Horror films are a dime a dozen in Hollywood for the exact reason that this sequel is out. For every dozen of these, one or two will make so much bank that their producers will expectedly seek a second try to repeat the creatvie and dollar magic again. Remember Jason Voorhees? He was out Fridays at least 13 times.
Anyway, my point is that I believe that Parker Finn who wrote and directed the first Smile movie and started this addition to pop culture mythology probably had a sequel in mind soon after the first, despite what’s claimed by the production.
They say Smile was initially conceived as a self-contained story and Finn didn’t anticipate to create a second one. “But I knew that if I was going to approach the sequel, I needed to find a character I could fall in love with all over again and something thematic and emotional to explore,” shares the filmmaker. Something tells me that the germ for the sequel started early because we got a sequel real quick.
Almost two years to the dot, we now have Smile 2 – a bigger, bloodier expansion of the Smile franchise.
Smile 2 is the same torturous ride but on a bigger stage and with bloodier carnage. Similar jump scares, but also new. The same confident flair with the camera, but also more ambitious. Which means, for fans of the original, Smile 2 is something to smile about.
Those who already have an understanding of the mechanics of the Smile curse would probably enjoy the build ups and the tension more. Those who are new to this will get enough to not get confused too much, but will get the jump scares for sure.
On with the review.
SEMI SPOILERISH BE WARNED. I’ve already said what to expect from the sequel, further reading might spoil some details. But I will definitely not spoil most of the film’s surprises including the ending. You’ve been warned.
The film opens with Joel (Kyle Gallner, the detective from the first movie) in an explosive attempt at ending the curse that doesn’t go as planned, resulting in the story next. The scene impresses with choreographed camera work and carefully planned stunts in a simulated one-take that reminds one of Extraction and Atomic Blonde. Right off the bat, director Parker Finn is telling the audience that they have a lot of tricks and surprises up their sleeve and the sequel has a bigger budget to do these this time.
The audience is then introduced to global pop song superstar Skye Riley (the very versatile Naomi Scott) in the thick of her demanding preparations for a concert world tour. Think Gaga x Taylor level of popularity. What strikes me is the film’s generous servings of original songs that accompany her rehearsals – songs that are believably true pop song productions but originally composed for the film – the ambitions of this film are almost umbelievable. Is it “just” a B-movie horror film? It seems to refuse definition.
Seeking some chemical relief from the physical strain, Skye becomes exposed to the Smile curse through an acquaintance who is in the opening scene. Skye is shocked, but just like the rest of her traumas, Skye refuses to confront them and pretends control in front of her team and the public. Thus the sequel’s premise is established: what happens when a popular star is exposed to the curse?
Naomi Scott stars in Paramount Pictures Presents A Temple Hill Production A Parker Finn FIlm “SMILE 2”
The first film established that the curse thrived from a person’s unresolved trauma, and Skye was the perfect victim for the second film because of this. The more she dismissed her pain, the worse the curse’s manifestations became, the deeper she sunk into personal hell.
Skye is the polar opposite of Rose (Sosie Bacon) the protagonist in Smile 1. Rose was an everyday person with a job, friends, and a relationship who fought against but eventually lost to the curse. Her back story trauma was not of her own fault. It was natural for the audience to have rooted for Rose to win.
Skye on the other hand shuts off everyone around her, her friends abandoned her, no pets, lives alone and has a back story that spells she should deserve what befalls her fate. As if it was a done deal for the get-go, and the proceedings are just to punish the audience with the physical and psychological torture she was to receive.
Fortunately, the film makes sure to communicate that nobody deserves the evil that the curse brings to its victims. The audience is subjected to brutal, visceral body horror and intense psychological test as Skye tries to regain control of her body and mind. Pretty sure the curse is punishment extreme for anyone with a troubled past. Towards the end, Skye fights to defeat the curse.
Smile 2 is an impressive production, from the costumes, the visual design, effects both practical and computer generated, to a very creative scene involving motion choreography similar to modern jazz without music – it’s a great display of next-generation filmmaking from a promising new director in Parker Finn. I also liked that the film didn’t take itself too seriously, and occasionally “says cheese” and lets its hair down with campy instances that elicited some laughter. Psychological relief for the audience from the all its intense moments.
Scott impresses with her versatility required by her character, but the trauma feels repetitive and less devastating compared to Bacon’s Rose in the first film. Somehow it doesn’t feel like building up even if events become more intense.
