Reviews

Fluffy and light feelgood

This movie is a great watch. It's well-paced, with humorous notes and some emotional scenes at exactly the right timing. The chemistry between the two leads is very present, and you can really feel their falling in love through the screen.
Representation is usually done well in Phillipine BL, and this one is no different. It's scenery is a typical high school environment, where competition, bullying and teen-angst are omnipresent. Furthermre, this is a catholic high school, with actual clergymen as teachers and headmaster. It's a delight to see that there is no condemnation from the faculty towards the openly gay community in the school, they are even welcomed as organisers of some kind of bible-camp where the students learn about the love of Chist.

The feel of this movie is very fresh and light, with some more serious notes here and there. Above all, it's a movie about falling in love for the first time and what that does to a person.

Highly recommend that if you watch this movie, you watch "Love Beneath The Stars" the series right after, where the story between Dominic and Luke is explored more deeply.

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Great actors but boring story

The film starts with very poor character introductions. Starting with Rawi's relationship with the monk, it was really too short. Then there was no urgency that was so important that Rawi had to live with Pharit's family. So it's a little difficult to feel the emotions the character is feeling at that moment.

The storyline was so fast that I felt the script was too to the point. Especially when transitioning from day to night, or from one day to the next. They only use the same scene, namely the house scene when it is light and when it is dark.

Even though there are so many black notes, there are several things that I still like about this film. Phloeng's acting is still better, although not the best. And the ghosts or spirits here are scary, I admit it makes me scared.

Unfortunately, in the middle of the film I started to feel bored. Especially considering that their dialogue was too to the point earlier. There was no drama spice presented so I didn't feel any emotions except fear when I met a ghost. I think this film would be better made into a series. So that the audience can understand the characters more deeply.

Maybe that's all from me, more or less sorry. Regards

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A 'moneyboy' with no love to give, and to give no love to.

This was very artsy. The way it was filmed, shot, directed-- it's like one of those indie films you'll fall alseep to if you aren't paying enough attention.

The story isn't anything extraordinary, but it sheds light on the lives of those who are engaged in sex work in a conservative society such as Asian countries-- precisely the life of the main protagonist of this film, who is a character I never truly understood or found myself rooting for. He's self-centered, pushes away or cuts off people who genuinely cares about him, and doesn't know how to appreciate the small but positive aspects of life. You want to care for him since his family situation is sad and frustrating, but at the same time, you can't find the urge to. You can't tell how he feels, if he cares or if he... well, anything. It's not the acting, because I thought the few actors this film had are great, but rather how the ML is written to be. He was, in conclusion, a snob-- and what's the good thing? This film is aware that the main protagonist is a snob.

One thing that bothered me, since I'm a pretty regular film person, is how this movie was entirely filmed. There are many gorgeous artistic shots (which I couldn't screenshot at all because I had to watch it in 360p lmao), but the single-camera stiff distant shots at a constant began to get on my nerves at one point. Besides that, they only ever play a single The Shining-esque background music every three scenes which suddenly makes you wonder "is there gonna be a jumpscare soon?" just for you to remember that you're not watching a horror film. The only reason I didn't rate this any lower than 7, though I could have based on how much I was entertained by this, is the club dancing scene because it made things feel alive for once.

Do I recommend this? Sure. At least it's not another depressing LGBTQ film where someone dies at the end or the couple can't get together. I appreciate their attempt at a different angle for LGBTQ films.

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r/aita - Am I The Asshole For Cheating On My Cheating Wife?

What got me curious about this movie was a list of intense confrontations by ABS-CBN. The scene featured Dawn Zulueta and Bea Alonzo and what completely convinced me was the exchange which goes kind of like this:

“Bitch.”

“Bitch?” Dawn smiled, “Not yet. But I won’t be so nice next time.”

“Is that a threat?” asked Bea.

Dawn’s eyes narrowed. “Are you threatened?”

By the way, I don’t consider that a spoiler since you barely glean anything important from that alone. It’s just some badass dialogue that had great delivery by the actresses.

