02/01/2024
Had watched 7 out of 10 MMFF entries in the span of two days, and I found myself โฆ exhausted, chz! ๐
โฆ I found myself writing some notes about them, just like what Iโve been doing many years ago.
Sharing some movie musings. ๐
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๐ข๐ซ๐๐๐ฅ๐ฒ
ยท Itโs charming and itโs magical, and I love it. The film's greatest asset lies in the outstanding performances of the ensemble cast, especially the young Tonton, portrayed with exceptional skill by Euwenn Mikael. He can be cute and jolly in one scene, yet he also shines in tender and dramatic moments. Alessandra De Rossi, who played as Elay, Tonton's mother, and Epy Quizon, in the role of Mang Louie, consistently deliver compelling performances that steer clear of any theatrical or exaggerated acting. There are many local family dramas set in the Metro Manila slums that tell the story of the underprivileged, but whatโs remarkable about Firefly is the sense of child-like wonder and optimism that it brings to life, despite dealing with a dark or serious subject. There are parts where Tontonโs journey is hard to believe, but for me itโs (kinda) forgivable given the established theme. The film evokes an optimistic outlook and has faith in the goodness of people. I can't help but think of the joy I experience whenever I see a Disney film. Under Zig Dulay's skilled direction, the film skips the melodrama that often accompanies Filipino films that deal with similar issues. Instead, it invites you to believe once more in the magic and power of kindness and love. Always be kind and Love will light the way. ๐
๐๐ก๐๐ง ๐ ๐๐๐ญ ๐๐จ๐ฎ ๐๐ง ๐๐จ๐ค๐ฒ๐จ
ยท This is a sweet treat for the fans of the Vilma Santos and Christopher De Leon tandem. There are several charming scenes involving the Ate Vi-Boyet pairing that certainly add an appeal to the overall experience. (Spoiler alert: the hilarious meet-cute, the amusing bed scene! Lol). The film explores the heartwarming journey of growing older and navigating the complexities of love in the later stages of life. Around halfway, the narrative seems to come to a satisfying conclusion, but surprisingly, it continues to go on beyond that, prolonging the story unnecessarily. Also, the side story involving the younger relatives in the Philippines doesn't significantly contribute to advancing the narrative. But it likely conveys an account that certain Filipino viewers could find familiar. But allโs well in the end though, at least for me, because I went inside the movie house for the Ate Vi-Boyet onscreen reunion, and they did not disappoint. haha :))
๐๐๐๐ค๐ฒ & ๐๐๐๐๐ญ๐ญ๐
ยท It's an absolute blast to watch the ensemble, especially Eugene Domingo and Pokwang, who deliver delightful performances with their comedic banters. Both manage to sprinkle a genuine sense of humanity in their already larger-than-life characters. In their respective supporting roles, Agot Isidro and Romnick Sarmenta are also wonderful to watch in a somewhat campy movie; itโs rare to witness their comedic prowess on the big screen these days. Also, Kara Morenoโs stunning cinematography and JayLo Conanan's brilliant touch in both production and costume design collectively breathe vibrant life into the visual narrative. There were many humorous moments, each punctuated by cleverly crafted gags that, for me, hit the mark. Though sometimes these overshadow the central tension that should be driving the story forward. I really enjoyed it, nonetheless. Oh and can Uge's Fingahlickin' be uploaded na sa Spotifyโฆ hahaha :))
๐๐๐ฐ๐ข๐ง๐
ยท The film is acutely aware of its purpose: to make you cry or to elicit strong emotions. With this objective in mind, it not only recognizes its aim but achieves it with sensational success. Thanks to the undeniable onscreen chemistry and wonderful performances of real-life couple Marian Rivera and Dingdong Dantes, which shine through the film. While the story is not groundbreaking, as the theme of time travel has been explored in numerous romantic films already, it's the film's distinctive (or is it familiar?) approach that perhaps captivates most Filipinos. The inclusion of a supernatural being (Lods) during difficult times gives the story a sense of familiarity and comfort. We've witnessed it in May Bukas Pa and 100 Days to Heaven, just to mention a few. While the film certainly succeeds in tugging at the heartstrings, I have reservations on the perspective of the likelihood of certain catastrophes resulting in positive outcomes. Kung gusto mong umiyak, gusto mong paiyakin ang mahal mo, or gusto mo lang making sad-girl o sad boy, or something like that, watch this.