But of course with all the praises come some observed shortcomings – in particular, with its myth-building and mechanics. I’m not sure if the production planned a third film as soon as the second was green lit, but curse-horror fan staples such as The Ring established a path not just to end the curse but to defeat the evil entirely. Or in the case of other Asian horrors like Ju-on or Shutter, a defeatist acceptance to the finality of the curse. That the protagonists were beyond redemption in the first place, no matter what. Smile 2 launches the curse literally to a broader audience, but then what? The entire planet smiles? I feel like this edition is more Smile1.5 than a part 2. Film 3 would still have to do some explaining about the Smile monster. Again, right off the bat, the film establishes that she doesnt deserve the audience’s sympathy. Dont get me started how a big superstar like Skye had a small team to take care of her.
It’s an impressive expansion into franchise territory even if it needs filling in some more detail into its myths. We’ll definitely get the third film to do that and more so long as the boxoffice keeps smiling on this emergent franchise.
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#Smile2 is out in Philippine cinemas now from Paramount Pictures Philippines @paramountpicsph
Images and trailer link from Paramount Pictures International
Who knew that, after so many releases, the Transformers franchise could (still manage to) engage the audience emotionally? Totally didn’t expect to enjoy Transformers One. Did I just get more than what my eyes met?
I had low expectations, as many probably have. The typical movie going and pop culture audience should be reasonably familiar with the warring factions of Autobots and Decepticons on a metallic planet far, far away who somehow continued their war here on Earth. After all, we have been subjected to a long history of films, tv shows, video games and toys since the comics and original animated show first appeared in September 1984.
Transformers One returns to the planet Cybertron, before the rivalry began.
Orion Pax (Chris Hemsworth) and D-16 (Brian Tyree Henry) are two lowly mining bots among many non-transforming bots assigned to dig out precious energon crystals from deep inside their planet.
They discover a beacon that seems to lead to the Matrix, a legendary gem that has the power to restore the flow of energy on the planet. They agree to seek it out, recruiting the bubbly B-127 (Keegan-Michael Key) and the reluctant former security Elita-1 (Scarlett Johansson) along the way.
Above ground, the beacon leads the group to Alpha Trion (Lawrence Fishbourne) – one of the ancient original Prime defenders of Cybertron against the invading alien Quintessons. Alpha Trion reveals the truth about the death of the Primes and Sentinel, who has since lorded over their city of Iacon. He gifts the group with Transformation cogs, enabling them transformation power.
Also on the surface, the group meets the former High Guard of Cybertron led by Starscream (Steve Buscemi) who seek revenge against Sentinel. D-16, who has taken Sentinel’s deception personally, muscles his way against Starscream to gain leadership of the soldiers. But Sentinel’s guards surprise them, capturing many and defeating the rest.
Orion recruits the remaining to free the citizens from Sentinel’s slavery and bring Sentinel down. But D-16 would rather do things his way and use his new power to create a new society. Thus the rivalry begins.
How they literally become Optimus Prime and Megatron is the ultimate highlight of the film, grandiose in dramatization, enough to send the audience to rapt applause, with a few tears shed I’ve been told (not mine, but I was close.)
L-r, Brian Tyree Henry (D-16), Keegan-Michael Key (B-127), Scarlett Johansson (Elita-1) and Chris Hemsworth (Orion Pax) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
L-r, Keegan-Michael Key (B-127), Brian Tyree Henry (D-16), Chris Hemsworth (Orion Pax) and Scarlett Johansson (Elita-1) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
Chris Hemsworth (Orion Pax/Optimus Prime) stars in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
Brian Tyree Henry (D-16/Megatron) stars in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”) stars in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
Chris Hemsworth (Orion Pax), left, and Brian Tyree Henry (D-16) star in PARAMOUNT ANIMATION and HASBRO Present In Association with NEW REPUBLIC PICTURES
A di BONAVENTURA PICTURES Production A TOM DESANTO / DON MURPHY Production
A BAY FILMS Production “TRANSFORMERS ONE”
In terms of lore, I think the newest revelation is adding an heirarchal (or class) system in the city that places non-transformers at the bottom of the societal heap. This makes the last third of the story somewhat of a traditional workers’ revolt against the elite, except that the other leader of the revolt intends to take authoritarian control.
What makes this a big fun to watch is the humanizing of the robots, who speak in relatable, often humorous terms – their personalities leaping off the screen from the script to the voice acting, and expressive faces that are an improvement over the designs of previous Transformers. So much so that I think Hemsworth can now do more voice acting assignments and give the other Chris (Pratt) a challenging run for his voice money. Well, maybe.