Now, see, I’m a sucker for scenes like this even if they may not be entirely realistic. Still, I enjoy them so I decided to watch the movie later that night.

The one thing I loved about this movie was how they narrated the events to us. The film smoothly weaves in the things of the past to tell us why the characters are who they are and why they did what they did. Before I knew it, I knew what drove the characters and the vital parts of their backstory that caused them to be where they were in this mess.

This leads me to the elephant in the room and the reason for my headline: everyone here made mistakes and hurt each other, be it intentional or not. Some mistakes were larger and, for some people, unforgivable. This then leads me to the question: “How much is too much and is it ever possible to forgive that much?” The film tackles mistakes, owning up to them, and forgiveness, among many other things, of course. While the themes are great, I also can’t quite find where I fall here since there are just some things you can forgive but have to abandon because they caused you too much pain. This just goes to show the Filipino values that are taught to us by our families. We are all taught to be compassionate, to a fault, and to prioritise our family over anything else which can become problematic.

The thing is, I love the movie for the message it’s sending. It represents Filipino values but I can’t also act like Filipino values are always right. You don’t always have to forgive someone for hurting you, you don’t always have to fight for something that hurt you immensely and destroyed you, and you don’t always have to go back to the one thing hurting you. I’m conflicted about how I feel about the message because I like it but I also can’t completely agree.

Another theme they tackled that I love is the plight of the housewives—the wives who are left pushing their husbands whom they put on a pedestal. What about them? What happens to them? Are their roles and identities reduced to being a wife who cleans the house, raises the children, and supports her breadwinner husband? We see that in Dawn’s character, Tricia, and that’s one of the reasons I can’t hate her for what she did.

Regardless of the characters’ mistakes, I can’t find myself hating one character completely. Why they made their mistakes is just completely human and I understand why they did it. Does that mean that I approve? No. Absolutely not. I don’t like what they did but I can’t get angry at them for it. It just means that I see where they’re coming from. I can judge, though.

The acting is so good but I never expected less from actors of this calibre. I mean, this is Richard Gomez, Dawn Zulueta, and Bea Alonzo we’re talking about. These are three acting powerhouses. I never expected less. The acting was one of the reasons I enjoyed watching this too.

The only other thing I struggle with that I can think of is that sometimes, it sounds like there's a voiceover for one character that just doesn't sound right. If it isn't a voiceover, then what the hell is that dialogue delivery? Another thing is the scene on the beach where there are just these cross-fades and the music that begins playing just comes off as cheesy. They're not so bad that it's unbearable but it was just the kind that makes my brow raise in near-secondhand-embarrassment. The rest of the movie is great and doesn't involve cheesy scenes and songs.

In the end, I loved the film. I loved watching it because I enjoyed the plot, the themes, and the character arcs. The problem here lies with me and my beliefs and values contradicting the theme of the movie which isn’t the movie’s fault. It’s more so myself. Still, it’s a good watch.

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"Memory, time, and Camembert cheese"

Walang KaParis followed the ups and downs of an artist in Paris. The tropes were strong with this one and the foreshadowing let you know exactly where the story was going if you’ve ever watched a romantic movie before. Still, the actors were likeable enough to enjoy their romance in the City of Lights.

JoJo makes his living as a street artist and mime. His unique catch as a painter was to do his work in coffee. He’s haunted by his old paintings of a woman he doesn’t remember. How can he have a heart to share if he can’t remember the one who owns it? One day, a woman named Mary comes up to him and tells him she is the woman in the paintings which he doesn’t believe. She pushes hard for a romance to begin with a reluctant JoJo and for a while it does. Then the real story emerges which is bittersweet. Time would tell if they were fated or destined.

Walang KaParis covered nine years and two continents. Within five minutes I’d figured out the familiar plot. As with other genres, execution is key. This film didn’t add anything new, but the actors had a comfortable rapport with each other, though not sizzling. Each took turns chasing the other and as the song said, “And even if the time doesn’t come that you learn to love me back, just don’t stop me from loving you.”

If you are looking for an easy, cheesy romantic film to watch, you could do worse than Walang KaParis.

