Reopening of cinemas pushed back to March, subject to LGU rules
The Palace made the announcement after mayors of Metro Manila, which is under general community quarantine the entire month, opposed the pandemic task force’s decision to allow the reopening of cinemas and other select establishments in GCQ areas......»»
Taal Volcano back to spewing high-volume of toxic gas
LUCENA CITY, Philippines – After spewing lower volumes of sulfur dioxide (SO2) for the past five days, Taal Volcano in Batangas province again emitted a high level of toxic gas on Saturday, March 23. A total of 14,287 metric tons (MT) of SO2 from Taal’s main crater was measured over the past 24 hours and.....»»
Earth Hour, 5 Reasons to Participate
On March 23, from 8:30 PM to 9:30 PM, everyone in the world is encouraged to turn off their lights and appliances. Dubbed Earth Hour, this global event started in Australia back in 2007 as a World Wildlife Fund (WWF) initiative. It might be easy to wave off Earth Hour as just 60 minutes of.....»»
Sarah G-Matteo, Aga-Julia movies lead Viva’s 2024 big-screen slate
Viva Entertainment hopes to woo more audiences back to the cinemas by featuring fresh and first-time team-ups in its 2024 film slate. Leading the line-up are real-life couple Matteo Guidicelli and Sarah Geronimo, Aga Muhlach and Julia Barretto, and Alden Richards with Heaven Peralejo......»»
Bumalik po sana kayo sa sine : Vilma Santos asks Filipinos to support MMFF 2023
“Star for All Seasons” Vilma Santos asked Filipinos to go back to the cinemas and support this year’s Metro Manila Film Festival (MMFF). .....»»
REVIEW: ‘KILLERS OF THE FLOWER MOON’ Pure cinematic delight
The plot of Killers of the Flower Moon is rather simple: the shocking true story of the series of mysterious deaths of Native Americans from 1910s to 1930s in the oil-rich Osage Nation in Oklahoma. Called the “Reign of Terror,” this horrific period in American history is marked by the uninvestigated murders of the Osage tribe — the richest people in the world per capita at the time due to the vast deposits of oil found in their reservation. As black gold richly flows in their land, white men descend into the territory and begin to systematically murder the Osage tribe to steal their oil money, or headrights. Greed takes the form of grisly, nonchalant murders, compounded by racial injustice. Director Martin Scorsese takes us to Fairfax 1920s, where one such greedy white man, Ernest Buckhart (Leonardo DiCaprio) arrives in the Osage county from a non-combatant role in World War I. His guts destroyed in the war, he seeks a job from his uncle, King Bill (Robert de Niro), the powerful boss in the area and the mastermind behind the Osage killings but pretending to be a “friend to the Osage.” King Bill tells his nephew to marry a beautiful Osage woman, Mollie (Lily Gladstone) in a scheme to get her headrights. The movie focuses on the “love story” of Ernest and Mollie, and how Mollie is slowly poisoned to death. The colossal running time (3.5 hours) is barely felt. This epic revisionist Western drama is a visual spectacle and should be seen on the big screen to experience Scorsese’s glorious cinematic vision. Scorsese adapted David Grann’s 2017 bestselling non-fiction book on this grim chapter in American history. I haven’t read Grann’s book, but research revealed that it’s chiefly a detective story, with the murders viewed from the lens of the newly formed Bureau of Investigation (now the FBI) headed by Tim White. In The Irish Times interview with Scorsese, the director shared that he and co-writer Eric Roth initially wrote a script that was faithful to the book, with Scorsese’s muse, Leonardo DiCaprio, set to play White. But two years into the writing process, DiCaprio made a suggestion that completely overhauled the script, shifting the focus to Ernest (DiCaprio’s modified role) and Mollie. Lacking momentum The script often feels like it lacks momentum and depth, reducing Ernest and King Bill, and even Jesse Plemons as White, to stock characters. Roth is known for overhyped shallow films such as The Curious Case of Benjamin Button, Forrest Gump and Extremely Loud and Incredibly Close, so he’s partly to blame for the lack of insight into the psychology of the film’s fascinating characters. Plemons came in too late into the show, nearly in the third hour. The film feels like it took its leisurely time to establish the greed and the machinations of the non-threatening King Bill, then realized it is getting too long and finally crammed the investigations into the last hour. Punctuated with dark humor, the movie is crafted to entertain rather than to appeal to our sympathy. This feels rather conflicting and mildly disturbing, as the Osage, victims of greedy white men, and whose story is just now spreading into public consciousness, are merely the sideshow. If they were robbed back then, this film also robs them of central attention, choosing to focus instead on their killers, particularly DiCaprio, with a strong supporting role from Gladstone’s Mollie. The Osage are also depicted as gullible and helpless, and we often crave to understand what goes on in their minds, which the movie does not really provide us. But Scorsese’s films have always been from the POV of the criminals, and the title says it all — so perhaps it is unfair to expect a different narrative. Compelling vision Thankfully, Scorsese, despite the oftentimes frustrating script, manages to redeem the entire film with his compelling vision, orchestrating pure cinematic delight with the film’s stunning cinematography, production design and costume. Despite the focus on the killers, he still redeems the Osage by showcasing, with reverence, their culture and pantheistic religion — their belief in the invisible world of Wah-kon-tah and eventual blend with Christianity. The era’s racism and greed are also profoundly felt in the movie — from the white guardians that controlled the Osage money, to the insurance frauds they were subjected to and, most chilling of all, the calm way the whites murdered the Native Americans, as if these people were mere nuisances. Di Caprio, with his fake sordid teeth, delivers, as always, a competent performance. But it is Gladstone, with her regal beauty and intelligent eyes, that truly shines in the film. Killers of the Flower Moon, despite its imperfections, triumphs in fully immersing the viewer in its story and putting the spotlight on an important chapter in American history. It reminds us that theaters are still a necessity for this kind of epic movie experience. 3.5 out of 5 stars/ In cinemas The post REVIEW: ‘KILLERS OF THE FLOWER MOON’ Pure cinematic delight appeared first on Daily Tribune......»»
