Rezensionen von akoaytao1234

A "Date Specialist" goes around the city finding eligible rich singles to mingle with each other. When a rich "unicorn" draws her attention for a personal match, she finds her struggling ex trying to rekindle an old flame they once had. She discovers slowly that poverty or actual money does not define a good relationship and moves on trying to be a better person of sorts.

There is so much disjunct in this movie about the generalities of like working in a high power jobs, human interaction and such.

There is a cloistered feeling about it ( or a lack of detail beyond what we see) that already is apparent with Past Lives, and even more so here. She is so much afraid of emotions AND if there is some, it is internal - about personal regret almost always. When feelings between the interaction is getting troubled, her writing always run away.

Even the main dramatic centerpiece of the film is so infuriating. Her weird rule suffice. No Friends. Oddly, no police to force some action WHEN HE has a record presented against him too. Maybe, I am assuming a whole lot about the American Law Enforcement but that main dramatic piece could have been more elaborate or better constructed than just be a convoluted plot for a weird empathic moment for romance.

It leaves such a weird taste in my mouth. The main strength of romance film is about that tangential camaraderie within the group they are in. That small world where everyone seems to have this differing view but ultimately similar existential crises. They understood each other in ways that they do not realize yet. This film feels like two grinding gears that not fit well. As noted, everything felt insular, alone and lacks that true sense of community. It is about your personal decisions, never about anything else.

The Romance is just a drama. Evan's John was never really given a chance to prove himself. He was never a factor on Lucy's decision. It was always about Lucy's fight against "Materialism". It rhapsodizes his position even though the film itself positions it as a true problem. His poverty and bare survival in the city should not be a problem, afterall Lucy now has a work that can sustain them. Ok, it literally just circles back - money is a problem if your broke.

Acting-wise, I think the only person that truly shined in this film is Evans. He has been in this kind of film AND he knows its the personality that will lift this kind of material. Dakota and Pedro were fine. I think they worked better as the film went, and make it known that they just do not like each other. They do not have sexual chemistry but rather they came off as friends. They are naturally awkward and the tenseness worked though weirdly framed as "not love" when it's clear she kinda abhor his height surgery - meaning he actually tries to be likable than actually be a true "unicorn".

It colors her badly than what the director taught to be honest. Like people go out and dress-out, work out because in a way they want to be 'date-able', and they clearly understood that in some ways. There are truer sense of how we present ourselves.

Not still my film. I still think Celine Song is missing life experience for this to work. There is such a weirdness in her writings about personal life that feels unlived-in and almost alien. There is a deep sense of "Alone-liness" in her films that she still seemingly has difficult verbalizing for me.

M3GAN 2.0 is the return of the murderous robot as she tries to stop another murderous robot on the loose who is killing these top AI Robot makers.

Yeah, this does not work.

It tries to shift the original film into this action film hybrid that is between Mission Impossible and John Wick but with less impressive result.

I was pleasantly surprised to like the original but this just felt special kind of trite. It ticked the action boxes but it took itself far too seriously. M3GAN is such an uncanny character that it lends itself to comedy by nature. You cannot look at that doll and say that is natural. All the elements of camp where there but the film decidedly went to another direction - a dour and less charming approach.

By the end, you watched a serviceable but a boring action film AND lost sight of the films natural gift. Thank god, I did not watch this in the cinema.

Such a disappointment.

F1 tells the story of a burning down F1 Team who has at least one season to prove they can win. When no hope is found, an older driver is tasked to maybe turn things around.

This comes off a bit white-savior-y at times, but it really held together because its just right enough pushing Pitt's character without bordering into cult leader-like god, the utter positivity of the story (Teamwork makes the dreamwork), the F1 Scenes AND just the great SOUND design.

I do wish Idris' character had more to work with - he came off as one note villain to hero character. I think the removed love story could have soften him up AND give him a limelight he deserves. He and his family is depicted to be so dense AND presented as an embellishment to Pitt's.

Though, I do think the story should be pointed out as somewhat borderline insanity. Do not expect anything other than pure Box Office Fairytale in this film. Just imagine an unknown mid-sixties driver taking over an modern F1 team out of nowhere and utter mystifying logic of that F1 Team. You'd think they are more strategic and mathematical given how far behind they are. The Teamwork theme can get a bit far too dense at times. Gladly, It pushes it but knows when to hold it back (like an F1 Racer LOL) but it really drives the cheese puff full gear at times.

Recommended.

PS : My mom really liked Brad Pitt AND has a lot of F1 Questions (we were lost at times) AND my dad was fine with it. He, like me, finds Brad Pitt's age a bit too hard to really take seriously.

My Mom Jayne is more about Mariska just trying to piece the last moments of her mom - practically from the birth of her eldest siblings towards the fatal end AND her life discovering more about her true self.

This reminds me of that HBO Pam Doc. It is just full of love and admiration. Mansfield is quite a complicated character AND together with her tightly wounded history of dalliances - there is a sense of apprehension that really surrounds her with her children.

