Abominog

An off-beat and gripping Filipino ghost tale.

It is essentially a sort of Pinoy Norman Bates story told in retrospective spanning two decades, with heavy amount of supernatural and sufficiently creepy elements thrown in for a good reason.

The yarn is simply structured and easy to follow. The chain of events revolving around the stark consequences of abused childhood experience is pretty dark and disturbing. Overall, in my opinion, the film has balanced mix of mystery, horror, drama ... and comedy.

Comedy? Well, I must be kidding, but I count one particular instance, which may be regarded, to certain extent, as a kind of comic relief in the midst of mostly depressive storyline: a redundant exposure of excessive puke masses ejected on the floor wasn't a fun part unless accompanied by the mother's self-mocking chant. Yum!

The direction perhaps is too heavy-handed at times with superfluous horrific clichés methodically stuck on one another, and the conclusion is somewhat rushed and improbable. But hey, the horror genre is rarely and less than anything else associated with scientifically correct, 100% logical, polished, visually stunning and accomplished piece of art.

Not bad at all.

A convincing and brutal drama about the war's ugly and scary face, which is as much poignant as it is riveting and engrossing from start to finish.

The doomed fortress of the border town of Brest was built a hundred years before the first onset of German deceitful invasion into the Soviet land at early dawn of June 22, 1941. It had been changing hands several times before, notably in 1918 when it was surrendered to the Germans under notorious Brest Peace Treaty. It was released thereafter to the Poles, then liberated by the Red Army, then transferred to Poland again. Under the Polish administration the fortress was first affected by German air raid in 1939 and significantly damaged under the massive onslaught of the German troops.

Before the end of 1939 the city of Brest (and its fortress) was finally incorporated into the Soviet Union. By the commencement of war, the Brest fortress was a home to a number of Soviet military units - infantry battalions, reconnaissance and artillery regiments, miscellaneous attached units and troops, all-in-all up to 8000 servicemen and several hundreds of their families, wives and children were stationed therein.

The film starts unfolding peacefully on the eve of the war - a regular day in the lives of ordinary people in a military compound - orchestra rehearsals, dancing, shopping, kisses, Saturday evening film screening - the late peaceful everyday routine...

Persistent rumors that the Germans were cranking up preparations for a breakthrough on the border were considered as sabotage and eventually suppressed. But anticipation of imminent disaster was intensified by a particularly creepy late night scene of the special vanguard troops disguised in Soviet military uniform disembarking from a train following subdued German language orders.

Heavy artillery fire that all of a sudden pierced silence at the daybreak of June 22 instantly inflicted heavy human and material losses, disrupted communication, cut off power supply and destroyed military munitions. Followed by meticulously coordinated combat assault immediately afterward, it took the inhabitants by surprise and split the garrison into several relatively small and isolated pockets of nevertheless pretty fierce resistance.

Under massive German attacks the city was defeated fairly early, whereas the small number of the besieged Brest fortress survivors with scarce resources, deprived of food, water and medicine, and with narrowing hope for reinforcement or backing from the retreating regular forces, kept on defending the small plot of Soviet land against the invaders for many days.

Though the essence of the story is certainly a portrayal of the valor of Soviet soldiers that lost their lives defending the first citadel and symbol of Russian resistance, the film manages to avoid as much as possible worn-out heroic clichés and propagandistic pathos that were often compulsory elements even in the best examples of Soviet war movies of the past. Yet, unlike many politically engaged modern movies, it resists the temptation to deride the peculiarities of Soviet lifestyle of that time and to speculate on the popular issues of "Stalinist regime's atrocities".

Instead, the film focuses on accurate capturing of a full range of authentic human emotions from joy, love and devotion at the early beginning of the film through angst, fear and pain as it progresses to hopelessness and despair. It tells the frightening story of regular people, which lives were turned upside down overnight when they end up face to face with unstoppable deadly force menacing their families, their loved ones, their own lives and their country.

It pulls no punches when it comes to depiction of enormous destructions and horrors of war with first rate set designs and visually arresting special effects, but the main asset of the film is, of course, excellent nuanced performances from the entire cast especially the leads - Korshunov, Merzlikin and Derevyanko.

The story is told as if from the perspective of a teenage boy witnessing the outbreak of war and providing narration already as a war veteran that has survived the worst war in modern history. It may be emotionally draining cinematic experience for many viewers, but I believe it could be especially conducive for the younger generation to acquire better understanding of the actual tremendous price the nation has paid for the great Victory.