Pure cinematic delight
The plot of Killers of the Flower Moon is rather simple: the shocking true story of the series of mysterious deaths of Native Americans from 1910s to 1930s in the oil-rich Osage Nation in Oklahoma. Called the “Reign of Terror,” this horrific period in American history is marked by the uninvestigated murders of the Osage tribe — the richest people in the world per capita at the time due to the vast deposits of oil found in their reservation. As black gold richly flows in their land, white men descend into the territory and begin to systematically murder the Osage tribe to steal their oil money, or headrights. Greed takes the form of grisly, nonchalant murders, compounded by racial injustice. Director Martin Scorsese takes us to Fairfax 1920s, where one such greedy white man, Ernest Buckhart (Leonardo DiCaprio) arrives in the Osage county from a non-combatant role in World War I. His guts destroyed in the war, he seeks a job from his uncle, King Bill (Robert de Niro), the powerful boss in the area and the mastermind behind the Osage killings but pretending to be a “friend to the Osage.” King Bill tells his nephew to marry a beautiful Osage woman, Mollie (Lily Gladstone) in a scheme to get her headrights. The movie focuses on the “love story” of Ernest and Mollie, and how Mollie is slowly poisoned to death. The colossal running time (3.5 hours) is barely felt. This epic revisionist Western drama is a visual spectacle and should be seen on the big screen to experience Scorsese’s glorious cinematic vision. Scorsese adapted David Grann’s 2017 bestselling non-fiction book on this grim chapter in American history. I haven’t read Grann’s book, but research revealed that it’s chiefly a detective story, with the murders viewed from the lens of the newly formed Bureau of Investigation (now the FBI) headed by Tim White. In The Irish Times interview with Scorsese, the director shared that he and co-writer Eric Roth initially wrote a script that was faithful to the book, with Scorsese’s muse, Leonardo DiCaprio, set to play White. But two years into the writing process, DiCaprio made a suggestion that completely overhauled the script, shifting the focus to Ernest (DiCaprio’s modified role) and Mollie. Lacking momentum The script often feels like it lacks momentum and depth, reducing Ernest and King Bill, and even Jesse Plemons as White, to stock characters. Roth is known for overhyped shallow films such as The Curious Case of Benjamin Button, Forrest Gump and Extremely Loud and Incredibly Close, so he’s partly to blame for the lack of insight into the psychology of the film’s fascinating characters. Plemons came in too late into the show, nearly in the third hour. The film feels like it took its leisurely time to establish the greed and the machinations of the non-threatening King Bill, then realized it is getting too long and finally crammed the investigations into the last hour. Punctuated with dark humor, the movie is crafted to entertain rather than to appeal to our sympathy. This feels rather conflicting and mildly disturbing, as the Osage, victims of greedy white men, and whose story is just now spreading into public consciousness, are merely the sideshow. If they were robbed back then, this film also robs them of central attention, choosing to focus instead on their killers, particularly DiCaprio, with a strong supporting role from Gladstone’s Mollie. The Osage are also depicted as gullible and helpless, and we often crave to understand what goes on in their minds, which the movie does not really provide us. But Scorsese’s films have always been from the POV of the criminals, and the title says it all — so perhaps it is unfair to expect a different narrative. Compelling vision Thankfully, Scorsese, despite the oftentimes frustrating script, manages to redeem the entire film with his compelling vision, orchestrating pure cinematic delight with the film’s stunning cinematography, production design and costume. Despite the focus on the killers, he still redeems the Osage by showcasing, with reverence, their culture and pantheistic religion — their belief in the invisible world of Wah-kon-tah and eventual blend with Christianity. The era’s racism and greed are also profoundly felt in the movie — from the white guardians that controlled the Osage money, to the insurance frauds they were subjected to and, most chilling of all, the calm way the whites murdered the Native Americans, as if these people were mere nuisances. Di Caprio, with his fake sordid teeth, delivers, as always, a competent performance. But it is Gladstone, with her regal beauty and intelligent eyes, that truly shines in the film. Killers of the Flower Moon, despite its imperfections, triumphs in fully immersing the viewer in its story and putting the spotlight on an important chapter in American history. It reminds us that theaters are still a necessity for this kind of epic movie experience. 3.5 out of 5 stars/ In cinemas The post Pure cinematic delight appeared first on Daily Tribune......»»
