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Regular voltaire. Former reviewer for Inquirer Libre of the Phlippine Daily Inquirer. freelance multimedia director. listens to kpop. worships rafa.

  • The ghosts of multitude

    The Life of Chuck unravels the ghosts of a life past as the dying brain cells of a man blast off the remaining shells of his memories. It’s a feel-good version of Scrooge – but I wasn’t totally buying it.

    Director Mike Flanagan adapts a Stephen King short story of everyday man Chuck Krantz (Tom Hiddleston), whose cancer-ridden brain revisits his life and the people that populated his universe in three chapters in the last moments of his terminal illness.

    The first chapter is at the end of Chuck’s life, shown as the people from his town grapple with the sudden collapse of the universe. Marty Anderson’s (Chiwetel Ejiofor) literature class is interrupted by news that a mega quake has broken off California. As Marty goes about his mundane business to regain a level of normalcy, he encounters a range of random people from the town who are also trying to come to terms with the end of the world, all the while reminded by advertisements and signs everywhere to “thank Chuck for 39 wonderful years.” At the end of this chapter, the universe, therefore Chuck’s brain, blinks.

    The second chapter is nine months before his end, revisiting that time when accountant Charles Krantz (Hiddleston) spontaneously danced in the middle of a town square with Janice Halliday (Annalise Basso) as a busking drummer (The Pocket Queen) banged on her drums one random afternoon. The dance is freewheeling, unremarkable but effervescent, earning the applause of the small crowd that had gathered around them. In fairness to the choreography, the dance looks natural and unrehearsed, even though Hiddleston doesn’t look natural at dancing at all. The busker invites the two for another gig afterwards, but Chuck declines. He still has another panel at the bank convention to attend to the following day. But Chuck will remember the brief, quiet walk with Janice before they parted ways.

    The final chapter is about Chuck’s youth, being raised by his grandparents, Albie (Mark Hamill) and Sarah (Mia Sara), after young Chuck’s (Cody Flanagan) parents died from an accident. Sarah introduced Chuck to music and dancing (which eventually became his obsession) while Albie introduced the young man to the magic of numbers. And to avoid the ghosts in the attic (or more precisely, the top floor cupola). The dance would eventually introduce Chuck to his first crush, while Ms. Richards (Kate Siegel) would introduce him to “I contain multitudes” from poet Walt Whitman’s Song of Myself.

    Throughout these chapters, The Life of Chuck quotes legendary astronomer Carl Sagan’s Cosmic Calendar, which explained that if the universe had been a calendar, humans would have appeared in the last minute of the last hour of December 31st. The film takes this profundity seriously, as it is repeated several times through characters, through the background, or through the deep, grounded voice narration of Nick Offerman. The movie says that this poetry in the mathematics of the universe is an astounding irony of the rarity of human beings in the cosmos, and by extension, how precious our time together in this tiny blip in space. But several times (bordering on a multitude) is literally overstating it.

    For the most part, the film is heartfelt and earnest, with the final act traversing Chuck’s emotional journey in a nutshell. Indeed, the best part of the film is the last, featuring young Flanagan. The middle part feels superfluous and forgettable, but of course, it could not have been the story of a 39-year-old had the film skipped showing some of Chuck’s multitudes from that age milestone. I’m not sure if it would have been better with or without Hiddleston’s dancing. Flanagan’s eye for horror imagery can be seen in moments when he isolates his characters in darkness. Overall, everything is warm and colorful.

    Stephen King isn’t new to telling stories that affirm the goodness in life. The Shawshank Redemption is one of his most popular shorts and is also one of the most popular films that Hollywood has ever made. In fact, some of the most highly regarded films of all time have similar or related philosophies: Eternal Sunshine of the Spotless Mind, Boyhood, Big Fish, and The Bucket List. The all celebrate life long or short, no matter the circumstance. In a way, seeing the pot of gold at the end of a rainbow. Optimism as Hollywood can ever present it. Thematically, it is the opposite of The Secret Life of Walter Mitty, which suggests that true fulfilment comes with embracing the realities of life.