8 February 2024

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'DUSTING YOURSELF UP FROM THE DUST"

It's really a nice movie but my own point of concentration lies on how she fixed herself up after what happen to her and also a lesson to all those that like clubbing to be very careful while mingling and dazzling with the unknown, the issue that happened to her was on the process of trying to care for a friend and she lost concentration on her on drink.
Bear in mind that people in such spot are crafty, cunny and dubious in nature so extra vigilant is needed as not to fall a victim. I love the whole concept in general, its a nice piece of work though the action wasn't all that strong but, it worth watching. Kudos to every sector that make this possible.
In all it is a nice work well done.

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The harsh reality of Thailand without makeup

This audiovisual product represents the harsh social, economic and political reality experienced by the Thai population. It talks about its problems and contexts, generally adverse, and becomes a reflection of that Asian country.
The film shows topics such as illegal immigration for political, religious, ethnic or sexual orientation reasons; political, administrative and police corruption; police violence and crime, physical elimination of activists and members of the LGBT+ community, border militarization, dysfunctional families, bisexuality, racism, racial discrimination, politically motivated murders, homosexuality, economic problems, prostitution, political activism, stripper , violation of Human Rights, phenomena all reflections of Thai society. I highly doubt that for one reason or another any member of Thai society escapes seeing themselves reflected on the screen.
And facing all these problems there is Sorn (Ud Awat Ratanapintha), a Burmese refugee who, with the hope of a better life, seeks refuge and forges a new identity as a sex worker in Thailand. The protagonist will end up involved in a client's risky plan that endangers his life and that of other people. The diversity of conflicts he faces, his psychological complexity and emotional evolution, add layers to the narrative and weave an intriguing web that keeps the viewer in suspense during its hour and 36 minutes of duration.
The artistic maturity of its main performer protects a remarkable wisdom forged through the experiences lived on the film set. His ability to convey emotions, in a genuine way, cements his position as a leading actor in the Thai film and television scene. Far from seeking grandiloquence, you immerse yourself in your characters with the simplicity that characterizes those who understand that true art lies in authenticity.
From her first appearance on the big screen with the feature film 'Mary Is Happy, Mary Is Happy' (2013) or as a girl with dramas such as 'Hormones 1' (2013) and 'Hormones 2', in 2014, to her participation in television productions such as 'Cat Radio TV Season 1 and 2', '#HATETAG' (2021), 'Bad Genius' (2022), 'Quarantine Stories' (2020), of which in addition to being an actor he is the director and screenwriter; or in the 2022 documentary JMJ: Lesson 25, in which you participate as an actor and director, you have shown how versatile and capable you are of connecting with the public.
With 'Doi Boy' it is not the first time that he has faced the challenge of playing a leading character. Also in the drama ThirTEEN Terrors (2014), and the special Project S Let's Say Goodbye, from 2018, he had already been placed in front of the responsibility of leading plots. However, taking on the lead role in a film like this involved new challenges, and for the actor, it was a crucial step in his career.
Pae Arak Amornsupasiri as Ji, and Aelm Bhumibhat Thavornsiri, who plays Wuth, are the other two main characters.
The way in which social criticism, border problems and issues related to sexual orientation and male prostitution are represented in the film is not coincidental. In his first work, the documentary 'Boundary' (2013), its director, Nontawat Numbenchapol, already addressed the reality of the local population on the border between Thailand and Cambodia never before recognized in Thai cinematography.
Interested in social issues, in his second documentary, 'By The River', he visualized the situation of the villagers of Klity affected by lead water contamination. With this documentary, for the first time a film of that nationality won the Special Mention at the Locarno International Film Festival.
'Doi Boy' is not the first film with which the filmmaker analyzes issues related to sexual or gender identity. With the hybrid docu-fiction #BKKY, from 2016, this renowned documentary filmmaker and cinematographer visualizes stories of 100 teenagers interviewed in Bangkok about their loves, their dreams, and their coming of age just after graduating from high school. With it, he won the Jury Prize for best feature film at Lesbisch Schwule Filmtage Hamburg, Germany.
Despite a solid premise and good performances and general direction, the film does not reach perfection because it is based on an underdeveloped script, with aspects that deserved further exploration.
Beyond its positive aspects, Doi Boy can be perfected, like any artistic creation. The absence of unique characters like Sorn, Ji and Wuth and the practically non-existent presence of stories like this in Thai and Asian cinematography in general could work in its favor. However, these same positive qualities cause the film to be undervalued by followers of the BL genre, but as a thriller and drama it works well.
'Doi Boy' is a forceful justification to talk about Thailand far beyond the false and illusory representation, both in cinema, television and other national media, of a country as a sexual paradise and freedoms for members of the LGBT+ community and the rest of its population, equally discriminated against for political, ethnic and racial reasons. The film is a reflection of what hurts millions of human beings both in that nation and in the world. That is why I am grateful that it does not have a made-up ending and shows reality as it is until its ultimate consequences: those gray areas of the existence of the Thais shown in 'Doi Boy' are not really reflected in the BL dramas from that region of the planet.