Review: ‘Video City: Be Kind, Please Rewind’, too reel to be real
Writer-director Raynier Brizuela’s time-travel whirlwind romance Video City: Be Kind, Please Rewind (a collaboration between Viva Films and GMA Pictures) is an ambitious project tragically forced within an obviously limited budget, resources and creative restrictions. Brizuela, setting his film mainly in the year 1995, uses tight framing and a shaky cam technique, but not so much as to direct our focus on Ruru Madrid’s frequently teary eyes, but to avoid the movie’s lack of era-specific looks. Knowing that it’s a copyright nightmare for a low-budget movie such as Video City to recreate 1995, we are severely deprived of nostalgia. Then there’s the restriction issue: the 1990s are marked by the Eraserheads, the launch of the Windows 95 operating system, the O.J. Simpson trial, Tiger Woods, Michael Jackson, Jolina Magdangal, Smokey Mountain and some major Philippine news and current events. But the production obviously cannot and will not show anything outside of Viva Entertainment’s world. Hence, the concept itself — a period piece — is already a failure. The inability of the film to recreate the ‘90s in the Philippines is the least of the movie’s problems. The film’s wobbly script from an unfocused story reduces the experience to something of an endurance test. Video City traps the audience within the suffocating four walls of Video City, a popular VHS rental shop in the ‘90s owned by Viva Entertainment, Inc. We watch a love story develop between Han (Ruru Madrid), a student from 2023, and Ningning (Yassi Pressman), a Video City worker from 1995. Suffocating, because of the tight framing combined with hackneyed, cringy dialogue and the severe lack of chemistry between the two leads. Independently, both actors give their best to bring life to their thinly written characters from a largely unremarkable, bizarre storytelling. Yet together, they cannot even produce a mild spark. Pressman’s Ningning, with her permed wig colored with blondie highlights (definitely not a Pinoy ‘90s look), is an energetic actress-wannabe, while Madrid’s Han is a depressive filmmaker-wannabe. Movies are the duo’s mutual passion, yet the script does not allow this passion to take root, further weighed down by the need to promote Viva’s past products, such as the movie Maging Sino Ka Man. There is no build-up in the romance. Ningning, upon realizing that Han comes from the future, is just very surprised for mere minutes. This rip in the space-time continuum does not inspire shock from Ningning, and she bizarrely does not ask questions about this supernatural occurrence. Even Han is just mildly surprised by his ability to time-travel via — get this — a VHS tape rewinder. Han is also inexplicably hired by the Video City branch, clearly the script’s excuse to “build” the bond between him and Ningning. But he never gets a Video City uniform. He is always in civilian clothes. Why? [caption id="attachment_187907" align="aligncenter" width="1356"] RURU Madrid delivers an effortless performance (please give this guy more nuanced roles!) but his talent is wasted here. | PHOTOGRAPH COURTESY OF GMA pictures[/caption] In order to provide conflict and threat to the love story, Brizuela set a “limited time” — Han’s daily visit in 1995 gets shortened every day. With this restriction, Han also has to understand the “purpose” of his time travel really fast. But then the movie suddenly loses interest in Han’s initial angst: His uninspired thesis, the pressure to be as creative as his retired filmmaker mother (Suzette Ranillo), whose paralyzing health issues (we never know what her actual health issue is) is also affecting his mental health. Sure, these are mildly tackled and Han gets an “instant cure” for himself and his mother after attending a 1995 movie presscon (was it really open to the public back in the day?). But all of these issues are sidestepped to give way for the unengaging love story. Brizuela, the creative director of the social-media humor page PGAG, also utilizes the tiresome rain effect to “enhance” the romantic thrills. But with the way the rain suddenly appears (alongside Wency Cornejo’s song “Tag-ulan”), you find yourself recoiling instead of falling in love. The old Filipino nursery song “One Day, Isang Araw, I Saw, Nakakita” is also given an unusual prominence in the paper-thin script, making you wince even more. Madrid delivers an effortless performance (please give this guy more nuanced roles!) but his talent is wasted here. Not even his commendable performance can save this movie. Video City is difficult to sit through. The entire time, I was placed in an existential dread — I could neither forward the time to speed up the movie nor rewind back in time and avoid this altogether. 0 out of 5 stars Now showing in cinemas The post Review: ‘Video City: Be Kind, Please Rewind’, too reel to be real appeared first on Daily Tribune......»»
Too reel to be real
Writer-director Raynier Brizuela’s time-travel whirlwind romance Video City: Be Kind, Please Rewind (a collaboration between Viva Films and GMA Pictures) is an ambitious project tragically forced within an obviously limited budget, resources and creative restrictions. Brizuela, setting his film mainly in the year 1995, uses tight framing and a shaky cam technique, but not so much as to direct our focus on Ruru Madrid’s frequently teary eyes, but to avoid the movie’s lack of era-specific looks. Knowing that it’s a copyright nightmare for a low-budget movie such as Video City to recreate 1995, we are severely deprived of nostalgia. Then there’s the restriction issue: the 1990s are marked by the Eraserheads, the launch of the Windows 95 operating system, the O.J. Simpson trial, Tiger Woods, Michael Jackson, Jolina Magdangal, Smokey Mountain and some major Philippine news and current events. But the production obviously cannot and will not show anything outside of Viva Entertainment’s world. Hence, the concept itself — a period piece — is already a failure. The inability of the film to recreate the ‘90s in the Philippines is the least of the movie’s problems. The film’s wobbly script from an unfocused story reduces the experience to something of an endurance test. Video City traps the audience within the suffocating four walls of Video City, a popular VHS rental shop in the ‘90s owned by Viva Entertainment, Inc. We watch a love story develop between Han (Ruru Madrid), a student from 2023, and Ningning (Yassi Pressman), a Video City worker from 1995. Suffocating, because of the tight framing combined with hackneyed, cringy dialogue and the severe lack of chemistry between the two leads. Independently, both actors give their best to bring life to their thinly written characters from a largely unremarkable, bizarre storytelling. Yet together, they cannot even produce a mild spark. Pressman’s Ningning, with her permed wig colored with blondie highlights (definitely not a Pinoy ‘90s look), is an energetic actress-wannabe, while Madrid’s Han is a depressive filmmaker-wannabe. Movies are the duo’s mutual passion, yet the script does not allow this passion to take root, further weighed down by the need to promote Viva’s past products, such as the movie Maging Sino Ka Man. There is no build-up in the romance. Ningning, upon realizing that Han comes from the future, is just very surprised for mere minutes. This rip in the space-time continuum does not inspire shock from Ningning, and she bizarrely does not ask questions about this supernatural occurrence. Even Han is just mildly surprised by his ability to time-travel via — get this — a VHS tape rewinder. Han is also inexplicably hired by the Video City branch, clearly the script’s excuse to “build” the bond between him and Ningning. But he never gets a Video City uniform. He is always in civilian clothes. Why? [caption id="attachment_187907" align="aligncenter" width="1356"] RURU Madrid delivers an effortless performance (please give this guy more nuanced roles!) but his talent is wasted here. | PHOTOGRAPH COURTESY OF GMA pictures[/caption] In order to provide conflict and threat to the love story, Brizuela set a “limited time” — Han’s daily visit in 1995 gets shortened every day. With this restriction, Han also has to understand the “purpose” of his time travel really fast. But then the movie suddenly loses interest in Han’s initial angst: His uninspired thesis, the pressure to be as creative as his retired filmmaker mother (Suzette Ranillo), whose paralyzing health issues (we never know what her actual health issue is) is also affecting his mental health. Sure, these are mildly tackled and Han gets an “instant cure” for himself and his mother after attending a 1995 movie presscon (was it really open to the public back in the day?). But all of these issues are sidestepped to give way for the unengaging love story. Brizuela, the creative director of the social-media humor page PGAG, also utilizes the tiresome rain effect to “enhance” the romantic thrills. But with the way the rain suddenly appears (alongside Wency Cornejo’s song “Tag-ulan”), you find yourself recoiling instead of falling in love. The old Filipino nursery song “One Day, Isang Araw, I Saw, Nakakita” is also given an unusual prominence in the paper-thin script, making you wince even more. Madrid delivers an effortless performance (please give this guy more nuanced roles!) but his talent is wasted here. Not even his commendable performance can save this movie. Video City is difficult to sit through. The entire time, I was placed in an existential dread — I could neither forward the time to speed up the movie nor rewind back in time and avoid this altogether. 0 out of 5 stars Now showing in cinemas The post Too reel to be real appeared first on Daily Tribune......»»
