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The Spotless Mind

Musings of a Non-Film Reviewer. I pay, I watch, I comment.

BABY DRIVER (Edgar Wright, 2017)

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SPOILER ALERT!!

My notes on Baby Driver:

1. That coffee shop scene early in the film where the barista smirked when Ansel Elgort said that his name was Baby reminded me of the time when I used to work as a manager for a customer service account in a call center. One of my basic tasks was to ensure that each associate got assigned an “appropriate”-sounding call name. The uniquely cool ones like Baby Juice or Shangri-La or Miracle Boy had to be changed into more “pleasant-sounding” generic nicknames. We also couldn’t use real names that sounded like terms of endearment such as Love, Sweetheart, Honey, and yes, just Baby (even if a quarter of our population probably used this as a name/nickname) lest callers began thinking that they actually dialled a phone sex hotline.

On a different note, I was so hooked on that B-A-B-Y song that I wanted to jump in my Subaru, put on my Wayfarer, and play that song on blast while driving around Commerce Ave. (okay, done with my social-climbing exercise for the day).

2. A lot of people would most likely look like an idiot doing that swaying dance routine with the windshield wipers, but Ansel had the right amount of charm to make it just the cutest thing ever. I could probably watch that one long continuous take of him singing and dancing during a coffee run on a loop for days. (Bonus na lang that he could also prepare a mean sandwich. Mukhang masarap sya.)

3. Aside from Monsters Inc. (“You and I are a team”), I was happy to see the references on my other faves here, like It’s Complicated, Fight Club, and The Little Rascals (although I still preferred the version of Alfalfa with his cowlick singing You Are So Beautiful to dear Darla).

4. Those impressive car stunts that could rival the ones in the Fast & Furious series! As if this movie wasn’t even cool and stylish enough already. More nganga lang ako. And that whole Tequila shoot-out. Worth the price of admission.

5. I knew that Jamie Foxx could not be trusted as soon as he showed up wearing that tacky King of Hearts sweater. I would rather trust that “puts the Asian in home invasion” guy even if he didn’t know the difference between Austin Powers’ Mike Meyers and Halloween’s Michael Meyers (or even Friday the 13th’s Jason Voorhees). Also, seeing those masks reminded me so much of the Betty Doll Bank Robbers from the underrated Sugar & Spice. Time for a rewatch.

6. Sorry Edgar Wright, but Prime Cruz beat you (twice!) on that colorful laundromat scene.

7. I had a bit of a problem with the last act when everything just went awry and people started growing a conscience. And inasmuch as I adored Debora (Lily Collins), I wasn’t completely sold on the romance and the idea that they fell in love even before their second date.

8. Baby cleverly used music to drown out the terrible memories of a traumatic event in his life. That definitely wouldn’t work with me since my playlist would mostly be weepies by Celine Dion and Sarah Geronimo huhuhu.

Rating: ★★★★☆

KIKO BOKSINGERO (Thop Nazareno, 2017)

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SPOILER ALERT!!

My notes on Kiko Boksingero:

1. In the same way that men would never understand the pains of menstrual cramps or childbirth, I think women wouldn’t also fully realize the physical and psychological effects of circumcision. The humiliation of being called supot, the mixed fear and anticipation of that chosen summer, the embarrassment in asking your father to accompany you to the nearest hospital, the excruciating agony of walking around in XXXL basketball shorts, and the horror of letting your mother (mine’s a nurse huhu!) tend to your wounded member (in full kamatis mode) would always be an essential and memorable part of a young Pinoy boy’s rite of passage.

2. In one touching scene, Kiko (the endearing Noel Comia, Jr.) was explaining to his estranged dad George (a terrific Yul Servo) that all the other boys in his school got circumcised the previous summer and that he missed it because he didn’t have a father to go with him. It was such a simple moment, but heartbreaking enough to make me text a single mom friend about how sad it made me feel and that I would be willing to be a proxy circumcision father for her son as needed.

The scene ended on a light note with George joking about the high medical fee (“Sana pala sa albularyo na kita dinala. Ako nga pukpok lang. Kita mo ang laki na!”) and it just made everything feel really genuine.