The now full grown kids of Mansfield and the remaining people who knows her tries to remember the good times but there is a sense of complication about her that permeates in the screen. They really try their hardest to define the good in her.

Compared to Pam's Doc, It is not as in-depth. It seems like most of Mansfield's story will be hidden away in history. Little is left of Mansfield in writing (or from her words) - as much of her "belongings" apparently was sold. So a larger of definite fact of the film actually focuses on the infamous car accident and Mariska's actual paternal parentage (?). Most of the nitty gritty details are shied away until that end section AND it never really go into full details on why and how things came to be.

Its picked to strays far away from the salacious life of Mansfield and mostly covers her difficulty as female star stuck with the last end of the stick of the 'dumb blonde' 50s stereotype AND the changing tides that happened when 60s rolled in AND the more liberal politics of the era. I respect the decision to tell it this way but it leaves you empty after watching it. There are more questions left unturned.

Recommended. A bit surface level but a good doc.

Ballerina tells the story of a spy ring under the guise of a Ballerina troupe. One of its star contract killer wants to understand where she came from AND discover a large web of contract killer who does not play with same rule they do. She seeks vengeance against all odds AND discovers her truth.

This was better than expected.

I am not the most familiar of the John Wick Franchise but I was thoroughly not lost in the midst of it at all. It just smartly let the story really develop on its own AND never earmark any kind of *this is a prequel* that other film of this kind suffers from. See the Last Mission Impossible. Most of the wink wink moments were towards the end AND it was perfectly little nudge. John Wick is here and acknowledged but he is never like is the star. It knows that and it did not really force him in. Also, both of my parent were awake all throughout the film so the pacing was alright.

Interestingly, this is 80% well choreographed fight scenes that goes on and one but it never really felt like, ok when will this be over. It just is pitch perfect contraption. There is a sense of smoothness yet power when they fling each other around. It hurts yet it also does not feel far too rehearsed .

Also, the lighting in this is *AMAZING*. Why is this better than 90% of any films in Hollywood. The glorious neon and beautifully shaded night scenes are shocking better than your average fair.

Acting-wise, this is not the piece of media you'd really care for that. Ana De Armas is replaceable to be honest. She did well but nothing groundbreaking of sorts.

Recommended.

Available at FDCP Streaming Website with hardcoded English subtitles with other Filipino Classics.

This was a wacky comedy about two couples who got involved between two race gangs that shockingly piqued its way into some smartly conveyed messaging that never truly felt politically incorrect for the most part. This because , it still has that Chinese can't say their 'R' jokes midway.

But primarily, It was in the end about the drug trade - AND *surprise* the fight for better product Quality between the Japanese and Chinese Gang Lord. Who is better? They fight in a broadway-esque musical about spreading the bread about it. Also, I am not the only one here that the Visayan Catholic father has Cocaine ticks AND that is a plot beat RIGHT?

It is a bit all over the place.

I felt that it worked 2/3 of the way. The first third AND the last third was amazing. The second third is a hit or miss. I felt that the jokes also (especially the Chinese Bath section and that Promote guy) truly hits uncomfortable in a boring way. I am huge FAN of Waters - AND I would have loved if they lay it BARE UNAFRAID and with INFINITE conviction but they never did in that section. It WAS a SLOG.

But when it succeeds, its goes truly hard. I really love how the joke in this is how confident the Japanese guy of his country's product AND how good it is AND the joke for the Chinese Ganglord is that she steals designs AND make it easy to buy. It never goes to places you'd think it go AND it even ups the ante to the famous musical sequence about the bread of their works.

Recommended. This definitely has its moments BUT I felt like there are true problems in this film. Good Comedy with some Date Problematic Jokes.

Available at FDCP Streaming Website with hardcoded English subtitles with other Filipino Classics.

This is capital S I L L Y.

FAMED for its an 'Eye-for-an-Eye' acting moments, Ikaw ay Akin ( can be translated as 'What's yours is Mine' or 'You are Mine' (for a much literal translation)) is ABOUT Polyamory, which is no surprise given that the writer is famed for his work for Salwahan - another film about Polyamory.

Practically a horticulturist(played by Aunor) is in a 8 year relationship with a Jeepney Factory Manager. When a bubbly young artist(played by Santos) falls head over heal over him, it elicits an affair but got it under control before things heads past it wheels. The two women has no knowledge of each other BUT discovers that De Leon's character is changed, regardless of them crossing each other's path.

They could not take it AND causes them to really have a weird personal reckoning about how they need him. Then it ends up in what I think is the most ridiculous and practically the greatest inversion in cheating drama's ever, he makes a speech for both about how he could not careless of the things he had done AND you had to take it or leave it AND ends with literally just having the ladies looking eye to eye in acceptance.