The Exorcist returns to cinemas for 50th anniversary
William Friedkin's "The Exorcist," considered by many to be the best horror film ever made, will be coming back to cinemas in celebration of its 50th anniversary......»»
TBA hopes to drive audiences to cinemas with Past Lives, Cobweb, Sound of Freedom
TBA Studios wants to help bring audiences back to the cinemas with newly-acquired foreign titles for release this last quarter of 2023. These are the romantic drama Past Lives, the comedy Cobweb and the “controversial” box-office hit, Sound of Freedom, which recently outgrossed Hollywood blockbusters......»»
Denzel Washington a man on the verge in ‘The Equalizer 3’
Denzel Washington is back as Robert McCall, and in The Equalizer 3 McCall’s story reaches a conclusion. In the third and final film of the trilogy, it becomes clear that while working on behalf of the people who need him has provided Robert McCall with some solace, it still means that he is a man whose life is defined by violence – and that cannot last. “He’s dealing with his demons,” said Washington, who reprises one of his signature roles. “It’s very different than the first two films; I think it’s much more personal. This movie is about his salvation and letting go of his past.” “He’s going through an internal battle,” said Antoine Fuqua, who returns to direct the third film in the trilogy and fifth overall with Washington. “He’s helping those who can’t help themselves, handing out justice his way to evil people. But he’s questioning himself. Has he gone too far? Is he enjoying it too much? Is he still doing it for the right reasons?” “What I wanted to explore was a man on the verge,” Fuqua added. “McCall is on the verge of a question – what else does he have to live for? His wife is gone; Susan Plummer (Melissa Leo) is gone. It seems like he does the right thing, but he’s constantly punished. And so I think he’s on the verge, and he has to think about what he’s going to do with his life.” The Equalizer 3 brings Robert McCall abroad for the first time. “The plan was always that the third film would go overseas,” said screenwriter Richard Wenk. “I had never been to Italy, but I knew that Denzel spends a lot of time there. So, during the pandemic, I did a lot of research. I thought that Italy would be the place that McCall might end up finding a place for himself.” The Equalizer 3, also starring Dakota Fanning, opens in Philippine cinemas 13 September. The post Denzel Washington a man on the verge in ‘The Equalizer 3’ appeared first on Daily Tribune......»»
‘The Cheating Game’ director thinks Julie Anne is superstar material
GMA Public Affairs, GMA Network’s news and public affairs division, is now producing movies. Its debut feature, the romantic drama, The Cheating Game, stars real-life couple Julie Anne San Jose and Rayver Cruz, or “JulieVer.” San Jose plays Hope, an NGO worker who breaks up with her fiancé and colleague Brian (Martin del Rosario) for cheating on her. [caption id="attachment_164002" align="aligncenter" width="1708"] Martin del Rosario as Brian.[/caption] Trying to move on from her painful break-up, she starts looking for a new job until she is finally hired by a company specializing in social media content, where she channels all her negative energy. Hope soon meets a random guy, Miguel (Cruz), at a Kamuning overpass, who begins to actively pursue her without reason. Wary at first, she eventually warms up to Miguel, who tells her that he is giving her license to use him as her rebound. [caption id="attachment_164001" align="aligncenter" width="2560"] Rayver Cruz as Miguel.[/caption] But Hope’s promising new romance with Miguel is not that hopeful, as it is still overshadowed by a viral sex video that involves Brian its leakage may or may not involve those close to her. The Cheating Game is directed by fiction author Rod Marmol, who is best known for helming Cuddle Weather (2019) and Mata Tapang (2018). The story and concept are by Peabody award-winning documentary writer and producer Shao Masula, with Marmol and Jessie Villabrille serving as screenwriters. Julie Anne San Jose’s acting method In an exclusive chat with Daily Tribune, Marmol describes the 29-year-old San Jose, who showed impressive naturalism in her performance as the scorned woman. “I sincerely think that Julie has all the makings of a movie superstar. She has it all. Unparalleled professionalism. Magaan sa set (Easy to work with on set). Understands her character through and through,” Marmol said. In the film, San Jose’s Hope is frequently tearful. Effortless in her small and big dramatic scenes, she earned the admiration of her director, who reveals San Jose’s talent in shedding tears in front of the camera. “She knows not just one way of crying, marami (but many). She knows how to cry beautifully, how to wail uncontrollably, how to let only one tear drop fall, how to hold back her tears. She has mastered her instrument and this allows her to seamlessly morph from one character to another,” Marmol said. Marmol further told Daily Tribune that while they were filming The Cheating Game, San Jose was also shooting the final episodes of GMA’s hit series Maria Clara at Ibarra, praising the actress for her excellent command of her craft. “Ganoon siya kahusay (That’s how good she is),” he praised. Not your typical romance The Cheating Game cannot be simply boxed in a specific genre, making the film not your typical or formulaic love story. When asked about his influences as a director, Marmol candidly revealed his inspirations for GMA Public Affair’s first offering. “Some of my inspirations for this movie are films like Amélie (2001), Once (a 2007 Irish romantic musical drama) and, of course, Phoebe Waller-Bridges’ series Fleabag (on HBO). Gustong-gusto ko ng mga madaldal na pelikula na hindi takot mag-swimming sa emosyon (I am enamored with dialogue-heavy films that are not afraid to wallow in emotion). I’m a big sucker for beautifully-flawed female leads,” he explained. He also explained that his top three favorite filmmakers are Hirokazu Kore-eda, Jordan Peele and Lino Brocka. “Ang galing nilang maghimay ng kalungkutan (They are so good at dissecting sadness),” he explained. For the film’s style, treatment and color palette, which sometimes shifts to dreamy, with a touch of European vibe but highlights the nitty-gritty reality of Metro Manila, Marmol does not take credit for it alone. “Regarding the treatment of The Cheating Game, tingin ko ay (I think it is the) combined effect iyon ng (of the) talent ng core team namin (of our core team). Our assistant director is Chad Cabigon, who has mounted dozens