    You see, The Life of Chuck left me confused about how the movie wanted me to feel – whether it was supposed to evoke happiness, inspiration, or fear – themes similarly present in Stephen King’s works. But it’s a cheat. The movie cheats the audience into thinking that it’s life-affirming, but the actual ending is quite cynical. The movie ends just as Chuck’s life is beginning. But it starts within the fantasy of Chuck’s end – an uneventful end for the short life that Chuck should be thankful for.

    Maybe I see the world half-empty, and Mike Flanagan (and Stephen King, and by further extension Hollywood) would like audiences to see a world half-full. But I can’t tell the starving children of Gaza or Sudan to be thankful for the very short lives that others have taken from them. The film and its message could have been good at a different time. But at this point in history, it is a privilege to be able to cuddle in a cold, dark cinema and take life lessons from Chuck to count the multitudes in our lives.

    Again, maybe you see the world half-full, so you do you.

    The Life of Chuck was adapted from a short story in Stephen King’s “If It Bleeds” collection. Mike Flanagan directs.

    The Life of Chuck is now in theaters, exclusively screening at Ayala Malls Cinemas starting August 20 in the Philippines.

  • The world is going nuts anyway, might as well laugh at the dumb jokes

    The world is going nuts anyway, might as well laugh at the dumb jokes

    Not bad for a stubborn old fool. Old IP gets resurrected for the woke-era audience, and the result is a hilarious slapstick that can reshape an action icon into a lead comedic actor. Well, maybe if there’s a sequel.

    Action legend Liam Neeson, the actor taken to (get it, Taken? Lol) beating up bad guys with the butt of his gun, and who is also remembered as the Schindler who made The List stars as the new version of police detective Frank Drebin in the 2025 revival of the 1988 slapstick classic The Naked Gun: From the Files of Police Squad!

    Frank Drebin isn’t a household name, let’s be real. He isn’t today and hasn’t been one since the late 80s – early 1990s. But that’s okay, because it looks like Frank Drebin Junior can make a name for himself today, and papa Drebin can be proud of him.

    Liam Neeson plays Frank Drebin Jr. in The Naked Gun from Paramount Pictures.

    After single-handedly busting a bank robbery in a schoolgirl’s uniform, detective Frank Drebin (Neeson) and his partner Ed Hocken Jr (Paul Walter Hauser) of the Los Angeles Police Squad investigate the mysterious death of an IT professional. Initially pinning the death as a suicide, the victim’s sister, Beth Davenport (Pamela Anderson), visits Drebin at the police station to claim that the death is not a suicide.

    Paul Walter Hauser plays Ed Hocken Jr. and Liam Neeson plays Frank Drebin Jr. in the Naked Gun from Paramount Pictures.
    Pamela Anderson plays Beth Davenport in The Naked Gun from Paramount Pictures.

    Beth suggests that her brother’s death is linked to his work for tech billionaire Richard Cane (Danny Huston), who is shown to be the mastermind behind the bank robbery earlier in the film. Sparks don’t fly but there’s a defnite tension between the two. Wait, is this a rom-com?

    As the investigation progresses, Frank and Beth uncover a sinister plot by Cane and his cabal of billionaire villains. Having been suspended by the Squad for insubordination, Frank, Ed, and Beth try to stop Cane before mayhem engulfs the city.

    The story is a simple police procedural parody, but what sells is the perfect casting of Neeson and his deadpan delivery of inappropriate one-liners, word misuse, and gaffes. We know from his previous works (such as The A-Team, A Million Ways to Die in the West, The Lego Movie, and Men in Black: International) that Neeson can do comedy for real, but this is his first outing as a comedy lead. Nobody could have done it better, and nobody of his calibre could have been cast in his stead (who else has that gravitas and demeanor and fits the action persona? Denzel? Keanu? The movie would definitely have been different.)

    • Liam Neeson plays Frank Drebin Jr. and Pamela Anderson plays Beth Davenport in The Naked Gun from Paramount Pictures.
    • Liam Neeson plays Frank Drebin Jr. and Pamela Anderson plays Beth Davenport in The Naked Gun from Paramount Pictures.
    • Liam Neeson plays Frank Drebin Jr. in The Naked Gun from Paramount Pictures.
    • Danny Huston plays Richard Cane in The Naked Gun from Paramount Pictures.

    Kudos mainly to the scripting and direction by Akiva Schaffer that ensured mile-a-minute delivery of goofy gags, puns, and slapstick reminiscent of the original films that were the hallmark of Leslie Nielsen and director David Zucker.