THIS WOULD not really not translate abroad. Its beyond stereotypical - it literally made the Cheating Melodrama Genre of our country. Also, I think Nora and Vilma represents two GAY MEN here. They are probably the two of the most dicmatized female protagonist in FILM. THEY CANNOT function without De Leon punching their HOLES. It so ridiculous it actually feels so funny at times. Their reasoning and action is beyond martyr-ism and just borderline campy dumbassery (there is an jealous rage attempted Manslaughter in this film lol) BUT its Bernal's choices that really make it work.

This film only works because it never moralize. It show characters that are ungodly stuck in this toxic cycle AND makes them a willing participant. THAT SPEECH by Rex raises it off as a schlocky stupid trash into a Nasty Melodramatic Erotica. I was very stunned when I initially watched it. That subvert was so off field but given how the girls reacted all throughout the film, it was not unexpected and it worked specifically like a comedy of manners.

Though, I would also add that moment is the weakness of the film. It just need that scene to really lift this material up. I think otherwise - this will be just a bad melodramatic slop.

Highly recommended. This is a high work of melodramatic camp. I respect that Bernal let the story tell its story AND that is amazing.

Available at FDCP Streaming Website with hardcoded English subtitles with other Filipino Classics.

This film tells the story of Nicolas Ocampo, towards the end of the 19th century - when the Philippines was transitioning out of the Spanish Colonial period AND the Americans were about to take over. He travel and witness the rapid changes of the era AND tries his best to survive from the questionable people around him as he heads back to where he came from AND just be who he is, a Filipino.

This was such an interesting film.

For most movie buffs, Eddie Romero is more famous for his schlock American Z-Films which also where I am more familiar with. In fact Tarantino is a famed admirer of his. By the mid 70s, he shifted focus back to local production AND made more respectable FILIPINO films in terms of quality and content. It is quite frankly a defiant change in terms of scope and function - (similar to the film) a nation finding its (cinematic) footing.

Though unlike the direct and frank criticisms of Bernal and Brocka films or the hifalutin allegory of De Leon films, this film strays for its rather unobvious leaning.

In fact, I personally thought this a hopeful view of Martial Law though I could not really find any extant of Eddie Romero's politics. The only relevant knowledge I saw was his parents (and some of his relatives) were politicians and affluent at that. But again, this could just be a call to action for his fellow kababayan to change up AND just no longer be anyone's fool AND move ahead. Either interpretation can be possible to be honest.

Regardless, this is a very well made film. Firstly, there are formality in composition that really shows such a great control from Romero. I love how it looks. It does not have the staginess that hounds a lot of Filipino works. There is a sense that it is quite a large undertaking AND truly deserves the canonization from Filipino critics.

Secondly, the acting was amazing though high props to Gloria Diaz and Christopher De Leon. They both ate the film up.

Again, a rather different role to DE Leon Hot Guy roles. He shows a different facet of his AND he handles this Forrest Gump-esque role of a naive young man who happens to be in places, with such delicacy yet maturity. He tightropes in such INTERESTING ways yet never going into caricature-ish portrayal (Budoy who). He never make it seem like he is a joke - AND I applaud that. He is humble simply so.

Then you have a short BUT very noteworthy turn from Diaz, of Miss Universe fame. There is a reason she maintained her relevancy in the industry. She plays her floozy with so much detail even if she has little going on. She just plays it smartly and pointedly that you remember her. I never sought her work but let's see.

Then lastly the script. As I said, this is interesting. It never really feels political BUT still ask a very important question of finding a Nation's self. It is special in that Filipino epics are really rare AND often than not does not have this sprawling view of the Filipino sphere. There is a depth AND understanding on it. It kind of remind me of Gone with Wind (especially the ending) in how it tackles a chaotic time. Also, such an interesting ending. He posits that a stone "home" is different that actually finding his real "home" as a Filipino.

This is really good. Another discovery from the great period of Philippine Cinema. A Call for a Better Choice.

This was better than expected.

The biggest weakness of the Final Destination Franchise is that the story is just too expected. So there is almost no 'surprise' in a classic sense, its more of looking out which is gonna cause all this deaths. Then you have a singular fun character above mix of utter gutter trash that the films tend to justify their deaths.

But this time around, they changed a the formula a tad bit.

The death is explained with a rather different setup - an actual explanation that smartly closes the gap and practically connects a bunch of dots AND actual likability from the cast.

It's not really like a huge change but it makes the gist being "how can we kill these people" into actually just "how can they survive this?". There is a sense of actual possibility of "audience identification". We want this people to survive AND make this an easier film to watch, see the box office reciepts. There is a sense of poignancy that you just do not see in the other films.

But also, the best thing about this is the acting. Everyone is stepping up in their acting shoes, because this movies tends to be teenage slop in the 2000s and I think the first agenda here is that they are hot. So there was always a mish mash in terms of quality of acting within the franchise. The young mother, the siblings were fabulous. They really feel like siblings or the dilemma they are in are lived in. Also, the first premonition is one of the better ones in this film franchise so there is that.

A very nice surprise.