of the most-awarded Filipino films of the past decade. Our director of photography is Arbi Barbarona, an Urian-winning filmmaker from Davao. Our production designer, this is his first movie, Kenneth Villanueva. Kaya, ang fresh pa ng mata and ramdam mo pa yung (So the vision is still fresh and you can feel that) hunger to be excellent. And syempre lahat ng ito, nakabalot sa (And of course, these are all under wrapped in the) guidance ng (of) GMA Public Affairs.” Millennial issues When asked what he is most excited about showing this movie to the Filipino audience, Marmol said: “I hope that the Filipino audience appreciates the honesty of the movie. We tried to capture the gray area that most people find themselves in when trying to heal from a traumatic heartache while building the foundation of a new romance. I also hope that they appreciate what Julie’s character, Hope Celestial, is trying to represent — which is the generation of overworked, underpaid millennials.” Asked about the challenges of directing The Cheating Game, Marmol said: “Challenges? Hmm, as always, marami (a lot) haha. Pero siguro, like most Filipino films, resources. It’s hard to compete with Hollywood movies when we only get less than a tenth of the resources that they get.” He explained that 95 percent of The Cheating Game was shot in only 11 days. “I hope that in the future, we get more investors betting on Filipino films so we can afford to prepare more and execute our stories in the best manner possible. We owe that to ourselves, we owe that to our stories, we owe that to our audiences.” The film also stars Winwyn Marquez, Yayo Aguila, Candy Pangilinan, Phi Palmos, Thea Tolentino, and Paolo Contis. The Cheating Game is now playing in cinemas. [gallery columns="2" size="full" ids="163999,164000"] The post ‘The Cheating Game’ director thinks Julie Anne is superstar material appeared first on Daily Tribune......»»
GMA Public Affairs ventures into films, entrusts first salvo to JulieVer
GMA Public Affairs wants to help bring Filipino audiences back to the cinemas, choosing to release its debut film, The Cheating Game, on the big screen and not on a streaming platform......»»
Phl cinema in the first year of BBM
Here, we look back at the state of the Philippine film industry since he took the seat of power 13 months ago. When President Marcos Jr. became the 17th leader of the nation, the country was on the brink of the “new normal.” The campaign elections even saw multitudes of crowds in the streets, the Filipinos’ political passion overpowering the fear of a Covid-19 infection. Covid-pandemic viewing By May 2022, the month of the presidential campaigns, the Department of Health said the country was at “minimal-risk case classification” with an average of only 159 cases per day. By June 2022, when the President took his oath, 69.4 million Filipinos had been fully vaccinated. Along with the country, the Philippine film industry started healing. On the same month, the country went under Covid-19 Alert Level 2, with 50-percent allowed capacity in indoor cinemas. Live film festivals The Marcos administration saw the return of Filipino film festivals in theaters. On Marcos’ fifth month as president, the QCinema International Film Festival, with the theme “in10City,” held hybdrid screenings — in-person and online. The Metro Manila Film Festival in December 2022, six months into the new presidency, went full force in cinemas for the second time during the pandemic. Earlier, in 2020, during the Duterte administration, the festival was held online for the first time, and the following year, in December 2021, after level alert measures in the Philippines were relaxed, the MMFF finally went back to the cinemas. However, only around 300 cinemas (down from the usual 900) were allowed to screen the MMFF entries. Meanwhile, the 18th edition of the Cinemalaya Philippine Independent Film Festival was held from 5 August to 31 October 2022 at the Cultural Center of the Philippines, in select mall cinemas and online. But what made a mark during the Marcos administration’s first year was the inaugural edition of the 2023 Summer Metro Manila Film Festival. The SMMFF was held in Metro Manila and throughout the Philippines. Organized by the Metropolitan Manila Development Authority in partnership with the Cinema Exhibitors Association of the Philippines, the first MMFF was supposed to be held in 2020, but was canceled due to the Covid-19 pandemic. In 2023, held from 8 to 18 April 2023 with the theme “Tuloy-tuloy ang Saya,” the summer festival featured eight entries and, like its December counterpart, even held a Parade of Stars. About Us But Not About Us by Jun Lana, produced by The IdeaFirst Company, Octobertrain Films and Quantum Films, emerged as the first Best Picture of the summer festival. [caption id="attachment_161372" align="aligncenter" width="1200"] About Us But Not About Us by Jun Lana[/caption] The Film Development Council of the Philippines’ sixth edition of its own mini-film festival, held during the Marcos administration’s third month, headed back to cinemas, offering free access to award-winning classic films of the new National Artists for Film and Broadcast Arts at TriNoma Cinema in Quezon City and in all Cinematheque centers nationwide (Manila, Iloilo, Negros, Davao and Nabunturan). CCP closes for renovations On 1 September 2022, CCP president Margarita Moran-Floirendo announced during a hearing of the Senate committee on cultural communities, that The Cultural Center of the Philippines — home to the Cinemalaya festival — will close its doors starting January 2023 for renovation and structural retrofitting works, and will reopen in March 2025. This marks the first time that Cinemalaya, on its 19th year, which has the theme “ilumiNasyon,” will be held at various venues inside the adjacent Philippine International Convention Center, from 4 to 13 August 2023. The rise of political films With the country deeply driven by polarized political views, the Marcos administration saw a war between political commercial films. [caption id="attachment_161370" align="aligncenter" width="1800"] ‘MAID in Malacanang’ stars Cristine Reyes, Diego Loyzaga and Ella Cruz. | Photograph courtesy of viva[/caption] On 29 July 2022, Darryl Yap’s period drama Maid in Malacañang, touted as “the most controversial film of the year,” was released to packed cinemas. The movie, about the Marcos family’s last three days in Malacañang Palace before they were forced into exile, premiered at SM North EDSA and was released nationwide on 3 August 2022. Yap, who passionately campaigned for Marcos, became a controversial