Cybertron is a fully-realized alien metallic world from underground to surface – which I admit I couldn’t appreciate from the trailer. Let’s admit that the trailer looks like a mashup of all the film’s highlights (which it is) and doesn’t give off alien planet feels right away much like how trailers of Avatar did it.
But characters with heart and a story with a clear dramatic arch is what sets this apart from all previous Transformers editions. Kudos to well-oiled writing, and steady direction from Josh Cooley. Some shots look amazing in 3D.
There are many callbacks to old school 80s Transformers (from the design of the bots to their voices, to familiar phrases and items. Hello, GoBots!) but the story is enjoyable and easily digestible enough for newbies. Smart editing keeps this war movie safe viewing even for youngsters (with their guardians’ supervision.) Stay until after the end credits for additional scenes.
I have to shout out Brian Tyler’s amazing music here, not just weaving old themes with new notes to fit the scenes, but a movement that elevates the contrast between Orion and D-16 especially in the climax.
Transformers One is a surprisingly effective refurbishing of the brand, a heartfelt reworking of an old rivalry and positively the start of an exciting new way to enjoy this franchise.
Overall a badass origin movie for what will be an expected new universe of movies and Hasbro toys.
(Images and trailer link courtesy of Paramount Pictures International)
The Bad Boys return for a fourth run on the big screen, screaming age is but a dollar number.
At the end of Bad Boys For Life (2020,) Mike (Will Smith) appeared to be striking a deal with his imprisoned drug-dealing son Armando (Jacob Scipio.) That part of the story continues in Ride or Die, where Mike and Marcus (Martin Lawrence) investigate the posthumous corruption charges against former Miami PD captain Howard (Joe Pantaliano.) The buddy cops are set up as working with the criminals, so they work against the system to clear all their names and catch the real guilty baddies.
Almost everyone from For Life reprise their roles in Ride or Die, including Paola Nuñez, (erstwhile Philippine Tourism ambassador) Vanessa Hudgens, Alexander Ludwig and a few quick appearances from DJ Khaled, Tiffany Haddish and Lionel Messi? McSteamy Eric Dane joins the cast as the new baddy, McGrath. Former Mr Fantastic Ioan Gruffud is here and forgettable as Lockwood.
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Will Smith stars in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Martin Lawrence stars in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Will Smith and Martin Lawrence star in Columbia Pictures BAD BOYS: RIDE OR DIE. Photo by: Frank Masi
Ride or Die is just par for course among the rest of the films in this buddy cop franchise that started in 1995 under the helm of Michael Bay, and now under the Belgian filmmakers Adil El Arbi and Bilall Fallah. That long franchise history may have enough built-in fans to sustain another (fifth) outing as only age and inflamed muscular joints can allow – already showing in some of Smith’s and especially Lawrence’s fairly limited action shots. To be fair, from a filmmaking standpoint, the directors aggressively make use of dynamic movement and angles to keep the action sustained, even when Mike and Marcus are just c̴a̴t̴c̴h̴i̴n̴g̴ ̴t̴h̴e̴i̴r̴ ̴b̴r̴e̴a̴t̴h̴s̴ standing, throwing punchlines at each other. At some point in the climax, the camera swoops down as a drone, takes a closeup of Mike shooting enemies, flips to become a first-person shooter POV, flips back to Mike’s closeup, then zooms out to reveal a mid shot of the room all in one take. Not as choreographed as Extraction 2 or as relentless as The Raid. So yeah, if you liked the past films, you’ll like Ride or Die, with another salute-worthy performance from Dennis Greene as Marcus’ very grown-up soldier son, Reggie. Won’t be surprised if this makes money and a fifth Bad Boys is announced.
It’s been said that the rest of the world sees the US the way US Americans see Florida – it’s Disneyworld, but also Mar-a-Lago. Racially diverse, but also book-banning. It’s like a dysfunctional sibling to the rest of the States. Where am I going with this thesis? That Murica has a guns problem – and the way I see Bad Boys: Ride or Die is that it is such a display of the 2nd Amendment. An entertaining, funny and action-packed celebration of the time when there was no issue about wokeness, and if Murica wanted an action movie, it better have lots of gun shooting and car chases. There’s a tongue-in-cheek scene where Mike and Marcus stray into a 2nd Amendment, Confederate-flagging compound, and the two try to lie their way out from a couple of rifle-toting white guys. Nothing offensive about the joke, I think. But for me, that’s the thing – the film does portray that there’s nothing offensive with carrying rifles on your person. The NRA could endorse this film. Long live Murica.