3. It was this kind of authenticity that made this perfectly-told coming-of-age film really special. It could have easily gone the typical Pinoy melodrama route, but it decided to keep things very straightforward. There were no big moments, no acting highlights, no twists, no spoonfeeding of explanations, no unnecessary frills, no pretensions and yet it kept me thinking and made me burst with emotions (yes, I sobbed like crazy) as soon as the end credits rolled.

4. I really loved the movie’s take on a modern family. We were basically just watching Kiko and Yaya Diday (Yayo Aguila) do the most ordinary things (the scene where she applied baby powder on his neck and placed a bimpo on his back took me back to my grade school days).

I smiled every time she lovingly corrected him on his lack of manners (“Para kang sira”, “Para kang sira PO”) and laughed every time she would complain that she should have picked him up from school, but never really bothered to do so.

Yayo (in a career-best performance) fully captured the essence of her character and it would make everyone wish that they had a Yaya Diday to comfort them during times of trouble and force them to eat their veggies every meal time.

5. In one emotional scene, a heartbroken Kiko (abandoned yet again) and Yaya Diday hugged each other while we were treated to a majestic view of the Baguio landscape at night. Definitely one of the best moments in Pinoy cinema this year.

6. Originally titled Pacboy and supposedly about a kid’s quest to look for his father Manny Pacquaio, I was actually happy with all of the creative changes (I heard that the legendary boxer didn’t approve of the story). Since the updated plot just had him as Kiko’s favorite boxer, it further highlighted the difference between his hero worship vs idol worship. This was even more obvious when George asked Kiko if he wanted to be the next Pacquaio and his smart retort was, “Ayoko maging senador”. Now that was a knockout line.

Rating: ★★★★★

Cinemalaya 2017 Scorecard

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I wasn’t surprised that the general consensus on this year’s line-up was that of disappointment. One friend made a joke that Cinemalaya seemed to be a festival of diminishing returns. Majority of the selections this year would have a tough time disproving that thought.

Luckily though, there would always be a gem (or two) that’d restore your faith and make you believe that even with a limited budget and lack of big stars, our talented local indie filmmakers could create quality films that deserved our continued support.

Here’s my #Cinemalaya2017 festival scorecard:

Best Feature-Length Film

1. KIKO BOKSINGERO (Thop Nazareno) – ★★★★★

2. RESPETO (Alberto Monteras II) – ★★★★☆

3. NABUBULOK (Sonny Calvento) – ★★★☆☆
4. BAGAHE (Zig Dulay) – ★★★☆☆

5. BACONAUA (Joseph Israel Laban) – ★★☆☆☆
6. SA GABING NANAHIMIK ANG MGA KULIGLIG (Iar Arondaing) – ★★☆☆☆
7. ANG PAMILYANG DI LUMULUHA (Mes de Guzman) – ★★☆☆☆

8. REQUITED (Nerissa Picadizo) – ★☆☆☆☆
9. ANG GURO KONG ‘DI MARUNONG MAGBASA (Perry Escaño) – ★☆☆☆☆

Best Performance by an Actor in a Leading Role

1. NOEL COMIA, JR. (Kiko Boksingero)
2. ABRA (Respeto)

*Special Mention: RONWALDO MARTIN (Sorry for the Inconvenience)

Best Performance by an Actress in a Leading Role

1. ANGELI BAYANI (Bagahe)
2. GINA ALAJAR (Nabubulok)
3. ELORA ESPAÑO (Baconaua)

Best Performance by an Actor in a Supporting Role

1. DIDO DELA PAZ (Respeto)
2. YUL SERVO (Kiko Boksingero)

Best Performance by an Actress in a Supporting Role

1. YAYO AGUILA (Kiko Boksingero)
2. CHAI FONACIER (Respeto)
3. MOI BIEN (Ang Pamilyang Di Lumuluha)
4. THERESE MALVAR (Baconaua)
5. RACQUEL VILLAVICENCIO (Bagahe)