filmmaker with the release of his Marcos film. Leni Robredo supporters tried to boycott the film, with some Filipino movie critics exposing themselves as heavily political and non-neutral with their reviews, accusing the film of propaganda and historical revisionism. The attempt to quash the movie’s release failed and it became a box-office hit, with producer Viva Films releasing a statement that it earned a whopping P21 million on its opening day and P63 million three days after its release. It was the first time in Philippine cinema history that local theaters nationwide saw a deluge of moviegoers lining up to watch a movie on the big screen, mostly driven by political affiliation. Another unsuccessful political attempt to diminish the film’s release was Vince Tañada’s re-release of his Martial Law film Katips to counter Maid in Malacañang. Tañada’s film eventually won Best Picture at the Famas Awards. MIM actress Ella Cruz’s remark during a press conference, that “history is like tsismis,” further fanned the flames of political debate online. Eight months later, in March 2022, Viva released Yap’s second installment in his Marcos trilogy, Martyr or Murderer, which now focused on Ferdinand Marcos and the assassination of Ninoy Aquino. Two anti-Marcos movies rose to combat the film — Joel Lamangan’s Oras de Peligro, released on the same day, and Tañada’s movie adaptation of his musical play Ako Si Ninoy, released one week earlier. Movie buffs, political analysts, film critics, the press and social media influencers dove into feverish commentaries on the three films, and Philippine cinemas were ignited and, for a while, became alive with social discourse. New FDCP head On 21 July 2022, Tirso S. Cruz III officially assumed his position as the head of the country’s national film agency, the Film Development Council of the Philippines. He replaced Liza Diño, who was appointed by President Rodrigo Duterte as FDCP chairperson on 12 August 2016. [caption id="attachment_161368" align="aligncenter" width="736"] FDCP chair Tirso Cruz III. | PHOTOGRAPH COURTESY OF FDCP[/caption] Cruz, a veteran actor, said that the target of the FDCP under the Marcos administration was to support local films, not just in Metro Manila, but also from regional filmmakers. He also professed support for film students and highlighted archiving as part of the FDCP’s agenda, with 42,000 materials in its archives to be salvaged. MTRCB In September 2022, the Movie and Television Review and Classification Board released a statement addressing the controversy about its proposal to expand its jurisdiction to online streaming services like Netflix, Vivamax, Amazon Prime and other streaming platforms. The MTRCB said it was responding to multitudes of complaints from parents and other concerned groups demanding that the agency regulate movie and TV online platforms to protect children from harmful viewing. The Marcos administration has seen a continuous boom in streamers, which began during the pandemic, with Vivamax becoming one of the leading local streamers due to the popularity of Filipino sexploitation films. On 23 February 2023, MTRCB chairperson Lala Sotto-Antonio expressed her gratitude to Senators Francis “Tol” Tolentino, Grace Poe and Sherwin Gatchalian for the separate bills they filed that would amend and expand the board’s mandate. “We welcome the move to amend the charter of the MTRCB as it will allow the agency to adequately adapt to changes in technology and the ever-evolving needs of the viewing public and our other stakeholders,” Sotto-Antonio said before the Senate Committee on Public Information and Mass Media chaired by Senator Robinhood C. Padilla. Eddie Garcia Act In January 2023, the chamber passed through voice voting House Bill 1270, or the proposed Eddie Garcia Act, at the House plenary session. [caption id="attachment_161367" align="aligncenter" width="1000"] HOUSE Bill 1270 has been proposed in honor of the late actor Eddie Garcia. | Photograph courtesy of gma-7[/caption] Camarines Sur Rep. Luis Raymund Villafuerte authored the bill, which aims to provide workers in the movie, television and radio entertainment industry opportunities for well-paid employment and protect them from economic exploitation, abuse and harassment, as well as hazardous working conditions. The bill was named after the late veteran actor Eddie Garcia, who died in 2019 after suffering a neck injury while shooting the television series Rosang Agimat, produced by GMA Network. According to Villafuerte, productions would go from 16 to 24 continuous work hours per set and would rush productions to save costs. The proposed law mandates that normal work hours of the worker or talent shall be eight hours a day; overtime work should not exceed more than 12 hours in a 24-hour period; and the total number of work hours shall not exceed 60 hours in a week. Paul Soriano Relatively unknown to most Pinoy moviegoers, filmmaker Paul Soriano was put on the limelight as the man behind the President’s advertisements — way back from campaigns since Marcos started out as vice governor, and then, governor of Ilocos Norte, up until his senatorial campaign, and eventually his campaign for the vice presidency and presidency. [caption id="attachment_161371" align="aligncenter" width="781"] PRESIDENTIAL Adviser on Creative Communications Paul Soriano. | PHOTOGRAPH COURTESY OF ig/PAUL SORIANO[/caption] Of course, the opposition in the film industry predictably canceled Soriano, the blood nephew of First Lady Liza Cacho Araneta-Marcos. Dolly de Leon It was also during the BBM era that Filipina actress Dolly de Leon gained international fame for her performance in the 2022 Cannes Palme d’Or winner Triangle of Sadness. [caption id="attachment_161366" align="aligncenter" width="705"] Dolly de Leon gained international fame for her performance in the 2022 Cannes Palme d’Or winner ‘Triangle of Sadness.’ | Photograph courtesy ofig/dolly de leon[/caption] The 54-year old film, television and theater actress made history by becoming the first Filipino actor to be nominated at the British Academy Film Awards and Golden Globe Awards. Filipino movie fans and critics, having been exposed to global content since the rise of the streamers, plus the proliferation of self-published movie reviews, are generally still disappointed with the output and system of the Philippine film industry, but filled with hope that, with full support from the government, Philippine cinema will finally become truly internationally competitive, sustainable and recognized. The post Phl cinema in the first year of BBM appeared first on Daily Tribune......»»
