MMFF 2016 REVIEW PART 2
9:32:00 PM
Anent to the first part of the review of the MMFF 2016 which I wrote here, this is how I would rate the other four movies.
KABISERA
The acting is probably the only strong suit of Kabisera but even that is shaky on some parts of the film. When you have an ensemble that includes JC De Vera, Jason Abalos, Victor Neri, Ces Quesada, RJ Agustin, Ricky Davao and the one and only Nora Aunor, greatness is what you would expect from a flick. Sadly, the promise of greatness from that ensemble falls short as Kabisera ends up being a troubled narrative that struggles in almost every frame.
The acting is probably the only strong suit of Kabisera but even that is shaky on some parts of the film. When you have an ensemble that includes JC De Vera, Jason Abalos, Victor Neri, Ces Quesada, RJ Agustin, Ricky Davao and the one and only Nora Aunor, greatness is what you would expect from a flick. Sadly, the promise of greatness from that ensemble falls short as Kabisera ends up being a troubled narrative that struggles in almost every frame.
The screenplay is very weak. You get to a point where you probably
would already know what the next lines are based on the tired look and tone of
the characters on-screen. The cinematography is not that outstanding (there are
some parts where even in the dining table, only one angle is used though other
characters are on the other side.) Kabisera’s editing and music scoring are
also not that remarkable. There are instances where emotions are held back due
to lack of scoring (e.g. death scenes of characters). Some parts of the films
(like JC de Vera’s character’s demise) would look so staged that you’d cringe. At
the cinema where I watched the film, the English subtitle was also a mess
(especially in terms of Grammar) you’d wonder if it was really the final edited
version of the movie you’re watching.
Kabisera
may have succeeded in presenting a pressing sociopolitical issue
(extra-judicial killings) to the theaters but it left me feeling like viewers
deserve a better execution of that cinematic attempt.
SUNDAY BEAUTY QUEEN
If we talk about
the most-heartwarming MMFF entry this year, it’d be a no-brainer to pick Sunday
Beauty Queen. Being the first film included in the festival and bagging the
Best Picture award, this Hong Kong and Macau-filmed documentary is Filipino in
its very core. It appeals to almost all ages and demographics of viewers in the
country but without a doubt, it would move most those who personally know an
OFW or a loved one who is overseas for work.
The
documentary, however, left me wanting to know more about the stories and listen
to the interviews of the OFWs or their employers. But I understand why it had to
be that0 way. I think Sunday Beauty Queen carefully took into consideration the
proportion of the backstories of the people documented and the time they spend
to join the pageants during their rest day. If they delved further into the
day-to-day lives of the OFWs or their beginnings, it would be a sadder
documentary full of painful stories rather than an empowering one viewed
through the glowing eyes of those ladies as they walk the pageant stage.
Despite
occasional dead air (very common to documentaries that do not have a narrator),
I also commended how they edited Sunday Beauty Queen. The short frames from
various people, places and movements on the screen must have been very
difficult to combine into something that speaks and at the same time, bearable
to watch.
I have a
feeling that if I let my mother watch this, she would burst into her rural,
sentimental tears and it would take a week before she stops talking about it
with our neighbors.
RATING: 8.1/10
VINCE and KATH and JAMES
It would not be an easy task to rate Vince and Kath and James.
Perhaps you’d start with comparing it to the other movies in this year’s MMFF.
Saving Sally is the closest one you can pick for comparison and that is still a
difficult task. Then you’d want to compare it to previous romantic films Star
Cinema has done. But then you’ll also realize that the plot is based on a viral
online “text” series so there may have to be some allowance.
From a 25-year old guy’s point of view, I think Vince and Kath and
James is a success but only to its target audience. It may cause young girls to
scream out of kilig but older people may feel indifferent especially if they
think they’ve seen a lot of these.
It is a film for teens so I would not want to explain how the plot
is, at least for me, not complicated or special. The plot is what I can only
talk about because everything else in this has the touch of a typical Star
Cinema romantic film.
However, I have to express my awe and approval of Joshua Garcia’s performance.
His Best Actor nod at the MMFF’s Gabi ng Parangal did not come as a surprise as
he was stellar all throughout. As his first lead role, this must have validated
his potentials to star in many more film projects.
Ronnie Alonte, on the other hand, still looks awkward on-screen. Though
he’s more effective in Vince and Kath and James than he is in Seklusyon, there were
still scenes of him in this film that did not convince me and made me want the
frames to move forward.
And as for Julia Barretto, she has always been that good actually.
She has not just been seen much recently but I think people should not be
surprised by her performance. Her acting skills have always been on point, no
one was just paying attention.
RATING: 7.3/10
ORO
Linda (Mercedes Cabral) who was teaching kids in her elementary
school room rushed to the steep hill, the heat of the sun scorching and the
seas at the background extending far, just so she could talk to Elmer (Joem
Bascon) who was one of the locals detained by an armed group. During this
scene, I already knew Oro would be my favorite MMFF 2016 entry. After watching
the two others which I had not yet finished by then, Oro was unbothered on my
list. It still remained on top.
Inasmuch as I would like to discuss what I think about the dog
slaughter issue, which as of the moment is an issue that is still evolving and causing
commotion online, I want to take that out of the context for now and judge the
film for all its other aspects. (There may be a different time to discuss
that.)
If you still don’t know, Oro is based on real-life events. It
tells the story of the “Gata 4 Massacre” where four miners in Barangay Gata in
Caramoan, Camarines Sur were killed by an armed group in 2014. There were
however fictionalized parts of the movies which were intended so that the film
avoids becoming a re-enactment of the said massacre.
The film is an excellent masterpiece especially in telling the
story of the victims, of the town and of the oppression itself. As a
socio-political film based on true events, it is an outstanding narrative made
for the big screen. Tension, chaos and uneasiness were slowly built until they
all exploded right on the very eyes of the viewers.
Oro is everything Kabisera should have been. A cast that actually
complement each other and make it very convincing that they lived in a
community for a very long time. Wise use of lighting for both day and night
scenes that helped the narration become more effective for an island barangay setup. A screenplay that is
effortless because of the superb acting and good scene directions. Though I
believe it would have been strongest if the accent or dialect (if there is any
in the area) was used. But that would have been impossible given who the actors
they chose and the length of time they had for filming.
Despite the issue the film is facing as of writing, and no matter
how much some people are already hating the movie because of it, it would be such
a blunder not to agree that if this year’s MMFF is an awakening, Oro has the
most powerful one.
RATING: 9.6/10
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