Where the director left a camera in one spot, never really following characters, making the background noise louder than the dialogue.
Where a Temporary Protection Order form was flashed onscreen while a voiceover read everything that was written on it.
Where a trip to the local sanglaan unfolded real-time, including computation of the interest (thrice!) and actual counting of cash.
Where we had to endure watching characters for several minutes wiping the stairs with spilled urine from an arinola.
Such odd choices! And I didn’t even learn anything new about domestic violence. Seriously, what was the point?
(Originally published April 22, 2016.)
Wala naman ako masyado paki sa X-rating ng MTRCB kasi naabutan ko pa nung head sina Tito Manoling Morato and Lola Henrietta Mendez. Mas interested ako na tungkol ito sa isang intersex na di pa natatalakay ng lubusan sa local cinema.
Pero other than the on-the-nose metaphors (sino kaya ang gumagamit ng ganung diaphanous kumot na hindi kasali sa music video ni Tita Mariah?), parang wala rin naman siya masyado nasabi.
Di ko pa nagustuhan na very low-tier Joselito Altarejos ang feels dito. As in para akong si Tito Jo habang pinapanood ang extended (and hyped) masturbation scene. May mga predatory scenes pa na walang consequences.
Nakulangan ako kay Gold Azeron. Naalala ko ang isang young Diether Ocampo sa kanya. Buti magaling ang supporting cast lalo na sina Iana Bernardez (ganda nung bicycle scene at yung usap usap lang sa bintana) at Ricky Davao (praise the Lord!).
Bakit nga pala naging “There are many carabaos here” ang subtitle ng “Mukhang uulan”? Props for that Onang reference, though.
Joselito Altarejos’ Kasal should have learned a thing or two from its Tulingan Philosophy.
No matter how much you let a film simmer and boil, without the right ingredients it will still end up terribly bland.
(Originally published August 3, 2014.)