    But the original series starring Leslie Nielsen was a product of its time. Its humor was racist, inappropriate, bigoted, misogynistic, Islamophobic, and everything else politically incorrect. Even with parody and satire cards, these jokes won’t fly today as easily as they did before.

    What’s amazing is how the new version had almost none of these red flag jokes but kept the gags, slapstick, and deadpan humor of the cult classic intact. New jokes in the same style. I suspect that the makers were unsure this would work 100% before the film premiered, but judging by its first weekend boxoffice that it did. I lol’d and I lol’d, it was almost therapeutic.

    The biggest laugh that had the cinema roaring was a dream sequence involving a snowman. This was barely shown in the trailer. It’s probably a statement when a comedy doesn’t show its funniest parts in the trailer. Part of this effective joke is the (almost too-real?) on-screen chemistry between Neeson and Anderson. With rumors flying around that the romance has developed in real life, seeing their interactions onscreen only adds to the humor, or art imitating life. In one scene, Frank muses on how he has set aside romance after being hurt before, as if the real Neeson is speaking of his real-life experience losing his wife, Natasha Richardson in an accident.

    There’s a slight catch for the Filipino audience, though. Admittedly, the high-speed play with words and gags may fly over the heads of regular Filipinos who don’t speak English as a second language. Fluency isn’t the issue, but familiarity with playing with words. This comedy is best appreciated by those accustomed to US American blunt jokes and sarcasm, often intended to be literal. It is like watching your dear grandpa embarrass themself in public nonstop – it’s cute, it’s uncomfortable, sometimes frustrating – and that’s the joke. It shouldn’t be happening, but it is, and (sadly) sometimes in the real world, too. That’s why it’s funny. It may not be for everyone, but for me, easily the most laughs I’ve had from a movie this year.

    The Naked Gun can stand on its own as the funniest film of the year (references to the original NOT crucial.) Can we now ship PamLiam, please? We urgently need a sequel.

    The Naked Gun is in Philippine cinemas August 13, 2025, from Paramount Pictures Ph.

  • When horror is sad

    When horror is sad

    Bring Her Back should come with a trigger warning. It’s actually quite the sad psychological tale about obsession, abuse, and trauma. And love. It is about love, both the kind and the cruel types. That just happened to be wrapped in skin upon skin of the supernatural and toe-curling body horror.

    So even if I say that it’s more of a sad story than a horror one, it doesn’t mean that it’s safe to see this all by yourself at night, even with the lights on. You’ll be pulling that blanket over your head and calling out for your mama.

    POSSIBLE SPOILERS AHEAD, BE WARNED.

    SPOILER WARNING AGAIN. Proceed with caution.

    Within minutes after the opening credits, the film would have already established this special, tender bond between teen siblings Andy (Billy Barratt) and Piper (Sora Wong). Seventeen-year-old Andy has been taking care of his younger, partially blind stepsister Piper ever since they found their father dead in an accident at the home. Andy would be applying for full guardianship of Piper in a few months when he turns eighteen. In the meantime, Social Services have sent the siblings to Laura (Sally Hawkins), a former counsellor who was already fostering a mute boy named Oliver (Jonah Wren Phillips).

    Andy is uneasy at Laura’s home, while Piper seems to adjust quite well, and we get to see why right away. As soon as the siblings set foot in her house, Laura has “red flags” written all over her deceitful face. Her fragile frame belies a cruel plan to turn the siblings against each other with the ultimate goal of keeping only Piper. Doesn’t care for Andy at all. But Laura is on a deadline.

    Hold on. I forgot to mention that the film opens with bloody scenes of a creepy, occultish ritual that has been recorded on tape.

    Behind closed doors, Laura would watch this tape repeatedly. By day, Laura goes through the motions of taking care of the siblings. Andy would be gaslit, and Piper would be doted upon. All the while, Oliver would be coming and going around them like a zombie with a lingering hunger that Laura wasn’t addressing upfront.

    Sally Hawkins’ Laura is a creeping menace – a lying, manipulative, psychopathic monster hidden behind a friendly smile that makes your skin crawl and wish that you could shout to Andy that she has demonic plans to unalive them siblings. Hawkins – stuttering and all – is that good in this film.

