Screening Schedules This Week (12-25-05)

ROBINSONS MOVIEWORLD
Kutob
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM
Shake, Rattle, & Roll 2k5
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM
Exodus: Tales from the Enchanted Kingdom
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM
Ako Legal Wife: Mano Po 4?!
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM
Enteng Kabisote 2: Okay Ka Fairy Ko...The Legend Continues!
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM
Mulawin the Movie
10:35 AM, 12:45 PM, 2:55, 5:05, 7:15 PM

SM CITY CINEMA
Exodus: Tales from the Enchanted Kingdom
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
Shake, Rattle, & Roll 2k5
11 AM, 1 PM, 3, 5, 7, 9 PM
Kutob
11:25 AM, 1:20 PM, 3:15, 5:10, 7:05, 9 PM
Terrorist Hunter
11 AM, 1 PM, 3, 5, 7, 9 PM
MULAWIN
10:35 AM, 12:40 PM, 2:45, 4:50, 6:55, 9 PM
KING KONG
11:15 AM, 2:30 PM, 5:45, 9 PM
Ako Legal Wife: Mano Po 4?!
11 AM, 1 PM, 3, 5, 7, 9 PM

The Same Lousy Film Festival (Junkie Article)

Mother Lily. I think of her as the Overlord Nayun of the Dirty Tagalog-Movie piglets. The reason why Tagalog movies have a sucky reputation.

A Pre-MMFF Commentary
By Reymundo Salao

MMFF 2005. Will it be tasting the same kind of garbage? A couple of months after last year's Metro Manila Film Festival, there was an announcement that the next festival will be featuring independent filmmakers. I was really filled with optimism for the upcoming MMFF, because such a move shows a sign that film appreciation in Manila would move a step forward. There are so many independent filmmakers out there waiting to be tapped with attention and honor. So many artists out there whose works deserve the spotlight. That optimism of mine was only up until I discovered that the entries for this year's festival seem to be infested with the same filmmakers, producers, and same kind of projects that have defined the local film industry as mediocre. The same names, the same production companies, and even the rebirth of an old awful film franchise.

After the uneven continuity of the MANO PO franchise, the utterly un-original SO HAPPY TOGETHER, and the pretentious AISHTE IMASU, do we need Joel Lamangan to direct two more MMFF movies for this year? MANO PO 4: AKO LEGAL WIFE is another incongruent sequel of the MANO PO franchise. One that is utterly corny and cheesy from the trailers alone. The storyline is supposed to be a satire of relationships but the acting is inappropriately cartoonish and awful. We have the same flaws of the previous MANO PO movies: pretentiously bad Chinese accents and exaggerated costume designs, to the extent that it looks like setting up props for a High School play. The brand of humor is reminiscent of the Matutina days, in which I believe, Matutina can do better. Lamangan is also directing BLUE MOON which is another ambitious period piece. I am suspicious that I might see the same flaws that I got from his work in AISHTE IMAS: Insincere acting, and everybody uniformly wearing costumes that looked too fresh off the production company wardrobe department.

Another one on the director’s chair which is again an MMFF director is Jose Javier Reyes, whose works may have a bit of decency, but ultimately unoriginal, unconvincing, and chronically mediocre. His entry last year “SPIRIT OF THE GLASS” was boring and crammed with the same garbage daytime television is made of. I have yet to see a Jose Javier Reyes movie which would have some speck of originality.

In an obvious and pathetic effort of jumping on the Asian horror trend unoriginal move, they are now reviving the horror series SHAKE RATTLE & ROLL. The first SR&T movie may have become a local instant horror classic. But all its sequels are mere commercial works of cinema. The kind that is made, without any essence of heart, art, and originality. But just a big fat effort of inducing money-generating popstar hype. Good horror movies are made of good storylines, convincing acting, and frightful scares. Just like the deservingly award-winning “SIGAW” by Yam Laranas. The SR&T sequels have all lacked in all those aspects. If the producers of SR&T have indeed thought of new refreshing stories and concepts in the horror genre, then it would not have been a Shake, Rattle & Roll sequel.

Lo & Behold! One of our SENATORS!

We also have Bong Revilla movies which are all works that are a waste of good production resources. Up from the time he produced DUGO NG PANDAY, Bong's movies have been expensive, ambitious and in the long run; ugly. The track record of Bong's produced movies have been works that seem to feed his obvious leading-star narcissism. Bong is a bad action star, not only because he is physically ridiculous for the roles he takes on, but his style of acting attempts to be desperately charming and his on-screen action-hero roars are like the barkings of a fat-headed peacock. If I’m wrong about him; well at least you will have an idea how a spoiled narcissistic brat would look like if he ran a production company. It's like the combination of an awful-version Bruckheimer & Tom Cruise (Jerry Bruckheimer is known for splurging on big films with low quality while Tom Cruise is known for producing films that also feed his narcissism, so much so that he ruined the MISSION IMPOSSIBLE franchise). It’s obvious that this new film (with the overblowingly corny title) EXODUS: TALES FROM THE ENCHANTED KINGDOM is another film that obviously carves up an action-hero throne for himself, the Senator who seems to be in love with his own image.