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TR1: Off to a good start!

I've been meaning to check out this 10 movie series for quite a while now. It starts Bunta Sugawara of Battles Without Honor and Humanity fame, but in a comedic role this time. I think the worldbuilding is where this film succeeds the most, as we're introduced to a large cast of characters and primarily focus in on a circle of truck drivers and their acquaintances.

I'll be honest, the movie felt like it should have been done after the first hour, as the ending felt a bit tacked on. What I learned afterwards, however (after doing some digging online), there is a reason for it. This was meant to follow the same formula as the Tora-san films, and in that way I kind of better understand what they were going for. That said, it did feel a bit unnecessary, and it's obvious they were hoping to do a bunch of sequels.

Most of the antics are amusing, and aside from a small sidequest that seemingly comes out of nowhere (and offers absolutely nothing to the plot, in my opinion), the movie does a good job of being entertaining. I also admit, I find it hilarious that the last few minutes go out of their way to prove our protagonist is a good and decent guy, all the while as we watch him mow down police cars without a second thought to their well being. I have no idea if this was intentional, or just completely overlooked by the writer(s?)., but it got a good laugh out of me.

Curious to see how the sequels go.

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SEoD4: Not quite the bounceback I'd hoped for

This was another sort of mid entry in the series. Although, I need to say it up front, the subtitles stopped working with 20 mins left in the film, so there is a chance that there was some sort of twist I was missing all along that was revealed during a particularly long conversation. And I want to be clear, it is in regards to his past, so it is entirely possible.

I think, on the whole, this one suffers from all the same issues as the previous movie. Nemuri is a hard guy to like a lot of the time. I'm also unsure why this was titled as it was, as there doesn't seem to be a whole lot in the way of seduction happening here. I think, even more so than the first movie (but probably only because it was the first one), this has been the most forgettable instalment so far. And not only that, it felt like the storyline was almost ripped right from the third one.

This one relies less on swordfights to draw you in, but the few that are here were actually pretty cool. I think the main actor is getting more used to Nemuri's style, as you can tell he's more confident in using a few small strokes to take down crowds. I'm still holding out hope we'll get another really great entry in the next one, as it has the same creators behind my favorite one.

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no thrill in this thriller

I was really looking forward to the release of this movie since it's Theater release four months ago and watched it right away when it popped up on Netflix but I can't say I wasn't disappointed....

The first half of the movie is sprinting through the plot in a way where you think something ain't right. I never thought "thriller" and "murder" could leave me feeling so indifferent. There's barely any mystery and everything is dealt with so fast that you never get the feeling that the supposed killer could get away with it. Pairings form up unnaturally fast and confessions aren't questioned in the slightest.
The second half is where the expected happens but even that was lame. Essentially this movie had no thrill, nor were any of the characters particularly interesting. Especially the older FL, who was supposed to be this scheming killer widow, had no mysterious aura around her nor was she pissing me off (which I kinda wanted). It also gets a bit cheesy in the middle but at least everyone's pretty to look at.