    Australian directing brothers Danny and Michael Phillipou made sure that the audience would care for the siblings (and to a degree, Oliver, too) for this movie to work. The film takes its time to establish the bond between the two. Barratt and Wong were so good as the siblings. It was stressful to watch them get manipulated by Laura, and heartbreaking as they eventually detached because of Laura. Barratt won an International Emmy for his performance in the 2019 drama Responsible Child at age 13, so he’s being consistent with his craft here. Wong, however, is a revelation as this is her first acting job.

    But also, like their previous hit Talk To Me, the directors balance character journeys with building up the tension. We get to see who the siblings are, why Andy behaves that way, why Oliver behaves that way, and ultimately why Laura does what she does in the film. As I have mentioned, BHB is a story of love – the kind and the cruel types sometimes at the same time – that leads to deadly consequences. I don’t think the filmmakers were trying to make a blanket statement about how adults have made a cruel world for children. There are at least two adult characters who are shown to help the younger characters, making it clear that Laura exhibits the deviant behavior here, not the kids or the other adults. Just her and her twisted faith. It’s not that cynical of a movie. The story may not be groundbreaking nor unforgettably unique, but the performances are definitely remarkable.

    In the end, we are left with an emotionally devastating tragedy of how sometimes (or is it often?) adults fail children. Plus one very shattering scene that is sure to get the screams out of you.

    Bring Her Back is simply one of the best films I have enjoyed this year. Easily one of my favorites of the year so far. Granted, I haven’t seen that many. But still, I applaud much.

    Bring Her Back is in cinemas now.

    Trailer link and images courtesy of Columbia Pictures Philippines.

  • If it makes you happy

    Back in 2011, The Smurfs were accidentally teleported into New York from their hidden mushroom village while escaping the wizard Gargamel. Fish-out-of-water accidents happen, but a friendly human helped them find their way back.

    This year, the Smurfs are teleported into the real-world dimension from their hidden mushroom village to rescue Papa Smurf (John Goodman) from the clutches of the evil wizards Razamel and Gargamel (both voiced by JP Karliak.) Along the globe-hopping way, the Smurfs are befriended and aided by hairy new creatures the Snooterpoots and masked Smurfs-in-Paris wearing black leather pants.

    Yes, the basic storyline sounds the same, which lends me to believe that that was all that Paramount asked for this family film. The story is scattershot, the interdimensional hoo-hoo a lame excuse for magic that sends the little blue creatures off to an adventure into our world (though I find that idea a little too quantum physics to explain to toddlers), and the songs are very typical motivational kumbaya how you-can-be-who (or what) -you-want-to-be songs about feelings and not about the plot and therefore could have come from anywhere non-specific to this storyline.

    The main story revolves around No Name (James Corden,) a smurf who has yet to figure out their identity and purpose in the grand scheme of “every smurf in the village has a name and a thing.” No Name is the impetus of both Papa Smurf’s capture and eventual rescue from the wizards.

    I’m not sure if this manner of labelling is good or bad for children psychologically, although I get that the film’s idea is about accepting a person’s own identity, the sooner the better.

    But what Smurfs is, it’s the most colorful movie my eyes have ever been exposed to. All 32 million colors that are made possible by lighting and textural variations that the multiverse can project. It is dazzingly colorful. Which should be okay for overstimulated children. Rihanna voices and sings as Smurfette. The Smurfs are impossibly, irresistibly cute, the adventure is illogically wild, and the story is safe and positive enough even for the shyest young little movie-watcher. Babysitter movies, they’re sometimes called.

    Maybe that’s all director Chris Miller and Paramount needed to accomplish. Smurfs up!

    Trailer and images courtesy of Paramount Pictures. Smurfs is out in theaters now.

  • How it’s done, done, done

    Hidden under every trope imaginable that celebrates this generational zeitgeist is actually a mild commentary on The System. But you barely feel it because it’s fun and colorful to watch and listen to – you can almost say it’s diabolical.

    If you say that Sinners is the transcendent film of the year, that’s only half-correct. It’s actually K-pop Demon Hunters. What I mean is that if there’s any discussion about which film had an impact on audiences artistically, culturally, generationally this year, it cannot be solely Sinners.