When a new kid enter the school, he makes friends with the class dork but slowly integrates himself with the raunchy bunch. He heads the school with its quirky characters and falls in love with a teen stuck with his unwell granddad. When disaster strikes, his lover is forced out to foster AND he and his new friends tries one last big prank to end it all.

Serviceably fine AND definitely inspired by better films of this kind (ie American Graffiti). It even ends in the Graffiti way - with all the futures written out.

It has nice moments. I really like that they are really young kids and there is a strong sense of camaraderie with each BUT it feels so forgettable. The big problems are very forgettable I would not be remembered as a local legend at any level at all.

Also, has the weird scenes/quirks like the kid from Fright Night getting hysteria faints or how Dillon is a slur machine - left and write. I also felt that the chemistry between McCarthy and Masterson as almost homosexual by nature lol. Its interesting, on the very least.

I personally do not know how bad it can get for kids then, but that priest is literally hurting them. I think getting flagged is normal BUT some of the things he do is really questionable. I do not think that ending is needed for him to be replaced AT ALL. Lol, that is long time coming anyhow.

No one really acts here of note. Though here are some rundown of the actors I know 1) this is my 5th Mary Stuart Masterson, and she tends to shine with her work as that not-like-other-girls type. She is one in this film too. She kinda fizzled out mid-nineties.

2) That kid from Fright Night had a hard nineties and actually did hardcore for a while. He was able to battle his demons. Good for him.

Its a fine film. Not recommended to be honest. Just watch American Graffiti instead.

Ang Tatay kong Nanay (or more literally translated as My Dad whose also My Mother) tells the story of Coring, a gay beautician, who is tasked by a one time lover (Dennis played by Brocka favorite P. Salvador) to take care of his son as he chose a new life as a US Navy man.

She grapples with the role of a guardian to his newly adopted son Nonoy (Nino Muhlach in a star-making role) AND finds herself grappling if whether to portray herself as an flamboyant gay man or just be straight passing when is around. But things take a turn, when the long lost mother of Nonoy, who is now rich after her foreign husband's death, returns to the fray and decides to maybe take his son back.

This is ANOTHER classic and well made film from Brocka. His economic melodrama about a gay man AND the idea of chosen families and gender biases is as expected premier AND well observed. Even though it is simple melodrama in reality (and very kitschy at that), Brocka focuses on creating this resonating themes that transcends even to this day.

I do have some reservations towards how Delgado's mother character is written. IT is haphazardly written as BAD and coded as fake from start to finish AND that is definitely lazy writing. Sadly, it takes down the weakest third of the film. Even small scenes, such as commentary about how gayness is not something a child learns from a gay guy within the beauticians, is something that still transcends in time.

Performance wise, It just well tuned performances from top to bottom EVEN with clear lack of budget. One of two Dolphy great gay drama's, and he shows he really has acting chops in this. He just have the emotional face needed to create so much character for this role. Nino Muhlach plays Nonoy beyond his years and shows why he is the premier child star of that era.

A beautiful film, its not his most perfect (the last third is weak) BUT this definitely has more heart than his average film. Highly recommended.

Black Rain tells the story of three people (a husband-and-wife and their niece) who crossed Hiroshima on August 6th and survive the aftermath of the nuclear. As it retells their story and those close by , they face unexpected hatred for their survival in a closed-off rural area somewhere in Japan, especially their niece - whose status as a survivor shrouds her ability to give birth to a child and her prospects as a wife.

Formally this is a good film. Imamura yet again shows an apt ability to present his films. Its well directed, heavenly paced and well scripted. The choices (ie Black and White) and the nightmarishly staged Hiroshima scenes were crisp with details and fine cinematography. I think it also sets a unique perspective on how the other 'survivor' of war reacts to the nuclear war victims, which is also under represented at times.

Though It has that problem I saw with Vengeance is Mine, where the women is devoid of anything other than subservience and martyr-isms that I feel his work heavily ages out from. It's adapted, so MAYBE some of the characterization must have been from the book BUT I have not read it and could not really judge it over that.

Also, as a Filipino - there's a part of me that really just more than just a viewpoint of how it happened and how it affected them but ALSO asking WHY it happened. There is such a claim "innocence" for the atomic bomb victims THAT I think the war atrocity of Japan is just shoved down somewhere in a shadow realm in a lot of this kind of stories. There is no qualms on the reasons of it or the post-war assessment from the characters especially for a film with a prominent character with PTSD. I know that's a bit too far complexity viewed on what is a Asian Nazi Survival film about a blast that killed at least 200k + people. Unlike say, the Rape of Manila that routinely killed up to half a million in a period of 1 month as the Japanese forces started to dwindle within the city.

Especially for a lot of western criticism of this film that glosses that facet of the film. Its clear that it was from the book - short synopsis shows its focus is about the effect of the war victims and their prospect BUT this was something that could have been processed in a way that a person almost quarter years away from the war should.

