“We don’t want to be a copycat of Step Up,” director Paul Alexei Basinilio was quoted saying during a VIVA Convention prior to Indak’s release. “If you noticed in the baybayin translation…that’s indak. We specifically wrote this because we wanted to promote Filipino culture.”
Basinilio presented an interesting causality — to use baybayin is to promote Filipino culture — and some would argue that this was a rather misinformed reach.
Baybayin is just one of the many ancient scripts in the Philippines and it was mainly used by the Tagalogs*. To imply that baybayin is representative of an entire nation therefore reveals a seeming obliviousness to certain nuances surrounding the discourse on Filipino culture. Even using the phrase “Filipino culture” alone already invites further discussion; it suggests the existence of a monolithic (read: singular) identity which may not be true for a country as widely diverse as the Philippines.
Continue reading “On ‘Indak’ (2019)”
It is precisely the parenthetical reminder in the title that compels me to pay closer attention to Irene Villamor’s Sid & Aya (Not A Love Story). The textual framing calls attention to itself. It is gimmicky, sure, but it is also an unveiling of directorial intent and an invitation for the viewers to examine what exactly makes this movie not a love story.
From this examination stems what I deem to be the film’s ambition. Sid & Aya centers on the familiar Rich Boy Poor Girl couple, but it swerves around the typical trajectory from Meet-cute to Happily Ever After. The film instead parses a familiar premise and plays around the tried-and-tested formula of the cross-class romance genre .
Continue reading “On Sid & Aya (Not a Love Story)”
It’s that time of the year again. It’s Metro Manila Film Festival. Again.
Much has been said about the MMFF. To expound on how shitty and commercialized this festival has become is to just preach to the choir at this point.
But I wonder if this year’s festival would earn just as much as last year’s, considering the failed economic policies that plagued the Philippines in 2018. The enactment of TRAIN Law and the rising inflation have greatly affected the typical MMFF market, and the people with money to spare are too disillusioned (or too high brow) to watch Vice Ganda deliver the same tired jokes over and over again.
(Un)fortunately I don’t have access to any of the Magic 8 movies. Still I watched the trailers and I wrote some notes too.
Now let’s begin the killing. Charot.
Continue reading “MMFF 2018 Trailer Reviews”
Gerard Krawczyk’s Wasabi, to put it simply, is forgettable. It has its funny moments, but its use of tired slapstick cliches that exaggerate action sequences and make fun of dim characters can be both tiring and annoying—-usually both and at the same time.
The plot kicks off when police officer Hubert Florentini learns that his Japanese ex-girlfriend is dead and that they have a teenage daughter together. This discovery brings Florentini to Japan where he uncovers the mysterious death of his ex and tries to establish a relationship with his newfound daughter.
Continue reading “Review: Wasabi (2001)”
SPOILER ALERT | Source
A little bit of historical context is needed to fully appreciate Jean-Luc Godard’s Breathless. This has been my third viewing of the film and, thanks to the fact that it is also one of the most celebrated products of the French New Wave, I am now more equipped to see the film beyond the literal sense.
One thing that bothered me the first time I saw it was the brush-the-lip gesture Michel (Jean Paul Belmondo) kept doing all throughout the movie. Apparently it was a nod to Hollywood actor Humphrey Bogart who is vital to the development of the protagonist’s character. Michel, a man on the run for shooting a police officer, is trying to emulate the charisma and bad-assery of Bogart known for his roles in iconic movies such as Casablanca.
Humphrey Bogart | Screenshot
Without recognizing who Bogart is and the fact that he’s American while Michel is obviously French, one could get easily lost in the cultural significance of Breathless. It was made following a pact between France and the US which opened the French market for American products including cultural creations such as movies. Breathless, then, becomes not only a demonstration of technical innovation in film-making but also an exploration of a nation’s identity during the early stages of American cultural imperialism.
Continue reading “Review: Breathless (1960)”
Hellboy is one of the earlier inceptions of the modern comic book movie. It was released in 2004, a few years before Marvel kicked off their own cinematic universe, and was helmed by the brilliant Guillermo del Torro who made sure that this movie would go down as one of the most visually-gripping superhero movies since the turn of the century.
Or am I overrating it?
But no shit though, the movie reminded me a bit of Deadpool. Both characters are antiheroes, with Hellboy just a little bit more archetype-y because of his “saving the world” slant. Deadpool also has its breaking-the-fourth-wall shtick while Hellboy is more straightforward. The latter, however, has this sincere human struggle of trying to fit in and be accepted—something Deadpool never gave a damn about.
Case in point: Hellboy, a red demon spawn adopted by a professor who works for the FBI, shaves and files his two pointy horns. And upon suspecting that his ladylove Liz is dating the FBI agent who’s also his errand boy, he stalks them and squirms in queasy jealousy. “He took a picture of her!” he exclaims over and over again, as we all have similarly done upon learning that Crush is into Some Other Bitch.
The plot may have gone the stereotypical route of having the antihero lured into his evil ways then eventually choosing to be the good guy—but that isn’t an issue. The Superhero—antihero or not—is a character trope that offers too little a room for defiance (don’t all tropes do?). Some superhero movies have tried to pull the moral ambiguity clause, but their protagonists have still turned out to be flawed but inherently kind individuals who would do everything for the greater good.
What makes Hellboy stand the test of time, however, is its visuals. Except for the explosions that are obviously early 2000s CGI, the rest of the visual spectacle are sophisticated and are perfect for the dark comedy ambience of the movie. I was genuinely surprised that it was made before I even hit puberty.
And for the last point of this wonky attempt at critique: Hellboy looks so much like Gareth Bale! Right? Riiight?
RIGHT???? | Source
For people like me who very rarely watch movies the year they were released, maybe now is the time to give Hellboy a chance. Superhero movies are the hippest, and Hellboy definitely counts as one of those oldies but goodies kindo’ movie.
SPOILER ALERT! | Source
I guess everyone would agree that the premise of James DeMonaco’s The Purge is rather interesting: in 2022 America where 99 percent of the population is employed and the crime rate is at an all time low, there is an annual “purge” that allows people to unleash their inner psychopath.
Once a year, for 12 hours, all crimes including murder become legal and government aids such as health and police services are suspended. This idea is rife with opportunities for socio-political commentary, and the film is well aware of it. But despite being set in a thriving, wealthy society, the film zooms in to violent criminal activities reminiscent of the urban ghetto.
Right off the bat, we see a montage of various street crimes for which the baseball bat is the no. 1 weapon of choice. The news soundbytes also tell us that this annual sociopath party is criticized for being just another way to “eliminate the poor.”
This brings me to the first of two major contentions I have against this dystopian world the film has created: it asserts that murdering poor people is the key to a much better economy. It took “beating poverty” to a literal level, which is funny but only in retrospect.
Sure, this flawed logic is primarily espoused by the movie’s antagonists who are huge wackos, but it also serves as the main motivation behind the film’s conflict. And unfortunately, this stupid assertion leaves the audience (or me, fine) to either ignore the faulty and shallow analysis or to disregard character development altogether and just accept that the villains are driven by insanity and nothing more.
Continue reading “Review: The Purge (2013)”