    Not a review of K-pop Demon Hunters. There’s tons of those around already. Also not an examination of all Korean references. Better actual Koreans do that too, and there’s a lot of them in Tiktok and YouTube.

    I just want to point out a few things.

    I say that the commentary is hidden only because the film is entertaining, first. The film is designed for a very wide audience of k-pop and non-K-pop fans, from toddlers to adults. Those who have high exposure to the Hallyu/ Korean Wave are able to pick up on the commentary immediately.

    What am I blabbering about?

    That underneath the colorful animation and catchy tunes is a wish by the makers for the K-pop industry to improve on.

    Rumi is gay-coded. Feel is gay-coded. Those by themselves are statements. Rumi yearns for acceptance, and even with Feel’s gay-coded lyrics, the duet is a lament against forbidden love. But this one is about Korea being homophobic and remaining a patriarchal society where abuse and discrimination against gender continue. Those are real-life demons.

    That one line from Celine towards the end, where she says the flaws and fears must never be seen. Kpop idols are subjected to the strictest, sometimes unrealistic standards of beauty, public decorum, physical and mental health, that fandoms have become either the most positive elements of the music industry or the most toxic.

    Tiktoker @younglestiktok has a series of videos explaining K-pop Demon Hunters from the perspective of Korean history, overall validating the film’s decisions from character arc to the use of Korean symbols. In one of her videos, she explored the significance of making the lead protagonist Rumi a halfie, noting how K-pop idols of mixed heritage are often expected to deny their mixed heritage and emphasize their Korean identity to the public. Rumi’s songs are constantly about being accepted for who she is.

    Speaking of who (or what) they are, the Saja Boys’ names are also a veiled commentary on this industrial pop factory. Idols are to be mysterious, romantic, hypersexualized to their fans, and often upon request, required to perform aegyo (cute) onstage. Imagine if Western bands had to do this. Imagine Destiny’s Child being asked by David Letterman to play cutesy like twelve-year-olds for one full minute on camera. It’s not an accident that these names (Mystery, Romance, Abby, and Baby) were assigned to the demon characters.

    I’m not trying to make a mountain out of K-pop Demon Hunters. I’m just saying that all talk about which film transcended to the audience the most this year should definitely include it.

    So if I were the Academy, we’re looking at Your Idol and Feel in the original song category, since the Academy has a limit of a maximum of two nominated songs from one film. Golden is the obvious submission here, but those first two are the best songs in the musical.

    Remember The Lego Movie, Academy? Yeah, you totally didn’t get that.

  • Cents and sensei-bilities

    “One tree, two branches,” says the new Karate Kid film that aims to fold the “wax on, wax off” of classic The Karate Kid (1984) with the “jacket on, jacket off” of the not-so-old The Karate Kid (2010) into one martial arts universe because, I dunno, Confucius says?

    Karate Kid: Legends unites Jackie Chan of Karate Kid 2010 with Ralph Macchio of OG Karate Kid 1984 plus Ben Wang of Disney+’s American Born Chinese in the latest bid to keep this property kicking well into the 21st century, long after Daniel LaRusso crane-kicked the boxoffice in 1984.

    To be fair, I was prepared not to like this before I saw it. But afterwards, I didn’t like only half of it. The other half of the story was acceptable.

    “One tree, two branches” sounds like the marketing tagline for a 2-in-1 genealogy website, but Karate Kid: Legends takes this phrase seriously because karate is also kung fu. Confusion stays.

    Alright. Legends is about young Li Fong (or Fong Li, if we’re truly Chinese about the name) who is plucked by his mother-with-no-first-name (Ming-Na Wen) from the Shaolin school of Han (Jackie Chan) in Beijing to relocate to New York. Mother Fong is the Asian-American archetype, successful and blended in, while Li isn’t the stereotype. He’s not even good at math. Haiyaa!

    Li soon establishes rapport with schoolmate Mia (Sadie Stanley) and her father Victor (Joshua Jackson), who run a pizza place near the Fong neighborhood. But Mia’s ex Conor (Aramis Knight), who happens to be the karate champion of the Big Apple, plans to deal more than emotional damage to anyone who tries to get close to Mia.