‘MISSION IMPOSSIBLE: DEAD RECKONING’ REVIEW MISSION TO ENTERTAIN FAILS
It’s not that Tom Cruise has significantly aged in the seventh, and possibly the penultimate entry, to the Mission Impossible franchise that makes Dead Reckoning - Part One one of the worst films of the year. [caption id="attachment_158075" align="aligncenter" width="525"] TOM CruisePHOTOGRAPH COURTESY OF PARAMOUNT PICTURES[/caption] The 61-year-old actor is still lithe and agile and runs like Speedy Gonzales. But it’s the eerily bad script that is rather painful here. You’d think ChatGPT — in its beta-testing phase — could probably generate a better screenplay. Christopher McQuarrie returns to direct his third MI installment, co-writing a story that understandably jumps into the realm of Artificial Intelligence, given it›s the popular thing these days. Here, Cruise’s superspy Ethan Hunt is embroiled in a cat-and-mouse game with clowns to get hold of a powerful physical key that holds immense power and can be weaponized on an unimaginable scale. One of the enemies is a rogue AI called The Entity that looks like plain disco lights, or a generic animated desktop screensaver, when shown on a computer. AI, in real life, is a terrifying threat. But in this movie, you don’t experience the danger of its sentience. Except for a mildly interesting precognition from a cipher-locked explosive, the most “exciting” thing The Entity can do here are some CCTV tricks, which we have seen a gazillion times, even way back in the past with the famous bus scene from Keanu Reeves’ Speed (1994). The similarly rogue and sentient AI in two X-Files episodes in the ‘90s, The Ghost in the Machine and Kill Switch, are ten times more thrilling than Dead Reckoning’s plot. Nothing new The Targaryen-haired Vanessa Kirby returns as arms dealer Alanna, as well as Ethan’s usual IMF gang Luther (Ving Rhames), Benji (Simon Pegg) and Ilsa (Rebecca Ferguson). A new major supporting female character is introduced, Grace (Hayley Atwell), a professional pickpocket that quickly (quicker than a Tinder swipe) becomes Hunt’s new love interest. The “biggest” human villain here is the laughable terrorist Gabriel (Esai Morales) who looks more like a bored dad who enjoys lame tricks to amuse his kids, such as hiding inside a coffin-like treasure chest or walking stiffly behind doors, furniture and airport facilities. Even more unintentionally hilarious is when Gabriel’s assistant, the cosplayer-like Paris (Pom Klementieff), opens doors for him or unlocks latches for him to give him some semblance of a grand entrance. You may argue that you’re in it for the stunts and the action set pieces. After all, MI is known for its spectacle — stunning intercontinental locations where Cruise does all his heart-stopping stunts. Sure. Yawn. Here, the action scenes are nothing new. Hand-to-hand combat on top of a train? We’ve seen a thousand versions of this already. A car chase in Rome? A similar sequence in the kiddie movie Madagascar 3 is way more thrilling. Unintentionally funny The fight choreography, too, is often lazy and too zippy, with quick cuts that deprive you of the power seen in Rogue Nation’s raw, organic bathroom brawl between Cruise and Henry Cavill. The action scenes are overstretched and uninspired that you can easily stand up for a bathroom break — heck, you can even do your groceries — and when you come back, it’s still the same stuff happening on screen. The famous motorbike scene? We’ve seen it go viral on TikTok already, so it doesn’t cut it anymore. The dialogue, too, is often unintentionally funny, with surprisingly hammy acting, even for Cruise. There is a scene, at a “dangerous” meeting at a Venice party, where Ethan and Grace, surrounded by their enemies, are using their eyes to communicate, yet they are being so obvious that the film feels like a B-movie, or a deepfake of Mission Impossible, or I am in a James Corden MI parody with Lalo Schifrin’s theme music just thrown in. The movie’s jaw-dropping score of 96 percent at Rotten Tomatoes, as of writing, feels like AI sabotage. Nearly three hours long, Dead Reckoning - Part One is a disturbing example that humans are no longer imaginative and that AI›s threat is becoming real, what with the ongoing SAG-AFTRA strike. At this point, AI just might entertain us better. 1.5 out of 5 stars Now showing in cinemas The post ‘MISSION IMPOSSIBLE: DEAD RECKONING’ REVIEW MISSION TO ENTERTAIN FAILS appeared first on Daily Tribune......»»