I guess the only good things in this movie are 1. Rhydian looks very dashing as the prosecutor and the the final 5 minutes / the post credit scene evoked a tiny bit of excitement in me. Everything else was very bland in my opinion

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Comedy that has geographical lines

This is a comedy that nobody outside china can appreciate.

As such, the movie can become a completely waste of time to a laughing good time (depending on your sense of comedy again).

This is basically a low budget comedy that nobody outside china can appreciate due to the context of the jokes, as it's often a spoof or parody on events that has happened. And since comedy itself is subjective and everyone has a different funny bone, even people in china do not find this movie funny.

To be honest, just skip this movie unless you are dying for some wuxia, but even then there are much better movies to watch if you're okay with older movies.

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A Portrayal of the Human Struggle and Looking for Happiness

I remember seeing the trailer for this movie back in 2019 where the line “We’re both going to pay for this” that Anne Curtis says as she and Marco Gumabao’s character kiss stuck with me, and it was only a day ago that I managed to watch it.

Filipino movies have this certain vibe that screams “Filipino-made”, which doesn’t necessarily make it bad but rather that it’s tailored specifically for a Filipino audience. Duh. But in this movie, it has this quality to it that I can’t quite place—in a good way. The cinematography, the background music, the ambience, the plot—all of it is so good that I can see it being viewed by an international audience.

The plot deviates from the usual story that involves an affair between two people in relationships of their own. You usually expect a catfight and those intense confrontation scenes that Filipinos have come to love because of their exchanges. However, this doesn’t involve any such confrontation. I would say it’s a tad bit realistic in this way and made me adore it because, while I love confrontation scenes, they feel like fantasies you play out in your head (we even see a similar fantasy play out in our protagonist’s head). While there are certainly tense confrontations where you get those savage lines, what mostly happens is existing in the mundane with a stiff upper lip.

Let me preface this paragraph by saying we know all of this beforehand. Mae, played by Anne Curtis, is the movie’s main character. She is the trophy wife of her older businessman husband, Phil Pimentel, played by the ever-intimidating Edu Manzano. Mae begins an affair in Portugal with nineteen-year-old Jericho, who is played by Marco Gumabao. What surprised me a little—and this may be a fault of mine—is Anne Curtis’ acting. I’m used to seeing her be comedic, so as a result, I probably stayed away from any of her works because I thought she just wouldn’t be suitable for these dramatic roles. Boy, I was proven so wrong! She was so phenomenal in this film that I honestly was baffled. I only know Marco from one of his works, Los Bastardos, and he was good there. If I remember right, he was twenty-five when they filmed this, but he portrayed the role of a nineteen-year-old so well.

Some fool in me thought everything would work out, like in one of those Filipino movies I saw. It was The Other Woman, where, in the end, they were all blissful after everything worked out in their favour. While I wanted that, I think that would not have been the correct ending for the film. The film did such a great job in making me attached to the characters to the degree that I didn’t even realise that when the ending happened, I was legitimately left speechless with my hand over my gaping mouth. Which only means that it achieved what it set out to do.

The themes it tackles are one of the reasons I ended up loving the movie as much as I did: A teenager's plight in standing his ground to his overbearing parents and a trophy wife's unhappiness because she is stuck in a loveless marriage. Teenagers struggle with pleasing themselves while also keeping their family's expectations met. Meanwhile, a good chunk of marriages nowadays involve lovelessness and looking for happiness elsewhere as a consequence. I would also consider this to be a commentary on the dangers of the less-than-stellar areas of the Philippines.

I love how the film swerves away from the blueprint of movies with a similar premise to this. I love how this film doesn’t feature a confrontation scene with those iconic lines since it focuses on the human struggle of biting your tongue and enduring it all because it is what it is. I love it whenever I find media that represents humanity for what we all are: beautifully flawed. The only reason that its rewatch value is at five is because I want to spare myself the pain, not because it's bad but because it hurts.

I would recommend this to anyone curious, and while I can’t guarantee that you’d love it the same way I did, I can at least hope you’d enjoy it.

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