    In a fit of reverse-Uno studio genius, Li becomes Victor’s shifu (teacher) after Li defends Victor from loan shark henchmen in an alleyway brawl whose action choreography is classic Jackie Chan and the film’s best display of martial arts stunts. Victor, himself a former boxing champ, enlists the aid of Li in order to win some cash and pay off the loan sharks. Li trains Victor using kung fu techniques he has mastered from Han.

    So far, bits and pieces of the Karate Kid grocery list – a master, a student, a romantic interest, a jealous bully, and a tournament fight. Except the part where the main character has to karate instead of kung fu and the tournament is boxing.

    The fix: Victor is unable to pay off his debts, so Li takes it upon himself to enter the Five Boroughs karate tournament to win the cash, the girl and himself. But how to learn karate quick in order to join? Han helps Li by seeking the help of – you guessed it – Daniel LaRusso (Ralph Macchio.) Actually, Han was looking for his old friend Mr. Miyagi (Pat Morita), who in the story traveled to Beijing long before he became a karate sensei in Osaka. “One tree, two branches” would probably rattle some purists on the origins of karate, but they’re all Asian, right, Hollywood? (I must say, opening the film with beautifully restored archival footage from Karate Kid II was a pleasant surprise.)

    With the karate in the kid established, the last ingredient missing is the signature “move” that always finishes off the antagonist. Li polishes his kung fu with Han and learns karate from Daniel to master the secret dragon kick that no one in the five boroughs knows about. Suffice it to say, the movie, like all Karate Kid installments, ends in a crowd-pleaser.

    While action choreography is commendable (most likely due to the presence of Chan), the film’s storytelling suffers from jarring editing that defies emotional, time, and visual continuity. Unnecessary cutaways to a surly Connor. Unclear passage of time (or the lack of it.) Sudden emotional shifts. It was like the editor was ticking of a grocery list of shots. It would have been nice to see each of the five boroughs of New York shown during the Five Boroughs tournament, but the suggested places are perfunctory. It just is “Five Boroughs.” Wen and Knight’s characters are mere caricatures, and while half of the film revolves around solving Victor’s problem, Jackson’s name isn’t in the film’s billing. He literally is half of the story.

    So the new film isn’t a total disappointment. It retcons the 2010 “Kung fu kid” back into karate despite the presence of Han. Wang ably handles both the dramatic and the physical requirements of Li, although to us Asians he clearly doesn’t look like a teenager anymore. As a coming of age film, Wang doesn’t fit the glove in this sense.

    With Daniel’s re-introduction into the films, the franchise is open to further explore the Miyagi universe on the big screen in ways that they haven’t in all six seasons of Cobra Kai. Bullying, romance, teen angst, coming of age, internal reflection, mystical philosophies – whatever they haven’t explored yet, whether or not it makes sense. Taekwondo aliens? Maybe not. Jedi karate? Who knows?

    Karate Kid: Legends is out in cinemas now from Columbia Pictures.

    (Images and trailer link courtesy of Columbia Pics PH)

  • Cracked me up

    Novocaine is out in cinemas now from Paramount Pictures.

    This will be short.

    If you’re some sort of masochist, this movie is for you.

    This movie is for you if you like medical shows that feature bare bones in open flesh, whether they’re drama, comedy, or reality.

    If you like riding rollercoasters up in front or way back with arms up in the air, this movie is for you.

    Not for the faint of heart, and definitely not for ordinary viewing. This has been the most fun I’ve had since Anora.

    Nathan Caine (Jack Quaid, fresh off the horror-comedy Companion) has a medical condition that bars him from feeling any pain. One ordinary day, this condition will help him become a hero.

    Cute chemistry with love interest Sherry (Amber Midhunter of Prey) is amplified by a similarly cute soundtrack. Fil-Am Jacob Batalon plays a sidekick once again.

    Some good parts include the bad guy resembling a certain eyeliner-Vice President, plus the hero gets to deface a swastika.

    Amber Midthunder as “Sherry” and Jack Quaid as “Nate” in Novocaine from Paramount Pictures.
    Jack Quaid as “Nate” in Novocaine from Paramount Pictures.

    Novocaine is bone-breaking, teeth-shattering, not-for-the-squeamish fun! Hollywood, I want a sequel!

    Novocaine, directed by Dan Berk and Robert Olsen, is R16 in Philippine cinemas now.