Its sensibilities may belong to a different time, but Ride or Die’s comedy and action slap really hard.
I have a feeling Ride or Die will make good money at the theaters. Curious to see its boxoffice demographics.
Bad Boys: Ride or Die is in Philippine cinemas now, from Columbia Pictures.
This is an easy watch. Or is it? It’s illogical and chaotic – totally Garfield! Or is it? Judging by the special screening, it is audience-approved.
Garfield, the world’s most infatamous tabby cat (yup I’m inventing words) is back on the big screen to deal with unresolved daddy issues (and hunger pangs.) Chris Pratt voices another IP that does not involve religion as the indoor feline with the insatiable appetite for Italian.
This somewhat reintroduction of Garfield and friends to the Alpha generation shows how the orange tabby got separated from papa tabby Vic (Samuel L. Jackson) and eventually adopted his hooman Jon (voiced by Nicholas Hoult.)
Vic reappears in adult Garfield’s pampered life out of nowhere but inadvertently drags Junior tabby (that’s Garfield) into Vic’s messy entanglement with Jinx (Hannah Waddingham.) Somehow, a crime involving stealing thousands of gallons of milk from a dairy farm becomes the main plot of the story, with the side quest of saving cattle couple Otto (Ving Rhames) and Olivia (Janella James.) Yes. this movie is intended for children. The basic message is covered: family first, parents love your children, friends and family make for a happy life – yadda yadda Holllywood.
Vic and Garfield in GARFIELD
Vic, Garfield, Odie and Otto in GARFIELD.
Jinx in GARFIELD
GARFIELD
Odie, Vic in Garfield in GARFIELD
Garfield – voice by Chris Pratt
Frenetic is the key word, although that would make this version of Garfield a lot less nonchalant than the jazz-singing late ’80s to mid ’90s TV cartoon variety. A lot less sarcastic, too, this one is. A full song number from Jinx in the end credits makes me believe that songs were considered for Garfield at some point – but maybe the makers decided that the new Garfield is more keen on using Spotify than randomly bursting out in a jazz song. Maybe Jazz is too Boomer for the new market.
Illogical narrative and questionable parenting aside, Pinoys love kittens – so this is almost a no-brainer to bring kids to the cineplex to see Garfield (if your family can, of course.)
#GarfieldMovie opened in Philippine cinemas May 29 from @columbiapicph
Images and links from Columbia Pictures
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IF
For a movie about the wonders of the Imagination, IF had a fairly limited stretch. Where’s the Thin Old Man With A Hat imaginary friend, iykwim? How about a rainbow-farting pink baby pig unicorn with a Jamaican accent? Or how about a green little person with bug eyes – the type that looks like an alien? You know, the types conjured by WILD children’s imagination without abandon. Maybe the Ice Cube in a Cup character fits here, but really?
But also: in Asia, if you have an imaginary friend, nae-engkanto ka na (You’re being bewitched by nature spirits.)
Idk how this film would resonate, it’s emotionally flat (music worked overtime to compensate but ugh.) How would places that don’t usually have imaginary friends in their culture feel about this, I don’t know. Do Vampire friends also go to an imaginary theme park for retirement? Are all imaginary friends cute and cuddly?
Felt like the original child character was written male, then changed into female. The “adventures” skew to the blue spectrum of gender assignment.
Also, felt like a studio attempt at starting an IP with theme park characters – merch here, merch there. Sequel means more merch.
In fairness, Ryan Reynolds tried to sell this show. He ain’t Wonka though. Character felt more Pied Piper.
Looks great though, cinematography by one of Spielberg’s regulars, Janusz Kaminski.
Add this deceptively satisfying, unassuming production to your next fitspiration goals. And enjoy a rom-com while at it.
Somewhere in China, Le Ying (Ling Jia) wastes her time all day doing practically nothing, leaving the tending of their family’s small convenience store to her mother (Haiyan Zhao) and her recently-divorced sister Le Dan (Xiaofe Zhang.) A big argument erupts between the siblings, afterwards Le Ying storms away from home. One would think that she wouldn’t survive on her own. Somehow she manages.