Best Short Film

1. SORRY FOR THE INCONVENIENCE (Carl Adrian Chavez) – ★★★★☆

2. HILOM (P.R. Patindol) – ★★★☆☆
3. MARIA (JP Habac) – ★★★☆☆
4. FATIMA MARIE TORRES AND THE INVASION OF SPACE SHUTTLE PINAS 25 (Carlo Francisco) – ★★★☆☆
5. LOLA LOLENG (Che Tagyamon) – ★★★☆☆

6. NAKAW (Arvin Belarmino, Noel Escondo) – ★★☆☆☆
7. BAWOD (TM Malones) – ★★☆☆☆
8. ISLABODAN (Juan Carlo Tarobal) – ★★☆☆☆
9. JUANA AND THE SACRED SHORES (Antonne Santiago) – ★★☆☆☆
10. ALIENS ATA (Glenn Barit) – ★★☆☆☆
11. MANONG NG PA-ALING (E. del Mundo) – ★★☆☆☆

12. NAKAUWI NA (Marvin Cabangunay, Jaynus Olaivar) – ★☆☆☆☆

Until next year!!

CINEMALAYA – SHORTS A (2017)

SPOILER ALERT!!

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FATIMA MARIE TORRES AND THE INVASION OF SPACE SHUTTLE PINAS 25 (Carlo Francisco Manatad, 2017) – ★★★☆☆

Although the title was as subtle as Jason Mraz’s Waiting for My Rocket to Come, there were still a lot of funny bits here that kept me erect, er, entertained in my seat.

I was supposed to question why the old couple was watching Kris and Biiiiimb on Tonight with Boy Abunda in broad daylight, but there were far crazier things happening on their side of the world (crashing dildo, floating knife, luggage with a chastity alarm, vagina moon).

Did the license for Dayang Dayang cost the production a fortune? I wish the old lady danced what she learned from zumba during that Christmas lights scene.

Nice enough, but lacked an impressive girth.

*****

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SORRY FOR THE INCONVENIENCE (Carl Adrian Chavez, 2017) – ★★★★☆

Anong meron si Ronwaldo Martin? What makes him so watchable (enigmatic?) every single time? In this short, he barely had any lines, but the grit and emotions were definitely palpable.

A fascinating look at masculinity defined by a Pinoy patriarchal society, where the bond between a boy and his father could only be felt through a common desire/need for violence. Powerful stuff!

*****

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LOLA LOLENG (Che Tagyamon, 2017) – ★★★☆☆

Reminded me a lot of the equally affecting Manang Biring (hey, how about an animated film about other relatives?). The crude animation worked really well for the story, although the sound design felt a bit off.

Another reason to fear family reunions, but more than that, another reason to fear the emerging short-term memories of people vis a vis historical revisionisms. #NeverForget

*****

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ALIENS ATA (Glenn Barit, 2017) – ★★☆☆☆

The aerial shots felt too gimmicky and couldn’t quite justify the lack of a strong narrative. It reminded me so much of those trips to the National Museum and watching moving dioramas. Not my kind of voyeurism.

*****

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ISLABODAN (Juan Carlo Tarobal, 2017) – ★★☆☆☆

Remember the Daily Prophet in Harry Potter with all the moving pictures? This short felt exactly like that, except that it was a literal comic book film. The multiple panels with their abrupt stop-and-go motions were too distracting. It was a novel idea that just didn’t fully work onscreen.

That climactic Captain America: Civil War-like showdown between the two gangs had me in stitches for all the wrong reasons.

Also, for a comic book movie, this one included my ultimate peeve: wonky subtitles.

*****

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MANONG NG PA-ALING (E. del Mundo, 2017) – ★★☆☆☆

Had some excellent underwater photography, and not much else. I still couldn’t figure out why Manong had to remove three pieces of underwear for his shower scene while his fantasy mermaid slash dead wife wore nude-colored panties. Ehh.

CINEMALAYA – SHORTS B (2017)

SPOILER ALERT!!

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JUANA AND THE SACRED SHORES (Antonne Santiago, 2017)

Similar to Pina, this dance film was just too artsy for my basic tastes. Kwento ko na lang sa inyo mga bes.