  • Three for the road

    Relatives looking for relatives. Lost individuals searching for inner peace. Anora is A Real Pain, Paddington (that’s my humor there, sorry.).

    One of the most hysterical comedies to come out in years, Anora is a refreshing, cool indie breeze in a town overrun by repetitive IP content.

    A whirlwind wedding between New York exotic dancer Anora (Mikey Madison) and the spoiled son of a Russian billionaire Ivan (Mark Eydelshteyn) turns into a hysterical night of comedy after Ivan’s parents find out and tell their henchman Toros (Karren Karagulian) to have the marriage annulled by any (legal) means necessary. Yura Borisov assists Toros quietly on the side as Igor. We get to root for him towards the film’s end.

    Although, Anora itself suffers from a bit of repetitive gags in the middle of its hilarious one night of chaos. A brilliant knee-slapping first act, sympathetic characters, and a killer ending all sprung from Sean Baker’s superb film writing. Mikey Madison was electrifying from start to end.

    Less magical and joyful than Paddington 2 (2017) but still cute as a bear and sweet as marmalade, Paddington in Peru is fun-ish, delightful, and innocent entertainment for bears of all sizes.

    A letter sent from Peru informs Paddington (Ben Whishaw) that his beloved Aunt Lucy (Imelda Staunton) is inexplicably missing, which prompts the little bear and the rest of the Brown family to heigh off to the Peruvian highlands. Antonio Banderas serves as the boat captain guide Hunter Cabot, while Olivia Colman is the Reverend Mother of the Home for Retired Bears.

    However, I must say that parents accompanying their children to see this should look out for unintentional travel red flags set in motion by Paddington (don’t leave your family behind; don’t go into uncharted territories; always tell someone where you’re going, don’t follow strangers – flags that Paddington clearly ignored), in case the little ones get adventurous from these ideas.

    Jesse Eisenberg’s impressive sophomore story, A Real Pain, is a deeply poignant road trip that explores sorrow and acceptance, showcasing an affecting performance from Kieran Culkin.

    Cousins David (Jesse Eisenberg) and Benjie (Kieran Culkin) join a historical tour of Poland in memory of their recently deceased grandmother, but old grudges resurface while on the road. That’s a bummer if you’re stuck with the same person for several days.

    All awards nominations A Real Pain has received are certainly worthy.

    Anora is currently exclusively in Ayala Malls Cinemas (week of January 20th.) A Real Pain comes after on January 29th also exclusively in Ayala Malls Cinemas. Paddington in Peru opens on January 29th from Columbia Pictures.

  • Three sonic cheers for Sonic3

    The cheers from the young fans at the screening of Sonic the Hedgehog 3 were the loudest among the Hedgehog screenings I’ve attended, and it makes sense because the latest installement is the most enjoyable of the bunch.

    Of course, that fan base has grown in age and in size since the supersonic hedgehog barged into Hollywood’s videogame-movie competition via a character design controversy back in 2020.

    What I didn’t expect was for the reactions to the third film – no frills called Sonic the Hedgehog 3 – to be that loud. As in, “oh my god, oh my god, oh my god!” I’m pretty sure that young boy will be watching the movie again.

    There’s no need for a Part 1 and Part 2 refresher, families can just jump right in and enjoy the adventure as the story, while having some links to the earlier films, can be understood on its own.

    SEMI-SPOILERS AHEAD.

    In Part 3, a powerful new alien hedgehog named Shadow (Keanu Reeves) emerges from a secret laboratory with a revenge plot against humans who wronged him in the past and placed him in some form of cryo-sleep. Sonic (Ben Schwartz), Knuckles (Idris Elba) and Tails (Colleen O’Shaughnessey) are recruited by Guardian Units of Nations (GUN) to defeat the new hedgehog, but are easily overpowered.

    • Sonic (Ben Schwartz), Knuckles (Idris Elba) and Tails (Colleen O’Shaughnessey) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.
    • Shadow (Keanu Reeves) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.
    • James Marsden as Tom and Tika Sumpter as Maddie in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.
    • Jim Carrey as Ivo Robotnik and Sonic (Ben Schwartz) in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.
    • Jim Carrey as Ivo Robotnik and Gerald Robotnik in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.
    • Sonic (Ben Schwartz) in Sonic The Hedgehog 3 from Paramount Pictures and Sega of America; Inc.
    • Lee Majdoub as Agent Stone and Tails (Colleen O’Shaughnessey) in Sonic The Hedgehog 3 from Paramount Pictures and Sega of America; Inc.