Side-by-side Bong in his narcissism is Vic Sotto with his once-upon-a-time popular television series OKAY KA FAIRY KO, in which its continuity has now gone out the window by reconstructing the storyline with his ENTENG KABISOTE movies which are a confusing sequel to “Okay Ka…” Childishly an eye candy, his film is a hindrance to opening some breathing room for new film-makers.

I am disgusted because I want the local film industry to gain some progress in terms of quality, integrity, and reputation. No wonder the local film industry is not moving forward. These same people who run things in their own obsessively capitalistic way still run it.

Hey, it’s Christmas! Just forget about my hostile comments for a while and let me sincerely greet you a MAAYO KAG MASADYA NA PASKWA!

Ghost Rider will have to wait till 2007 (Junkie Hype News)

Sony Pictures' $120 million Nicolas Cage-starrer Ghost Rider, based on the Marvel comic book, has been bumped from its July 14, 2006, release date to President's Day weekend (Feb. 16) 2007.

Source: Superhero Hype Website

Now Showing this Week (12-21-05)

Yes, folks, by some DUMB Reason, what seems to be LAST WEEK'S Movie Schedules HAVE NOT changed. AND they're still showing the same thing! Okay, it's okay to extend King Kong's run, but is it necessary to show it on ALL FOUR theaters???!!!! Geez! Whatever.... here's the schedule. the SAME FReaKiN Sked...

ROBINSONS MOVIEWORLD
KING KONG
10:45 AM, 2:15 PM, 5:45, 9:15 PM
The Fog
1:15 PM, 3:15, 5:15, 7:15 PM
Just Like Heaven
1:45 PM, 3:15, 5:15, 7:15 PM
The Myth
11:45 AM, 2:15 PM, 4:45, 7:15 PM
KING KONG
12:15 PM, 3:45, 7:15 PM

SM CITY CINEMA
Just Like Heaven
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
KING KONG
11:25 AM, 2:50 PM, 6:15 PM
KING KONG
10:45 AM, 2:10 PM, 5:35, 9 PM
KING KONG
12:05 PM, 3:30 PM, 6:55 PM
KING KONG
10:05 AM, 1:30, 4:55, 8:20 PM
The Fog
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
Ang Pagdadalaga ni Maximo Oliveros
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM

KING KONG (2005)

KING KONG: TRULY COLOSSAL
By Reymundo Salao

Briefly after the release of the Lord of the Rings’ third movie chapter Return of the King (which swept the Academy Awards in 2004), Peter Jackson was so eager to announce that his next movie was going to be King Kong. It seems that with such an enthusiasm come confidence, and the suspicion that he may have all dreamed of making this project for a long time now. Which is true, because Peter Jackson originally wanted to make this film immediately after he made “The Frighteners” (1996). When the rights got tied up, he moved on to The Lord of the Rings. Now, it may be safe to say that he’s having his dream project fulfilled.

The story of KING KONG is set on 1933, a time of great depression in the United States when poverty was widespread. Stage actress and entertainer Ann Darrow (played by Naomi Watts) was struggling to find a decent job when she meets and is hired by Carl Denham (Jack Black), a film director-producer who is relentlessly pursuing his plan to film a “masterpiece movie”. In his obsession to finish his film, he flees along with his new actress, his assistant Preston (Colin Hanks), who oftentimes acts as his ignored moral conscience, then there is his self-obsessed, narcissistic lead actor Bruce Baxter (Kyle Chandler), his film crew, his writer Jack Driscoll (Adrien Brody), and the courageous crew of the ship that sails out into a mysterious unchartered island known as the “Skull Island” where no one dares go to. But that is where Carl wants to shoot his movie. Clearly unbeknownst to them is the horror that awaits for them in the island.

It was an excellent idea for Jackson to set this film in the 1930’s which may serve as a direct homage to the first original Kong movie which was also made in 1933. By capturing the original essence of the first film, with its lavish designs in costumes, vehicles, and set structures, it extinguishes any mundane factors the film may have, and ensures a great adaptation that is fitting of its setting.