So merong long-legged Ate Dyosa na nag-trip magsayaw sa maduming batis. Biglang dumating si Gluta Koya na may dalang santol at more join sa ballet nya. Nagpagulong-gulong sila sa putikan at nagtastas ng damit. Biglang may Grindr notif si Koya so itinigil nya ang pagkaladkad kay Ate Dyosa na naninilaw na. Paggising nya, naka-blusang itim na sya at nagpapaligo si Gluta Koya ng isang bata.

Tungkol ba ito sa colonialism? Oppression of women? Dance as art form? Ang deep, men!

Rating: ★★☆☆☆

*****

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MARIA (JP Habac, 2017)

Aka the Reproductive Health Law Movie.

From the opening breakfast scene with a dozen children of all ages grabbing for the remaining food on the table, to the endless petty fights between the siblings (that would put Bunak and Bilog to shame), to the mother giving birth yet again to her twenty-nth baby inside a tricycle, it was enough for me to wish for an instant vasectomy.

Strong message and good production values, but it just fell short from being a public service announcement.

Rating: ★★★☆☆

*****

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NAKAW (Arvin Belarmino, Noel Escondo, 2017)

Single take, poverty porn, murky lighting, shaky cam, gratuitous sex and violence, social relevance, Kristoffer King. This short was able to tick everything off the Brillante Mendoza-lite checklist. Didn’t really feel necessary.

Rating: ★★☆☆☆

*****

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HILOM (P.R. Patindol, 2017)

There was something sweet and completely unsettling between the bond of the young twin brothers in this short. When Blue Twin developed a stronger friendship with another boy, you could actually feel the jealousy of Pink Twin. At the end of the day though (and amidst the malicious gay accusations), blood was still thicker than water.

Solid production values all-throughout. I just wish it didn’t hold back and ventured darker than expected.

Rating: ★★★☆☆

*****

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BAWOD (TM Malones, 2017)

Although I liked the initial focus on the charming relationship between the grandfather and his thirteen year old granddaughter (especially the opening sequence with their constant banter that ended up in a carabao ride), it failed to capitalize on this and instead chose to take a philosophical route (similar to that clichéd bamboo metaphor).

The ending made me scratch my dandruff-free head.

Rating: ★★☆☆☆

*****

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NAKAUWI NA (Marvin Cabangunay, Jaynus Olaivar, 2017)

A well-intentioned short dealing with extrajudicial killings that was tough to watch given its crude technical aspects. It was like watching a Powerpoint presentation that would always fade to black before moving on to the next flashback scene. Most of the performances were terrible (the part where the friends delivered the bad news to the father was cringe-worthy). The blatant audio issues were also very distracting and in the only scene that was meant to be affecting, the musical score started to swell before the sappy theme song was played.

Maiiyak na sana ako sa dulo nang biglang lumabas ang multo ng napatay na anak. It was probably meant to be sentimental, but I walked out of the cinema laughing instead.

Rating: ★☆☆☆☆

NABUBULOK (Sonny Calvento, 2017)

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SPOILER ALERT!!

My notes on Nabubulok:

1. Whatever happened to that Anti-Chismis Law? In a country powered by daily gossip (ranging from the newest kabit of your neighbor to the escapades of the resident office slut to the questionable sexual preference of a popular matinee idol), could that even be successfully implemented?

The great Jessica Zafra once said that we could never breed serial killers in our country because we’re a nation of nosy people. Secrets could never be kept for long in a community since Pinoys are naturally suspicious of the littlest odd behaviours of others.

This was the very first thing that came to mind while watching this mystery-thriller (in my mind, more of a dark comedy slash social commentary) about an American accused of killing his Pinay wife and how he was subjected to a public trial by chismis (or was it?).

2. How apt that the gossip started from local labandera Aling Ingrid (a brilliant Gina Alajar, her “Putang Ina” scene alone deserved a Balanghai), who smelled something rotten emanating from the house next door and immediately concluded that her cousin Luna (Sue Prado) was killed by foreigner husband Jason (Billy Ray Gallion).

She then had the audacity to ask her son (“Rockyyyyy!!”) to climb a tree just to check on their shady neighbor (in this scene, they were talking too loudly not to get noticed, though). When the seed of doubt was planted, it was funny and ultimately scary to see just how fast it grew and spread around the xenophobic town.