    The heroes decide to team up with erstwhile enemy Ivo Robotnik (Jim Carrey) to gain some technological power to defeat Shadow, but as they work together, another villainous surprise arises – Gerald Robotnik, Ivo’s lost grandfather (also played by Jim Carrey.) Just as technologically genius as Ivo, Gerald turns out was behind the release of Shadow. Together with Tom (James Marsden) and Maddie (Tike Sumpter), the team races from Tokyo to London to outer space to defeat the evil plans of the Robotniks.

    END OF SUMMARY

    You can add Ivo Robotnik to the list of classic Jim Carrey characters just like his Grinch, the comedian is definitely in his element as the iconic villain of the Sonic universe.

    Sonic the Hedgehog 3 is simply the goofiest installment with non-stop one-liners and witty punchlines and no pretentions for gravitas. Just all-around crazy antics that even the confused plot and illogical situations don’t matter. Uncomplicated entertainment that the family can enjoy together. Stay until after the credits.

    Directed again by Jeff Fowler, the live-action-animation hybrid also has a returning cast with Jim Carrey, Ben Schwartz, James Marsden, Tika Sumpter, Idris Elba, Colleen O’Shaughnessey, Natasha Rothwell, Shemar Moore, Adam Pally, Lee Majdoub, plus newcomers Alyla Browne and Krysten Ritter, with Keanu Reeves joining the franchise as the voice of Shadow the Hedgehog.

    Sonic the Hedgehog 3 is out in Philippine theaters this January 15th.

    Images and link courtesy of Paramount Pictures.

    By the way, this scene from the movie is located in Malt Mill, along Shad Thames, near the Tower Bridge in London. Photo below is my picture of the street last August, 2024.

    Jim Carrey as Ivo Robotnik and Gerald Robotnik, Shadow (Keanu Reeves) and Lee Majdoub as Agent Stone in Sonic the Hedgehog 3 from Paramount Pictures and Sega of America, Inc.

  • Tomorrow X Together Hyperfocus

    Just came from the special screening of Kpop boy band Tomorrow X Together’s virtual mini-concert Hyperfocus, presented by Ayala Malls Cinemas.

    In Tagalog we would call this “BITIN!” (incomplete, short, not enough) but in a positive way. It’s quite an enjoyable virtual mini-concert experience featuring some of TXT’s greatest hits.

    It’s quite like one of those “KCON featured-artist specials” during the pandemic when people watched Kpop concerts online and the visuals were band members in lavish virtual computer-generated sets. Or in this case as if one is transported inside their music videos and the boys are literally right in front of you. Plus a lengthy backstage behind the scenes of the VR production after the performances.

    The show began with the lively Sugar Rush Ride, then a dreamy sequence transported us to Magic Island. My favorite performance from the show followed next in a grungy street set for the show-stopping energetic Good Boy Gone Bad. Tinnitus was er, “revealing” especially for those with Taehyun biases, and then the show ends in Deja Vu. The band members hold a brief “interaction” at the beginning, middle and end of the show. After the Behind The Sccnes (I’m avoiding using three letters there), TXT performs the colorful MOA Diary dedicated to their loyal fans as a fitting finale to the show.

    But the entire show could’ve added three to five more songs, considering that the band already has several albums in their discography. Where’s Anti-Romantic? 0x1=Lovesong? Their debut Crown? I mean, if we’re talking greatest hits and fan favorites.

    Subtitles could’ve also helped the intermission chitchat be better appreciated by non-speakers of Korean. It wasn’t a deal breaker, but would’ve been nicer to have understood everything they said, instead of grasping at the few words and phrases I’ve picked up through years of listening to Kpop.

    Overall very fun and enjoyable with fantastic performances and colorful VR-visuals (although in the Philippines, the show is in no-glasses 4DX) but a bit short and quick. Hyperfocus definitely would easily leave MOAs wanting for much more from these very talented gents from Big Hit.

    #TXT #Tomorrow_x_Together Hyperfocus is in Philippine Cinemas January 15.

    (Images courtesey of Ayala Malls Cinemas)