Soft recommendation. If you are anti-nuclear weapons, this is a good example of not just the affect on victims but the whole social aftermath of such attack. Also, very well made. I do see why people love it but I could not gloss over somethings.

Based off Vito Russo's book of the same name, the Celluloid closet tells the story of films AND how they subvert the third sex on screen for all cinemagoers eyes to see.

This is fine AND not as AHA! Moment that I thought it will be. I saw and pretty much understood the gay sub-text in a lot of the given films on initial watch. That does not make a gay legend of sorts, but I think a whole lot of it has always been noted for their subtext to begin with.

I really thought this will go into finer details of Hayes code Pans-isms (ie Motherboys, Designing for Living types, Clothing and Speech coding) and all. Those are really more difficult to actually catch than say more pronounced examples listed in the film. I think a nice touch is some of the more figurative examples uses real writers as a source for their coding. That was cool. How they practically code each section of each era with the type homosexuality depicted on film (ie Comedy "Pansy" gays of the Pre Code, then Evil Gays (Fatales mostly) of the general Hayes era, then the Closet Gays of the 50's to being OUT and getting killed, to Horror Stars in the latter stages).

Its quite direct and almost expected at that.

Soft Recommendation. Not as ground breaking as I wanted it to be.

Sagada tells the story of a rich haciendero family who manages a large sugar cane farm, where the remnants of the family of the former leader of the farm's union lives and tries to survive the difficult situation they are in. When one of the son's of the haciendero falls head over heals with one of the sugar farmer's daughter - things falls apart into a climactic shootouts between the poor farmers AND the thugs of the Haciendero in what I assume was the former Canlubang Haciendas.

I get and admire what it tries with its topic, but the story really leaves a lot to be desired. Firstly, I think mixing themes of Catholic guilt, Sexism over the real problems of the Sugar Farmer really mixed my emotions over it. Like how they handled Koronel's corruption is quite saddening. She practically was scarlet letter'd out of the family even though she is trying to mitigate with them. I also did not like how the end seems to points toward anti-union sentiments.

It does not hit the levels that say Brocka, Abaya or (the few good) Bernal hits when they try this heavy ironic endings. The farmer just seems hapless AND unlike their masterworks, there is a weird disjunct it its messaging and its morality. The escape is unseen and barely discernable for all films and the characters are self-hating and self-demeaning. Even when given a chance for escape, they are unwilling AND are heavily on guards with their own biases and prejudice. It never really shows a possible escape AND it feels so mean to the farmers in the end.

Also, very long and detailed for such a short wind up. This can definitely be halved in length.

Not my cup of tea.

Watched off Youtube.

This really is INCORRECTLY tagged as a BEAUTY and the BEAST dupe. This is more of a smash between that AND the PRINCESS and the FROG. In fact, the main plot point of the film is almost lifted off the later. Just saying.

PLOT: After a rich haciendero is saved from his plane crash by a man who has a facial disfigurement, the haciendero gave him a second lease in life as a worker at his huge villa. Her daughter, renowned for her beauty, is at first disgusted by his presence but soon discover the handsome man that magically appears off him by midnight. But to her dismay, its more complicated than a simple kiss of a true love.

Firstly, this film starts with Romnick Sarmenta doing a fourth wall breaking rap narration with all the nineties hallmarks and proceeds to show Jestoni Alarcon, one of Philippine's most handsome leading man, in a prostethic I would just describe as trash then moves with a lot of big songs along the way (Earth Song, and Sweet Child of Mine). Its poptism on the highest level.

It was a weird ass first half of the film.

It even tries to mash the silly tone of the film with Alarcon's action film background, which proceed into an anti-hunting PSA all with the grand and excessive DISNEY-esque Princess moment. In fact, they suddenly dance on what could only be described as a palace out of nowhere with all the fireworks and such. They are in the middle of a mountain region. How is that even possible lol?

Then second half happen.

Most of the stars of the film really piles up in this section. Its where it really trump what it initially was - a Beauty and the Beast reimagining. It became more of an allegory. AND Le Greta, really does not let her PROUD self down AND confidently face her predicament. It really made it more than a simple fairy tale - and create this weird and more grounded drama. You expect it to happen BUT it smartly edges you out of your expectation every single time. AND also THAT's how you end your film. Its not the best thing ever BUT it knows its theme AND make it work.

This film should not really be this good BUT it shifts in the right time when it needs to. I love every single shift it did - I really wish this can get a true upscale though. The Youtube version do not really do it justice.

Recommended.

Again Sigeon-Reyna clutches in his melodrama box and produce an interesting albeit quite problematic film.

It tells the story of a recently married bisexual lady (Ara Mina) recently wed with a philandering man-child engineer. He mocks her endlessly with his open relationship with his co-engineer. It does not help that her ex-lesbian lover(Rita Avila) is hounding her trying to find peace off her sudden marriage. When Ara Mina could not take her husband anymore, she decides to leave off with her ex-lesbian lover BUT things gets more complicated when she founds out she is pregnant.

M E S S Y of a film.