KING KONG is more than just a monster movie. Underneath its colossal figure, are subliminal themes about the morals of the entertainment business as embodied by the subplot of Carl Denham, the concept of courage as portrayed by the crewmembers of the ship, and the nature of love as portrayed by Kong and the blond actress he falls in love with. The movie starts out with conversational scenes that give us a close look at our characters, before all the eye candy begins. Just as the film calms down, it then jackhammers you into a mixture of horror, action and adventure. By the time we all set foot on the island, sheer cinematic mayhem commences. You have creepy tribes, dinosaurs, and giant bugs. And of course, King Kong.

Was the entire marvel due because of the CGI? No, the excellence of this film does not even rely much on the special effects. If you rate the special effects of this film compared to many sci-fi films that have come out lately, King Kong’s effects were just even a little above satisfactory. It was actually how Peter Jackson’s production team made it work. How he manipulated each and every sequence to blend into some perfect harmony that evokes scenes of sheer breath-taking action. Each and every scene where the monster-star King Kong is seen is not just a fantastic work of cinematic art, this film makes you forget that and lets you focus on the character; what is Kong doing? Why is he doing it? You abandon the consciousness that he is made up of pixels and you truly become curious of this creature, whose story is being told right before your eyes.

It was quite interesting to note that KING KONG’s relationship with Ann seems to be a symbolic representation of each and every boy-meets-girl love story. Kong falls in love with what he sees, but Ann shows contempt for him to the point that Kong is finally infuriated. But Kong does not inflict any more harm upon her, so what does he do? He lashes out unto the rocks, throwing large chunks of them around. Just like the typical male whose temper is oftentimes childish and is most usually tried by the woman he loves. Many sequences like this may mirror the romance boys and girls have. Halfway through the film, you give up the idea that this is a monster movie, and start to think of it as actually an unusual but wonderful love story between Ann and this giant ape.

Andy Serkis (who is well known for being the voice and motion template for the creation of Gollum from Peter Jackson’s Lord of the Rings movies) served as the motion template for the CGI Kong. Basically, the special effects team creates Kong’s motions based on how Andy Serkis moves and acts out the role of Kong. They attach sensors to Serkis’ body and in his face in order to make a digital puppetry that copies each and every acting motion of Serkis. From the body language to the facial expressions. To ensure that it is not just based on some actor’s interpretations, Serkis had to study the behavior of apes to prepare for the role. Serkis has now indeed joined the likes of Boris Karloff, Bela Lugosi, and Lon Chaney, as one of the greatest creature actors in film history. His work here makes you wish that the Academy Awards honor him this time.

Naomi Watts’ portrayal of a woman who has gained sympathy for his beastly captor was beautifully convincing. It was incredible how she could evoke some serious emotional interaction with the CGI-generated Kong. But it was a Jack Black’s performance that silently shined throughout the film, as he delivers an excellent portrayal of a somewhat funny obsessive character, but underneath the layers of his comedic charm is really a dark character whose intentions are twisted and wicked. He does this well up until the end, when his comedic appeal runs out and makes you realize that from the very start, his convictions really are wrong.

It was quite understandable why Jackson’s theatrical cut for this film is around three hours. He lets us in on the adventure first-hand. The storyline of KING KONG is also a step forward from the original 1930’s classic and the campy 1976 remake (which many critics have deemed to be a failure). This KING KONG is phenomenal! One of the films that wherein I was able to cringe in excitement, scream in thrills and cheer along with the audience. Surely a movie which can electrify the audience with its intensity. The last time I’ve felt this much audience interaction was when I watched the first Jurassic Park movie, and that was more than ten years ago already.

Peter Jackson succeeds in evoking sympathy from the audience unto his (and actor Andy Serkis’) interpretation of Kong. After his success in the Lord of the Rings saga, Jackson proves that he never fails to disappoint. Jackson comes out with a brand of greatness that is often associated with Steven Spielberg. A great film is one that entertains, is thought-provoking, and emotionally rich. KING KONG succeeds in all these aspects. This remake of KING KONG is indeed a masterpiece. It is cinematic excellence at its finest.