3. Definitely not happy that characters in Pinoy films named Jason always turned out to be villains and this was no exception. Fortunately, they were mostly good-looking and the one here resembled Hugh Jackman in his younger Logan days.

4. I had some problems with the bad lighting especially since most of the scenes were shot at night and I strained my eyes trying to decipher what was happening onscreen. It almost ruined that exciting trespassing sequence with Rommel (JC Santos, required to go topless in one scene).

Also, was the Harper family actually living in complete darkness? Was that why the policemen never bothered to turn on any of the lights when they searched the house?

The day shots were just as bad since one couldn’t even see what was written on cellphone screens. I expected the washed out colors for added effect, but it shouldn’t require a visit to an opthalmologist after.

5. This movie had the balls to actually associate the Duterte administration with the current vigilante culture. The President’s face was plastered everywhere, even on a killer’s shirt. I guess that smell of decay might be coming from the current state of our society as well.

6. Some of the subtitles weren’t in sync with what the characters were saying. In one scene, the word “Motherfucker” was shown, but nobody was actually cursing. ‘Nak ng tokwa!

7. The funniest moments were just from some random lines delivered by extras:

• Horny Ate entering the internet cafe: “Kuya, one hours!”

• Single Ate on a boyfriend that she met through a miraculous santo: “Magpapa-free taste na ako sa kanya!”

• Host of a gay beauty pageant: “Thank you Anne Curtis. Next we have Champagne Morales!” (I was the only one who really laughed out loud during this part because I could still remember the Metropop rivalry between Champagne and Roxanne “Roxee B!” Barcelo, surely the Pia Wurtzbach of singing competitions.)

8. What was up with that rushed Calvento Files ending? Did we really need a title card to explain what happened to each character? Whatever happened to the “Show, Don’t Tell” rule of film?

Rating: ★★★☆☆

SA GABING NANAHIMIK ANG MGA KULIGLIG (Iar Lionel Arondaing, 2017)

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SPOILER ALERT!!

My notes on Sa Gabing Nanahimik ang mga Kuliglig:

1. It was probably during the scene where Hector (Ricky Davao) was wailing over the corpse of his wife Dolores (Mercedes Cabral) that I realized I had watched something similar to this before. It looked very much like the same red herring thrown around in another murder-mystery set in a swampland.

My suspicion was further confirmed when self-confessed killer Magda (Angel Aquino) had that fantastical dream sequence where she ended up seeing a floating dead body that actually turned out to be her. Yes, I was definitely watching a version of Sam Raimi’s The Gift, except that the supernatural element was replaced by a religious theme. Nyek!

2. I shouldn’t even be complaining that the movie chose to head into that direction because I initially thought I was watching Senakulo: The Movie and it would really be Easter Sunday 2018 by the time it completed the twelve stations of the cross (thankfully, it abandoned that concept while I was close to nodding off right around the fourth station).

How could I forget these Bible stories when I would often volunteer to lead the prayer of the rosary done before and after breaks every October (rosary month!) in Zobel? My favorite part was the Sorrowful Mysteries because I got to play different characters and I always made sure that I gave each one a distinct voice. My rosary-praying career ended though when I read the line “Crucify him!” as “Cruci-fee him!” and one classmate laughed so loud and mocked me in front of the whole class that I felt very much like Mary Magdalene.

3. Those were some really odd framing choices. I wasn’t a big fan of seeing the characters occupying a quarter of the screen and talking in one corner. Nothing really wrong with that, it was just too AHRT(!!) for my basic sensibilities.

4. I really liked how this tackled the Seal of Confession and that priests were not allowed to disclose any information divulged to them vis a vis the separation of the Church and State. So basically a murderer could confess his crime to a priest and receive absolution for his sin, but the best that the priest could do was suggest that the killer turn himself over to the police. Did I understand that correctly? Why didn’t that sit well with my heart and brain?

5. How could Dolores be married to Hector for twenty years when Mercedes didn’t even look a day over thirty? Did she get pregnant at the ripe old age of ten?

