ULAN (Irene Villamor, 2019)

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I adored the (commendable) bits of magical realism steeped in Pinoy folklore. Sadly, the rest of it was a confused, tropes-filled mess with a very questionable central message.

Rating: ★★☆☆☆

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AMERICAN PSYCHO (Mary Harron, 2000)

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When Patrick Bateman (a superb Christian Bale) rattled off his morning routine in full pornographic detail (“In the shower, I use a water-activated gel cleanser, then a honey-almond body scrub, and on the face an exfoliating gel scrub”), I realized that he should be considered the father of influencers.

Rating: ★★★★☆

ROCKETMAN (Dexter Fletcher, 2019)

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It’s Elton John’s Moulin Rouge where his songs ultimately ended up as love letters to himself. I was completely healed by that Goodbye Yellow Brick Road sequence (thank you Camile Velasco for introducing me to this great song).

This was Taron Egerton’s best performance to date and I literally cried every single time he welled up onscreen. My only problem was that he still looked cute even with that ridiculous-looking wig and receding hairline.

Most Pinoys would probably feel bad that Skyline Pigeon’s not performed here, but I was more disappointed that Daniel only merited one line.

“I just hope you realize you’re choosing a life of being alone forever. You’ll never be loved properly.” Not true, not true at all. I know that every gay kid will soon be singing how wonderful life is (now) you’re in the world.

Rating: ★★★★★