Now Showing this Week (12-14-05)

ROBINSONS MOVIEWORLD
KING KONG
10:45 AM, 2:15 PM, 5:45, 9:15 PM
The Fog
1:15 PM, 3:15, 5:15, 7:15 PM
Just Like Heaven
1:45 PM, 3:15, 5:15, 7:15 PM
The Myth
11:45 AM, 2:15 PM, 4:45, 7:15 PM
KING KONG
12:15 PM, 3:45, 7:15 PM

SM CITY CINEMA
Just Like Heaven
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
KING KONG
11:25 AM, 2:50 PM, 6:15 PM
KING KONG
10:45 AM, 2:10 PM, 5:35, 9 PM
KING KONG
12:05 PM, 3:30 PM, 6:55 PM
KING KONG
10:05 AM, 1:30, 4:55, 8:20 PM
The Fog
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
Ang Pagdadalaga ni Maximo Oliveros
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM

Now Showing this Week (12-07-05)

ROBINSONS MOVIEWORLD
The Fog
1:15 PM, 3:15, 5:15, 7:15 PM
Domino
11:45 AM, 2:15 PM, 4:45, 7:15 PM
The Myth
11:45 AM, 2:15 PM, 4:45, 7:15 PM
Chicken Little
1:15 PM, 3:15, 5:15, 7:15 PM
Harry Potter and the Goblet of Fire
1:15 PM, 4:15, 7:15 PM

SM CITY CINEMA
Domino
12 PM, 2:15, 4:30, 6:45, 9 PM
The Myth
12 PM, 2:15, 4:30, 6:45, 9 PM
Ang Pagdadalaga ni Maximo Oliveros
11:50 AM, 1:40 PM. 3:30, 5:20, 7:10, 9 PM
Chicken Little
11:30 AM, 1:05 PM, 2:40, 4:15, 5:50, 7:25, 9 PM

FILM JUNKIE NOSTALGIA (Article)

By Reymundo Salao

I sometimes miss life during childhood when me and my brothers would just stay home, lie in bed, lazy around, play games with friends, and watch TV all day. Having grown in an urban neighborhood, television and home movies played a big role in my childhood. When I was in Elementary school, it was the Betamax which is the ancestor of the VHS cassette format that was the tool for children like us to behave, just sit back and enjoy the movies that made our childhood memories. I remember how we would rent the entire STAR WARS trilogy and just watch the damn three movies over and over again until it made a geek out of me, especially during the long Christmas holiday vacation, the STAR WARS trilogy has seemingly become our Christmas movies. I also remember the classic Jacky Chan movies like “Snake & the Eagle’s Shadow”, “Fearless Hyena”, and “Drunken Master” that defined the childhood of many kids my age back then. Much to a point that whenever kids at my school broke out into a fight, they would make Snake kung-fu or Dragon Kung-fu stances, instead of just clenching their fists. Many of the old classic Jacky Chan kung-fu flicks have been restored into VCD and DVD format, but some like “Drunken Master” have been re-dubbed or re-edited because some of its film stocks have been lost in time. I personally would prefer the original classic version with the silly dubbings though.

Aside from the occasional “Clash of the Titans” or “Rambo; First Blood part 2” there also was the Pinoy classic “Ang Panday” and its sequels. Back when I still liked Fernando Poe Jr. as an action hero, he was the blacksmith who fought the forces of evil and a sinister and taunting Max Alvarado as Lizardo. I am, however gravely disappointed with the current rehash of the “Panday” saga. Jericho Rosales may have been a great Panday, it is the overall production, from storyline to special effects, and even to the costume designs that, for me, makes the new “Panday” series such a failure. There also was the action fantasy which stars Michael De Mesa entitled “Salamangkero” which I have not seen since then. I guess there’s also another Pinoy flick lost in time. I still am searching for some of the classic Tito-Vic-&-Joey flicks like “Fly Me To The Moon” and “Super One-Two-Three” to add to my collection of film nostalgia.

Back in my childhood, television was so different. Long before the era of Cable TV, there was network TV that showed programs from Manila a week late. An episode of TODAS or PINOY THRILLER would only be shown an entire week late and not live via satellite. I remember how so much of a big deal live network telecast from Manila is: News Watch was a big deal. At the time, no Network TV channel could contest to the popularity of IBC Channel 12 back then. Not only was it popular because of its being the pioneer in giving coverage to our city’s Dinagyang Festival, it also was the TV channel that conveniently showed the coolest filler films, the best cartoon shows, and the classics from which many of us learned how to be film critics in our own right. From the “Killing Fields” to “Ten Commandments”, from “Sesame Street” to the tagalong-dubbed “Voltes Five”, Network TV was our day-today urban life home entertainment system. We always knew we had to turn off the Nintendo Family Computer if we knew that “Diehard” was being shown.

So much for reminiscing, now, the appreciation of films is something that can now be done with ease. Many of the film classics that were then considered to be “hard-to-find” can now be found in your nearest home video stores. Some of the HARDER-to-find ones can be found in the pirated video shops. These days, there’s also the internet that can easily guide one to research about their favorite films and filmmakers. One can easily search what are the other films of Akira Kurasawa or what Pinoy films have become popular internationally. It’s certainly interesting tracing our own little history of film appreciation.