6. Gorgeous (gorgeous!) cinematography. More reasons to visit Cuyo Island in Palawan.

7. I felt a bit disappointed when the focus shifted to Dolores’ son Lester (Jess Mendoza), who had to deliver cringe-worthy lines while giving the corpse of his mother a sponge bath (“Ang mukhang ito ang una kong nasilayan…”, “Ang mga brasong ito ang yumakap sa akin…”). I swore to myself that if he were to make punas every body part and deliver a Juan Miguel Severo-like poem for each, I would surely walk out (especially if he would reach the “Sa pepeng ito ako lumabas…”).

8. Sitting through this ordeal should serve as my penance for the entire year, yes?

Rating: ★★☆☆☆

FINALLY FOUND SOMEONE (Theodore Boborol, 2017)

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SPOILER ALERT!!

My notes on Finally Found Someone:

1. I knew something was wrong with this production as soon as the rumor came out that Star Cinema had to scrap sixteen days’ worth of filmed scenes and basically reshoot everything. Apparently, several spoiler-ish photos leaked online and ruined the entire story, or possible twist (ooh, very Game of Thrones!). After watching the entire thing, all I could think of was, This was the improved version?!

2. As a huge fan of the Laida-Miggy trilogy, I was happy that Star chose to give the Sarah Geronimo-John Lloyd Cruz tandem a fresh and new story…until I realized that there was nothing really fresh or new in this trope-filled mess. It felt like the creative team just gave up on the project and threw in every lazy detail that they could think of to come up with a finished product.

• “Eto bagong-bago. Kelangan more kilig so may habulan at batuhan ng harina!”

• “Oh my gosh, ang ganda! Tapos since nag-bake na ng cake eh magpahiran na rin sila ng icing! Awww!”

• “Guys, di pwedeng pa-cute lang dapat maiyak din ang mga tao. Eto as in naisip ko lang now, dagdagan kaya natin ng may sakit na nanay?”

• “Ay, don’t forget ang mga chuwariwap friends! Very important! Check mo na rin ang schedules nina Joey Marquez at Dennis Padilla for the tatay roles.”

• “Current and relevant din dapat so kelangan involved ang social media.”

• “Wait, nagamit na natin yan sa Dear Other Self, My Ex and Whys atsaka Vince & Kath & James diba?”

• “Eh di ulitin! Pati theme song na nagamit na sa Born for You nina Coco at Angeline i-recycle na rin.”

• “Yung hugot line ha wag kalimutan. Eto naisip ko, Love needs truth to be true.”

• “Eh why not, Does love need truth to be true or does truth need love to be true?”

• “Sakit sa ulo. Tulog na tayo.”

3. Raffy Sandoval? Why not Oliver Papa?

Anywho, I was just happy that John Lloyd was here because he made everything bearable, very much like a cinematic Rumpelstiltskin turning crappy scenes into pure gold with just his radiant smile (faney alert!). I would not be doing that Lungkot Kembot bit any time soon (unlike the Rain Dance that I perform before any out-of-the-country trip), but I’d always remember how sad it made me feel when he sobbed while making kembot near the BGC fountain.

And yes, I also shed a few tears in the scene where he opened up to his sick mother, but then I would probably cry watching him cry over a paper cut.

4. Lakas ng appeal ni Sarah to the older crowd. Was it because they could see the ideal and virtuous anak/apo in her? I watched this twice on opening day and there was always that one old person that would loudly say, “Ang galing ni Sarah!” or “Ang ganda ni Sarah!” (bias aside, I think everyone would agree that she looked really, really good here).

I just wish she was given a character that didn’t need to be too quirky to be funny. The clunky opening sequence alone didn’t do her any favors because it just looked too awkward (that ladder scene should have been saved for Toni Gonzaga).

Sarah fared much better when she wasn’t forced to act funny and her natural self would come out. Ever since Filipinas, I knew that she could effectively handle a dramatic role so I really loved that confrontation scene with Aprilyn saying, “Alam mo kung bakit ka tatanda mag-isa? Kasi takot ka magsabi ng totoong nararamdaman mo. Well, ako hindi. I’ve fallen in love with you.” Ang sakit! Bravo!!