Both in a formal and story standpoint.

In a story standpoint, a story about a pushover bisexual who just wants acceptance is such a fun and underseen plot beat. Most of the time, Bisexual in films are the most confident and demonic human beings shown in cinema AND to see how Ara Mina just could not deal with anything was such a nice change of pace. Both Rita Avila and Tonton Guiterrez where CAPITAL A**HOLEs in this film, and it was such a campy surprise to see how they deal with Ara Mina's push over character.

I also love how it handles cheaters AND how cheating is coded. Most cheating stories are just about being unable to handle emotions. I think its quite rare to see cheating seen as a form of control tactic. A one up, against a push over. Very interesting take.

But Formally, is where this film really falls apart.

Firstly, the narration is horrendous. Narration is usually added provide a POV AND girly, she is actually seeing things that only god knows. It's so stupid at times - like I wonder if it was a last minute addition in this film.

Secondly, a lot of unnecessary stupendous melodrama - Ara Mina's controlling Rita Avila's medicine like your just girl LITERALY, the Tonton-Gay Neighbor storyline (though that actually works better in the long run), the lesbian should stalk their bisexual ex plot beat(they actually said that word for word in the end). It does not need to go there at ALL.

AND other than those two very crucial point, I actually could see why people like it.

This is CAPITAL CAMP Melodrama.

It can border non-sensical BUT I love how insane the levels of all the actors went for. Tonton Guiterrez is a 14 year old child here. All his actions are impulsive, selfish and driven by his desire to be in control. The role said to be insane AND he went for above and beyond for it. He almost feels like a cartoon character.

Ara Mina is confused and pretty much pushed and told into scenarios. Its quite interesting how good she is in this. Again, another role that feels stupid BUT her commitment to just bumbling around is shockingly admirable. Love Rita and Gina too BUT their character are foil-y. Its a nice touch to make Rita's character as a lipstick lesbian BUT never really trying to femme her up in her characterization. She is rough AND she let it known. Not much happens to them and they are sadly the fallen gays of the film.

Bumping this to 3 from 2. This is CAMP MELODRAMA that is quite NOT there yet BUT I enjoy its ridiculousness. It works but you need to not take it far too seriously. I wish someone remakes it into a better screenplay though. IT TOUCHES interesting topics AND I think it almost handles it well.

1) Again, the Tahimik's commentary of the Philippine Masses or the 'Third World' feels so dense. It almost feels mocking at times. His gross simplification really makes shows his bourgeois (or even upper class) background more apparent. He was after all a son of a Government Official post war. It does not have the subtlety or the complication of other great Filipino directors of the time. It verges towards the worst of 'poornographist' of the country.

2) This really picks up when it became a pure video essay about Martial Law. It is where it really developed the Yellow (and ultimately the Pink) of it all. I think he smartly realize the importance and the need to document it. Sadly, it is one of the very few documentaries of the time to show the full extent of the Final Years of the Marcos Era and Post Aquino Presidency in full.

3) Given its lengthy time frame (from early 1980s towards the end of the Cory Regime), it also gives a glimpse of how the passage of time had changed. From a weary populace upon the death of Ninoy, the 1986 revolution towards the lowpoints of the Aquino administration. Its one of the few documentaries that really show the change in attitude towards each regime flowing from one to another. I think it predicts what I think the Aquino hate deluge of the Duterte-Marcos era AND also shows the growing contempt that I think most Filipinos has over the revolution (sadly). Its not in any way glass tinted view of the event AND show a much more nuance take on the rapidly changing time.

Again, I do not feel Tahimik's commentary on Third World Epithets but when the Aquino-Marcos section happened, it finds its footing. Tahimik commentary became sharper and his 'quirky' style less grating as he attune to something he might have a better hold of - the changing times of the era.

The version I was watching seems to be an edited version from the Viva Films Youtube website. It is truncated and silences the darker elements of the film.

In the world of finance, working girls are taking a step to take over the world. In Ayala Makati - Philippines Business District, secretaries and emerging managers - all female, try to navigate their life across sexism and sexual assault AND be the best they can be to mixed result.

I did not like this film. This falls under Bernal trying to appease the 'average' Filipino. Initially, I really love how FEMALE forward this is. It is about females AND how the thrust towards the professional fields has pushed them. Unlike the American film of the same name, they are front and center with all shapes and forms whilst still focusing on female issue regardless.

In the end, it was trying too much. It tries to look smart about it BUT fails for its rather backwards leaning. It really feels like it was made in the 80s.

A lot of the sexist plot points were resolved with Women being down. The plot about husbands vs working wives were unanimously negative. Koronel's new Vice President is looked down for her want to work (even ending with her frowning in defeat even with all the success) AND Romero's newly promoted manager deciding to resign to appease her loser husband. The fact that WOMEN who uses their sexuality are the only women who actively had a positive ending is sad in hindsight (Martin, Lopez, Locsin and Pareno).