She meets boxing trainer Hao Kun (Jiayin Lei.) She is attracted, he needs her gym membership. One would think she wouldn’t last a week in a gym. She does, of course. And more.
In a case of why-is-this-generic-rom-com-worth-seeing is not the inspiring story of Le Ying’s cinderella transformation to win her boxing prince charming. (But there are some cute funny moments for the rom-com crowd.) The reason comes towards the end of the film, when all is revealed.
It must be noted that Yolo is based on the 2014 Japanese film 100 Yen Love (Hyakuen no Koi) by Take Masaharu, so any credit to the inspiring story must start from that. The Chinese tale, however, leans on the brighter side of romantic comedy and is more empowering in the end than the Japanese original.
For the good entirety of the film, viewers are deceived by the camera (or at least, that’s how I think the film’s look was intended) to constantly wonder how the production pulled off showing the main character at 100kg in the beginning, and nearly half of that weight at the end. Best prosthetic makeup? CGI? Caloric deficit? The thought pestered not just me but other reviewers attending the screening. By the end-credits, you’re either doing Oscars slow claps or shaking your head in disbelief. (Would have also benefited from better and more subtitles, as many are left out untranslated.)
Hilarious, heart-warming, but most importantly, inspiring. YOLO is a hit!
YOLO is in cinemas starting Wednesday April 17, presented by Columbia Pictures Philippines.
Warning: the latest from the ghost patrol may cause short term brain freeze from too much exposition. The effect is temporary. The main villain, Garraka, looks gnarly cool though. Fans will enjoy the nostalgia trip.
Spoilers be here, too, so skitattle if you wish.
The Spenglers Callie (Carrie Coon), Trevor (Finn Wolfhard) and Phoebe (Mckenna Grace) plus their ex-teacher-now-Callie’s-BF Gary Grooberson (Paul Rudd) have transferred to New York, ghostbusting for the big city. Why, it is unclear. Their action opening scene together shows an atypical family dynamic, but they get the job done, despite the mayor’s frustrations.
Nadeem (Kumail Nanjiani) sells an unusual relic to Ray Stantz (Dan Akroyd) unaware of the evil it contained. That evil is unleashed after Phoebe meets Melody (Emily Alyn Lind), the ghost of a young woman who perished in a fire.
The new Ghostbusters reteam with the old but refurbished Ghostbusters (Akroyd, Bill Murray, Ernie Hudson, Annie Potts) plus Afterlife holdovers Lucky (Celeste O’Connor) and Podcast (Logan Kim.) The latest cast addition is the group’s resident geek, Lars (played by James Acaster) who runs the Ghostbuster’s newest containment and research facility across town (but still in New York.)
FIREHOUSEPhoebe (Mckenna Grace), Podcast (Logan Kim), Ray (Dan Aykroyd) and Dr. Hubert Wartzki (Patton Oswalt) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Phoebe Spengler (Mckenna Grace) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Lucky (Celeste OConnor), Trevor (Finn Wolfhard), Lars Pinfield (James Acaster), Podcast (Logan Kim) and Ray (Dan Aykroyd) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Winston (Ernie Hudson) and Peter (Bill Murray) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Janine (Annie Potts), Peter (Bill Murray), Ray (Dan Aykroyd) and Winston (Ernie Hudson) in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Slimer in a trash pile in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.Garraka in Columbia Pictures’ GHOSTBUSTERS: FROZEN EMPIRE.The firehouse freezes over in New York City in Columbia Pictures GHOSTBUSTERS: FROZEN EMPIRE.
Was that a long intro to the cast? You bet. The film gets busy doing just that. AND THEN it goes to the plot about some ancient general who vowed freezing the world to death after getting betrayed by his king. Why freezing, I dunno, maybe that was his villainpower.
TLDR: Family wins. New York (by that, it means the WHOLE WORLD) is saved.
Grace carries her scenes, er, with grace, as the emotional center of the story that circles around her being the odd member of the group despite being the brains and spirit of the current Spenglers. Akroyd and Kim are also my comedic favorites, since Afterlife (Akroyd since the original.)
Strange that a fairly acknowledged duo of filmmakers (writers-directors Gil Kenan, Jason Reitman) could come up with something generic. Ghostbusters: Frozen Empire redoubts itself on the 2021 franchise reboot Afterlife by again bingeing nostalgic the original cast, then creating this new, young atom of Busters, and rehashing the end of the world scenario of the 1984 story (which Afterlife also did.) Plus the endless replay of the original theme song.
