why not? Had no idea what to expect and was mostly entertained by it. The story this is based on, something that seems to have happened is completely crazy. As they say: You could not make this stuff up (well maybe some of it, but the core is true).

The acting might not be always up to the challenge, but the violence and the "reality" of it, will hold your attention to it and will grip you from start to finish (if you don't mind reading subtitles that is like I don't). While it's straightforward, there are a few surprise twists here and there awaiting you. More than a decent thriller then

On The Job has some intriguing stuff, it's a story about four lives connected in one conspiracy behind the law. What's going on is as many as its moral ambiguities. It is a heavy story, but it consistently delivers thanks to the people who are involved. The craft is excellent for giving an absorbing quality with pure tension. The stellar cast brings plenty of life within the characters. Beyond the surfaces, the film is already fascinating itself, but it's a very ambitious picture. OTJ is a rare modern Filipino film that has an actual engaging story to tell in a brilliantly slick and exhilarating way.

The subjects of the film are the realities of crime and moral ambiguity. Even though the lead character's motivation is good, it won't make his job look any less terrible. It never glosses anything about what they do and that's the interesting part. There are no actual heroes and a dirty work will always be a dirty work, which provides absolute danger within the surface. The film is best at tension, every set piece is like a ticking bomb, it gets louder and louder until it fires to an unpredictable shock, then more action. It's amazing stuff. When there's no blood and gunshots, the film explores the characters. They are in fact not bad people after all. They have their own problems and only do those things to provide for their loved ones, though there's a fear that they might bring their work into their personal lives, but that just makes it human.

Tatang is mostly ruthless, but Joel Torre gives all the humanity which balances the character's depth and criminal side. Gerald Anderson shines remarkably. His greatest feat is the arrogance he brings, makes his character feel more threatening. Piolo Pascual surprisingly has something beyond his typical charms. My favorite among is Joey Marquez, who gives the cop a natural rage and fear that can be relatable and somehow enjoyable to watch.

The film never depicts Metro Manila as pleasant, it's like hell on earth where violence may happen anytime in the city. Well it is in fact one of the rotten places of the country. Other than that, the film has most the best things in a classic crime thriller: noir feel, anxiety filled action, twisted dark humor, and a cinematography that glamors around the filth. Director Erik Matti keeps everything interesting and magnetic.

OTJ is a great surprise among the local blockbusters today. We don't usually get a well made Filipino movie like this nowadays unless it's an independent film. Otherwise, it's a compellingly grim crime drama that may possibly stuck in your mind in a while. Personally, I think this is the best film I've seen this year so far. Since it's not really the greatest ever, I think this is what we need. It has a lot of what's missing in most modern blockbusters. It also has the craftsmanship and down-to-earth performances that would impact more to the audience. With all the merits, OTJ is easily recommendable.

I don't know how famous the actors are in Phillipines, but they all seem like they are not into their roles enough.

The handsome cop somehow good at flexing his muscular appearance thorough the film more than acting with only a sad gaze, not much else emotion. He was so passive and clueless, almost like a pawn on chessboard with one use: sacrified for bigger piecies.

The ugly cop was even worse. His horrendously dumb face can't make me think he on good side. He acts like a local supermarket's security who would get drunk after work, than a veteran police officer who fight corruption. A pitiful, pathetic character (and not in a good way).

Now let turn to the "bad" side characters. The handsome youngster - very good looking indeed. But he sticks out like an elephant. Dress too modest, smile too bright, cute face, even his skin tone shine through the whole scene. And since his character was a long term prison inmate, that outlook didn't fit at all. His acting was limited with some range, he can't really act with his eyes, his aura screams "I'm a pretty boy and I will pose only for the camera". Overall, he showed only the shell of a type of character - the son figure - and not much else.

The main role, very much like Russell Crowe - rugged middle age man with rough past - made a decent job. His eyes hide complex gazes, his face twisted and turn when needed, good presence in every scene he on. He the only actor that really blend in, become his role.

The movie effectively show audiences its world - bleak, dark, stinky, and no way to escape. But it needs more believable characters to become good, characters with distinct traits, with real chemistry, and dont look so out of the plot.

ON THE JOB is a dark, dingy, and rather sweaty Filipino thriller that has some stylistic similarities to the far superior METRO MANILA. Unfortunately this is ultimately a much lesser work in which promise at the outset soon devolves thank to some rather pedestrian writing. ON THE JOB is too long, too slow, and marred by unsympathetic characters who you don't give two hoots about despite their various problems.

The story involves a real-life scandal around career criminals being given day release from prison to go around working as political assassins. It sounds great, but after the umpteenth long-winded scene of characters arguing and discussing their plight, it becomes merely average rather than profound. It doesn't help that the only truly likable character is the young crusading cop whose character is let down by possibly the most unsatisfying climax in a film ever.

Director Erik Matti performs an able job behind the camera, creating a gritty and realistic look that brings out the poverty and grime of the surroundings. Individual scenes are powerful, and there are one or two good action moments, but the choreography is sometimes sloppy and the tedium occasionally overwhelming. These factors conspire to make ON THE JOB a distinctly average movie when it should by all rights be a good one.