5. I could feel the tension between the two when they recently guested in Gandang Gabi Vice and it was obvious as well in that Two Truths and a Lie kitchen scene. Whatever personal issues they had actually helped make that scene authentic and honest. (Now if only it didn’t stretch on forever…)

Pero iba pa rin talaga ang kilig ng AshLloyd. My favorite moment was the restaurant scene where John Lloyd said, “Meron special diyan. Wala sa menu. Nasa harap mo.” Like Sarah, I giggled like a schoolgirl.

6. It was sad to see recent Urian winner Christian Bables sounding like BFF Barbs acting all paminta to get near Lloydie. His talent was wasted on a thankless role that probably could have been saved by (trope alert!!) Janus del Prado or Ketchup Eusebio.

Also, what was up with that checkered polo and striped cardigan combo? Trisha definitely wouldn’t have approved.

7. As expected, product placements galore. What I found amusing was that we didn’t even need to see the brand of the pill that John Lloyd was handing over to (yet another) sick relative. Everyone assumed (knew!) it was Biogesic. Now that was an effective endorser.

8. So Aprilyn’s a pre-school teacher (and probably The Voice Kids coach given the incredibly high pitch of that Hello, Hello, Hello song), an Honesty Cookies baker, and a successful Hallmark card maker, samantala ako bum sa bahay. Okay.

9. Pet peeve: continuity issues. And this one just had too many from the changing lengths of Sarah’s hair to the missing icing stain on the back of John Lloyd’s shirt. My OCD self died a little.

10. Dear Future Star Cinema Rom-Com, if ever Sarah finally agrees to do a kissing scene by the time she’s 35, can you make sure it will be with John Lloyd, please? Goodbye drone shot!!

Rating: ★★☆☆☆

DUNKIRK (Christopher Nolan, 2017)

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SPOILER ALERT!!

My notes on Dunkirk:

1. In one of the last few scenes of this movie, a young soldier woke up from his deep slumber, oblivious to everything that happened around him (and outside of his safety blanket slash uniform). In some absurd way, I actually envied that man because I was trying my best not to fall asleep amidst the blatant monotony that I was watching onscreen. I was also glad that Christopher Nolan finally learned how to edit his films below the two hour running mark because I felt every single minute of this one.

2. To be fair, it seemed like its main purpose was to give the audience the full war experience (but why??) and it succeeded in that aspect. I could easily picture Nolan invoking the iconic Gretchen Barretto as Victoria Valera: “You want war? I’ll give you war!!” And he did.

The excellent sound design, mostly composed of bullets whizzing from all directions and multiple random explosions, made me want to duck along with the troops. One of the sequences that I particularly liked involved some sort of ripple effect on a beach after a bombing that culminated with lots of sand flying directly to the screen. It was so realistic that I felt the need to brush off some imaginary grains that flew into my hair.

Visual and aural feast, I tell you.

3. I should have done a more thorough cleaning of my ears before leaving home because those thick accents were just too hard to understand (and this was already considering that the movie had very minimal dialogue). Subtitles please!!

4. One of my favorite films of all time had a short (yet brilliant) Dunkirk sequence as well. Go watch Atonement.

5. Inasmuch as I adored Hans Zimmer, his scoring here was just relentless. It felt like he wanted to dictate how the audience should feel in every scene, very much like canned laughs in a sitcom (“O guys, prepare na kayo kasi exciting part na ‘to ayan na ang pounding music…”).

6. I just learned that one stretcher takes the place of seven standing men on a ship. It was heartbreaking to hear a commander ask how many more of the wounded would need to be transported. If Andrew Garfield was here, this wouldn’t even be a question.

7. I guess the overall feeling of emotional detachment stemmed from the lack of back story for its characters. It was just hard to completely empathize with any single one of them because they merely served as pawns in the backdrop of a prominent war (made more evident when all the recognizable names survived). Which was good news for Harry Styles, who was probably cast as the Hollywood equivalent of Ronnie Alonte.

8. “He’s not himself. He may never be himself again.” We were all survivors when the end credits rolled.

Rating: ★★★☆☆

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