๐๐๐ฅ๐ฅ๐๐ซ๐ข
ยท Admittedly, I am not a fan of horror films. However, my curiosity was piqued when I stumbled upon the story of Juan Severino Mallari, a Filipino Catholic priest who is believed to be the first documented serial killer in the Philippines. The visuals of Mallari are striking. Pao Orendainโs cinematography is gorgeous, which add a touch of sophistication to the entire film as it unfolds its thriller storyline. The premise is even more promising: the story delves into the lives of three distinct characters all played by Piolo Pascual across multiple timelines. The film seemed to heavily depend on jump scares that felt disconnected from the overall story. And they either become too random or too repetitive. I also found myself grappling with confusion as the film contends with the intricate nature of its plot and the concurrent multiple timelines. While "Mallari" boasts an intriguing premise and commendable cinematography, it usually veers into unfounded or unreasonable territory, while attempting to encompass too many elements all at once.
๐๐จ๐ฆ๐๐ฎ๐ซ๐๐
ยท It's admirable that GomBurZa, and a number of films lately, are dedicated to recounting our history. The MMFF serves as an excellent platform to inspire Filipinos particularly the younger generation to engage with and appreciate such cinematic narratives. Helmed by director Pepe Diokno, the film is meticulously crafted with careful and skillful ex*****on. There are stellar performances from Cedrick Juan (Jose Burgos), Dante Rivero (Mariano Gomez), and Enchong Dee (Jacinto Zamora). While our history classes introduced us to these three priests, the film examines the intricate details that led to their eventual ex*****on, which provides a more nuanced perspective as compared to what we read in history books. As a result, the film imbues these characters with a humanizing touch, grounding the narrative in the realm of the human experience. At times though, the film poses an extra challenge for viewers due to its extended expository conversations that are occasionally conducted in Spanish or Latin, which usually aim to introduce a character or to explain the context of the story. Itโs probably because the film has a penchant for thoroughness in terms of historical coverage, but for me it may have still worked by being precise or without the excess. There were extended scenes that for me have disrupted the pacing of the film, and affected the overall rhythm and coherence of the narrative. I felt less engaged in some scenes, too. But this is a well-crafted movie, nonetheless. Familiar as we are with the inevitable conclusion of this historical period, the film manages to sustain an undeniably powerful impact: it instills within us a profound sense of rebellion and revolt against our oppressors.
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๐๐ฆ๐ข๐ฅ๐ฒ ๐จ๐ ๐๐ฐ๐จ
ยท Sharon Cuneta and Alden Richards serve as the primary allure of the film, attracting audiences with their undeniable star power. The movie doesn't seem to establish any major conflicts, and if it does, they seem to be minor issues requiring quick or straightforward fixes. SPOILER ALERT: What I particularly like is the character development of Maricar (Sharon Cuneta) when Mateo (Alden Richards) left for work abroad. As Maricar enters a new chapter of her life, she experiences profound personal development, blossoming into a self-reliant individual and leaving behind her over-dependence/ clinginess on her son. She embarks on various endeavors, such as learning to drive and most notably, going back to college to complete her degree. It is worth mentioning that Maricar shifts her focus from finding love to finding fulfillment within herself.
*****
P.S.
If you've reached this part, wow, ang tiyaga mong magbasa! May kuwento lang ako. keri lang? ๐
I used to write what I thought were โmovie reviewsโ and have โratedโ the films that I had watched. Masipag pa ako non, at hindi pa ngarag sa work! ๐คฃ
I still write some notes โ I call them musings โ about certain films or issues. But I do not share them publicly. And if I do, I choose to share them on my private Twitter account. Ayoko sang ma-misinterpret. :)) (I refuse to call it 'X', para kasing p**n site! haha)
Also, I donโt โrateโ films anymore. Itโs the reason why I donโt do Letterboxd. I do not adhere to the rating system because I find it too limiting.
Lately, maraming naglalabasang movie reviewers online and may naririnig akong mga madlang people at mga tao sa film community na against sa mga movie reviewers na ito. Kesyo hindi tama ang movie review format na ginagawa nila, o wala silang alam sa pagri-review, or questionable ang credibility nila because hindi sila 'aral' sa film school.
For me, everyone is entitled to their own opinion on a film. I think ang challenge ngayon, in the age of digital media, is to discern who to believe, mapa-movie reviews man yan o news.
The online content we consume or engage with, and the company we keep influence our decision making and shape our consciousness. So proceed with caution.
So as an advocate of film and media literacy, I found myself writing these 'movie musings' once again. AND sharing them here. Clear sa akin na hindi ito platform for criticism or bashing, but to promote film and media literacy. ๐
What movies have you watched lately? Share mo na rin! ๐
Let's talk about movies!