I also did not like how all the female characters are really forced in rather uncompromising SEXUAL SITUATIONS. One became a prostitute to pay her debts, two are willingly using sex to get what they want (which is good for them BUT not as forward as the movie thinks), one is forced into motherhood another is already mothered-in and uses her sex to get more, even Romero's and Koronel's are forced into just trying to pray that it would not lead to that kind of situation. AND yes you'd count that right - 6 stories already (with one more).

A very soft positive I could give this film is that Professionalism and Female Camaraderie exist yet is not dependent of each other. If you are not being professional, you are rightly called out BUT the female characters also add a layer of understanding to their fellow sister if needed. AND at least, all the bad men here are sanctioned except for Chandra Romero's husband because she is special type of dumb.

Not Recommended. Very Sexist AND actually points towards maybe women should not work. Another weird flop from Bernal.

This is probably the first real LGBTQ drama I had ever watched like ever. I remember watching this when visiting my grandma's house during the early 2000s. I was alone just channel surfing and saw Dolphy in this AND proceeded to watch it. I remember really being moved by its warmth and nostalgia. It stood the test of time too.

Also, I am using he/him here because Markova no longer dresses as woman towards the end of this film.

For the plot, Markova is a gay man living at a home for the elderly homosexuals, the Golden Gays, a still very active home for the elderly LGBT that is even referenced in recent Drag Race Philippines seasons.

While watching TV, he saw a report about a group of comfort women trying their history to be known. He remembers a dark past when a group of Japanese Soldiers assailed him and his friend. As he is troubled by this recollection, he calls help from the home's proprietor JJ (apparently based off a very real person, Justo Justo - a LGBT Activist, Writer and Politician AND actual founder of the home) to get interviewed AND tell his story- shifting the film into a long remembrance of his life from youth to now.

Firstly, I always find it quirky how Dolphy is the face of two of the most acclaimed out gay dramas in the Philippines. He has always played gay roles in his famed comedic career BUT his legacy lies with this two dramatic performances. In this, he really was acting the heck out of it AND you could see the despair in his eyes AS he try to carve the truth out of him. He was after all the last woman standing of their friend group - no else really could.

Another interesting facet of this film, is how family affair'd is this. Almost all the characters are played by Dolphy's son. The three versions of Markova, Markova's Brother, and the Japanese flutist are actually Dolphy's son. I do not know if he actually knew Markova who was seems to also have a Vaudeville act but the family acted to high heaven in this.

Only Loren Legarda (who is a real reporter using HER real name) kinda sucks as the reporter trying to pry the history out of Markova. She is literally just reading the lines in this film lol.

Production wise, this is standard Filipino affair. It is not the most polished (compared to the great 70s-80s stuff) BUT there is an admirable level of craft being shown here. It can look quite cheap lol BUT Gil Portes has always been that guy. He is more of a story guy than a look guy, even with brilliant colors.

Storywise, I really love certain touches here. It has this fly-by narration where Dolphy as Markova literally visits her older versions while reminiscing AND drives down the melancholic tone of the film. It was such a nice touch that really help make it more poignant and alive.

Weirdly enough, I think the main dilemma of the story was not as 'well-plotted' as a wish it could be. It was more about Markova as a person than her being a Comfort Gay AND it really made a point to tell her story as a whole. How oddly accepted they are BUT in the same time always been forgotten AND how it hooks towards the end.

It works but I think how it was structured can get a bit rough. The interview was about the Japanese war but that whiplash away from the main story really was weirdly handled (ie initially starting with how she became gay first, and practically having a long section out of tangent of her 'comfort gay') life especially as a tell-all structure.

It does not help that it starts with Legarda is characterized as irritated by the story. So Markova telling life story as a whole is already weird and non-sensical. It felt like his 'comfort gay' story was dialed in as a plot device to tell her whole life rather than being a true critical moment. I wish that the writer was more conscious in adding the elements together in a more sensible flow. Making it a point that the Comfort Gay is crucial rather than going the distance to detract the main point of the film. It cheapens the narrative in my eyes.

Overall, this is highly sentimental work with a lot of structure problems BUT the Quizon family proves why they are one of the biggest and most respected acting families ever.

Recommended.

Watched via ABS-CBN Star Cinema Youtube Page. It is free and with hardcoded English subtitle.

'Tatlong Taong Walang Diyos' tells the story of Rosario and her family during the three years of the Godless Japanese Occupation -beginning towards the upstart of the war towards the literal end of it.

Interesting film.

I think I have watched so much of this war 'collaborator' films that I tend to put this film against a higher pedestal. This kind of film is rife AND follows a tried and trusted formula (Europa, Europa , Lacombe Lucien*, Hiroshima, Mon Amour). Someone is piled into collaborating to survive and ultimately just tries to be alive.

I think the main difference here is that it is about a woman forced via rape. It really tips a certain uncanniness that defiantly Filipino. It hits the rampant sexism in our country and plays out the exploitation narratives common during the Marcos era films.