Christopher Nolan’s latest thriller ‘Oppenheimer’ to open 19 July
Christopher Nolan, known for his acclaimed global blockbusters, is about to give the audience an exhilarating experience back in time with his latest film Oppenheimer made and meant to be seen only in cinemas. Nolan’s films, including Tenet, Dunkirk, Interstellar, Inception and The Dark Knight trilogy, have earned more than $5 billion at the global box office and have been awarded 11 Oscars and 36 nominations, including two Best Picture nominations. Nolan’s latest film Oppenheimer, which he also wrote, is an IMAX-shot epic thriller that thrusts audiences into the pulse-pounding paradox of the enigmatic man, J. Robert Oppenheimer, known as the father of the atomic bomb who must risk destroying the world in order to save it. The film’s robust cast includes Cillian Murphy in the titular role along with Emily Blunt as his wife, biologist and botanist Katherine “Kitty” Oppenheimer. Oscar winner Matt Damon portrays General Leslie Groves Jr., director of the Manhattan Project, and Robert Downey, Jr. as Lewis Strauss, a founding commissioner of the US Atomic Energy Commission. [caption id="attachment_149081" align="aligncenter" width="525"] Cillian Murphy and Emily Blunt in a scene in ‘Oppenheimer.’[/caption] Academy Award nominee Florence Pugh (Don’t Worry My Darling) plays psychiatrist Jean Tatlock, Benny Safdie (Uncut Gems) plays theoretical physicist Edward Teller, Michael Angarano (Sky High) plays Robert Serber and Josh Hartnett (Pearl Harbor) plays pioneering American nuclear scientist Ernest Lawrence. Oppenheimer also stars Oscar winner Rami Malek and reunites Nolan with eight-time Oscar nominated actor, writer and filmmaker Kenneth Branagh. The cast also includes Dane DeHaan (The Amazing Spiderman franchise), Dylan Arnold (Halloween franchise), David Krumholtz (The Ballad of Buster Scruggs), Alden Ehrenreich (Solo: A Star Wars Story) and Matthew Modine (The Dark Knight Rises). The film is based on the Pulitzer Prize-winning book American Prometheus: The Triumph and Tragedy of J. Robert Oppenheimer by Kai Bird and the late Martin J. Sherwin. The film is produced by Emma Thomas, Atlas Entertainment’s Charles Roven and Christopher Nolan. Oppenheimer is filmed in a combination of IMAX 65mm and 65mm large-format film photography including, for the first time ever, sections in IMAX black and white analog photography. In a recent interview with Variety, co-author and historian Kai Bird shared his thoughts when he finally saw the film. “I am, at the moment, stunned and emotionally recovering from having seen it,” Bird said. “I think it is going to be a stunning artistic achievement, and I have hopes it will actually stimulate a national, even global conversation about the issues that Oppenheimer was desperate to speak out about — about how to live in the atomic age, how to live with the bomb and about McCarthyism — what it means to be a patriot, and what is the role for a scientist in a society drenched with technology and science, to speak out about public issues.” From Universal Pictures International, Oppenheimer opens 19 July in cinemas nationwide. The post Christopher Nolan’s latest thriller ‘Oppenheimer’ to open 19 July appeared first on Daily Tribune......»»
CHINESE ACTION STAR WU JING BACK IN ‘THE WANDERING EARTH II’
This month, prolific Chinese actor, director and martial artist (“Wolf Warrior” films, “Shaolin”) Wu Jin will be seen in “The Wandering Earth II,” prequel to the 2019 futuristic blockbuster “The Wandering Earth.” In “The Wandering Earth II,” after learning that the sun is rapidly burning out and will obliterate Earth in the process, humans build enormous engines to propel the planet to a new solar system, far out of reach of the sun’s fiery flares. However, the journey into the universe is perilous, and humankind’s last shot at survival will depend on a group of young people brave enough to step up and execute a dangerous, life-or-death operation to save the earth. The film, to be released by Warner Bros. Pictures exclusively in Philippine cinemas on 31 May, also stars international star Andy Lau. Besides the highly anticipated futuristic prequel, Jing will star in another fan-favorite follow-up, “Meg 2: The Trench,” in cinemas on 2 August. Directed by Frant Gwo, with a screenplay by Frant Gwo and Gong Ge’er, “The Wandering Earth II” (a prequel to the 2019 futuristic blockbuster “The Wandering Earth”) is based on the book by Liu Cixin. Aside from Wu Jing and Andy Lau, it stars Li Xuejian, Sha Yi, Ning Li, Wang Zhi and Zhu Yanmanzi. In cinemas 31 May, “The Wandering Earth II” is distributed in the Philippines by Warner Bros. Pictures, a Warner Bros. Discovery company. The post CHINESE ACTION STAR WU JING BACK IN ‘THE WANDERING EARTH II’ appeared first on Daily Tribune......»»
France savours new freedoms as cafes, museums reopen
Paris, FRANCE — The French on Wednesday joyfully made their way back to cafes, cinemas and museums as the country loosened restrictions in a return to semi-normality after more than six months of Covid-19 curbs. Cafes and restaurants with terraces or rooftop gardens can now offer outdoor dining, under the second phase of a lockdown-lifting […] The post France savours new freedoms as cafes, museums reopen appeared first on Daily Tribune......»»
Reopening of cinemas pushed back to March, subject to LGU rules
The Palace made the announcement after mayors of Metro Manila, which is under general community quarantine the entire month, opposed the pandemic task force’s decision to allow the reopening of cinemas and other select establishments in GCQ areas......»»
‘Through Night and Day’ number one on Netflix
By JOJO P. PANALIGAN * “Through Night and Day” was released in cinemas two years ago and back then, very few people watched it. This week, the movie is talk of the town – and lead actress Alessandra de Rossi has theory why. “Sabi ni God, sa quarantine kita ilalabas. When everyone […].....»»