It sadly did not live up against those three listed above.

I'll start with what I love. The acting is supreme. The gothic styling of Aunor is such a pleasant thing to watch. She just has this style that really exist on her own realm. O'Hara specifically compliments it with how he presented her in some key sequences. It is also nice to De Leon strutting a much darker aura against his usual hot guy roles and shows why he is one of the biggest stars of all time.

But it ultimately feels uninspired and quite confounding.

It just lacks the duplicity of it all.

Like I wish it really tried to keep up that *rape* of it all. That element of the film was truly turned into a cheap excuse of drama in the end. It ultimately never mattered. Also, how it depicted the narrative of Rosario's vs the non-collaborators felt emotionally manipulative. There is a weird lack of care about the locals in this film. They were portrayed as if they are actually bad to have this feeling (primarily towards Rosario) about her collaboration and is shown that their action is selfish in hindsight. It did not really turn me off but it made this film a bit muddled in my eyes.

Ultimately, this is good but not as punctuative or innovative as I thought it would be. I think this is a rare instance that a PH film centered around collaborators. That was a unique change but I think this questionable facet of war has been handled better in other films.

A film about the underbelly of downtown where prostitutes, lowlifes and lost people unite. A designer who sidelines as a hooker for fun, is followed by a sexually frustrated detective. They developed a relationship that fully destroy their ultimate satisfaction on sex and their work. But a maniac menace is lurking behind the covers AND follows the ladies of the night for more than spiritual yearning.

Eh. This feels like it could have been more polished because it does not really have that punch that I think Ken Russell thought it has. The suspense and the main voyeur plot just does not really feel like they compliment each other. It feels like two different sauce to the whole slop.

In the end, it just feels very empty.

This film is so stylish and full of promise but nothing really happened. A lot of the plot where left open ended AND what a waste of Katheen Turner for such an underwritten character. It is indeed A film about repressed sexuality with a segue to suspense but it never really find (funnily enough) its true climax. Its release is too abrupt AND felt rushed.

Not my cup of tea.

Temptation Island tells the story of Four Beauty Queens of different background trying to vie a spot for Manila Sunshine crown. When the ship their in got wrecked, they are forced to survive and discover themselves with three men (a stowaway, a kept man, and a ship crew member) and the flamboyant gay organizer of the event.

This was mostly bad.

In general, it was all over the place. The comedy or satire does not stick. It never really find was does it want to comment on. Is it about poverty? Is it about sex? Is it about latent homophobia? It does not really know and it really drags. Most Comedy in the Philippine has this bent that really held itself back. It needs puritan and very Catholic, it needs to be playing up the gender roles AND this film just did that. The men are foils but oddly are the most powerful tool in the island. They killed the gay, they finished each story into morality tales AND they force their own twisted Hayes Code in the end - a return to domesticity for the women involved.

It is awful.

It has fun sight gags (the Desert Hunger scene was a bit fun) and did hit a good climax (the helicopter passthrough) but I do not think the bland sections and that horrendously pointless ending really stick anything together.

Performance wise, ehh. The script is far too weak and no one really made their roles interesting. I think Bambi Arambulo and Azenith Briones has the biggest roles/personality but really flopped to carry their character to anything noteworthy or nuanced. Its stock comedy characters with the charm being that they are prominent. In general, its Anido and Belmonte who stole show, even with such thankless and horrible roles.

Not recommended.

Fun silly Radiation Exploitation film.

Got some Mario Montenegro kick in me and decided to watch this. This was interesting albeit predictable - knew how it will end and why this is happening by the time they went "up". The monster in this is the funniest thing AND the Fil-English here is interesting BUT definitely leans towards the way Filipino speak at the time.

Fun to see Eva Darren who will be more famous for her character work as Annoying Older Lady in Siguion Reyna films with Rosanna Roces. She really played the part but its a mostly tankless damsel sexpot role.

Soft recommendation. Not the best but at least campy enough.

An undiagnosed mentally ill child is the talk of the town. Her rather belief that she exist in her own grand scheme makes her an easy target as town pariah. When a popular star decides to comeback, she believes in one thing, in that she is the lost daughter of Roxy Carmichael. She will do everything to meet her and get her out of this horrible place she lives on.

It is fine. Its just that rather than really reading the lines between her delusion - it went the Gilmore Girls route AND make it a world where she'll be alright except for her yuppie parents. A common theme of post Hippie 'generation' 80's film, which makes it doubly insufferable.

AND it lands squarely as a forgettable against Nowhere America film about losers and defeated people as they try to make sense of thing. It works in sections but it feels to fantastical to really make that emotional ending to hit. It never really hit a point where her character really feels like truly pathetic. It tries to paint her two ways AND that does not work in that way.

Performance-wise, Winona does her 'angsty' thing AND charms against that painfully basic script. I oddly thought this will have Cher for reasons unknown (that was apparently Mermaids not this) but Jeff Daniels surprises in a somewhat nothing burger role.

Not recommended.