Strange that the film brands the new team as a Spengler fam – would that mean in the future spawns of this storyline, no one will take Grooberson as a surname should Callie and Gary tie the knot? Callie did call herself Spengler. Does the empire in Frozen Empire mean Empire State, or the fictional ancient empire that Garraka came from? How did Garraka know what Phoebe will do? Minor quips.
It’s not a particularly bad film – the creatures look awesome for Halloween, and I don’t mind the really scary scenes (the original had sexual undertones, stop thinking this is child’s play.) But for all its production worth, in this REAL day and age of “the world just might ACTUALLY end tomorrow in another pandemic or nuclear war,” shouldn’t Hollywood at the very least not waste time and money on something we as an audience already have wasted time and money on? Oh, wait, they did try that in Ghostbusters 2016.
This kind of cold actually bothered me. Let it go, Hollywood, maybe?
Ghostbusters: Frozen Empire opens today April 10 in cinemas, from Columbia Pictures Philippines.
How about some pre-Holy Week katatakutan that delivers not just the creeps but full-on stressful moments?
Honestly, I wasn’t expecting much before the press screening, but the trailer looked good, and the movie stars one of my all-time favorite Korean actors, Kim Go-eun. No contest. Go Exhuma!
Exhuma (Korean title: 파묘, “digging”) is a nail-biting supernatural thriller from writer-director Jang Jae-hyun.
NOT SPOILERISH (I think)
A rich Korean family in Los Angeles offers a large sum of money to shaman duo Hwa-rim (Kim Go-eun) and Bong-gil (Lee Do-hyun) to save a young baby. However, the process would involve moving (exhuming) the tomb of an ancestor long gone. Hwa-rim enlists the expertise of veteran geomancer Sang-deok (Choi Min-shik) and mortician Yeong-geun (Yoo Hae-jin.)
In this case of Murphy’s Law goes to the Korean boondocks, everything turns from bad to worse as soon as they dig up that grave.
Now we’ve all seen some Korean shamanism and occult rituals in films and shows before (Great Shaman Ga Doo Shim, The Guest, The Cursed, Bring It On Ghost, The 8th Night.) Often, the more serious of these stories would mix shamanism with some police detective procedural which would be the core of the show. But Exhuma puts these rituals to their believable realism in the center of the story, and the main actors all play their parts excellently, such that these ceremonies tell a story of their own. Never before have South Korean shaman rituals been presented so satisfyingly suspenseful – with the possible exception of 2016’s The Wailing (곡성 Gokseong, by Na Hong-jin), and even then, the rituals didn’t take a big portion of the film. Here in Exhuma, you get creeped out, intrigued, mesmerized and anxious all at once while watching close to actual shaman rituals. But the point is, you’d want (to believe) these rituals would work, because that’s how the bad guy can be dealt with in the story. We want that “expelliarmus!” to be as powerful, effective and believable as if Dr. Strange himself cast it.
What worked: spell-binding acting (regardless of my bias, they’re all good!), top-notch atmospherics and a confident control of tension that does not resort to cheap jumpscares for the heck of it. Also, the back story about Japanese occupation in World War II added some real drama to this fantasy.
What didn’t work (too much) is the final chapter which had to bind together the different strings of the story, but it was fun to have an anime moment when the protagonists banded together to fight the evil. With the surprise (oops?) appearance of another K-drama favorite, Kim Sun-young as Hwa-rim’s senior, Gwang-shim. It’s okay, it’s horror – a messy final act isn’t a deal-breaker.
#Exhuma opens this March 20th in cinemas across the Philippines. Presented by Columbia Pictures Philippines @ColumbiaPicPh
#meangirlsmusical is a fun-enough update to the 2004 comedy that became a cult classic even outside the Lindsay Lohan fandom. It is supposed to be the film adaptation to the Broadway musical also based on the original film, although, if you’ve noticed, there’s hardly any song played in this film’s marketing. It’s the film’s main weakness even though it is the reason for its existence.
Reneé Rapp fabulously steals the show reprising her Broadway role as queen bee Regina George, while supports Auli’l Cravalho and Jaquel Spivey (as Janice and Damian) deliver the message and the laughs as musical narrators. Won’t be surprised if Rapp gets some recognition when awards season kicks in later this year.
Interestingly, the romantic leads to this glittered play (Angourie Rice as Cady and Christopher Briney as Aaron) aren’t front and center in story and song, barely getting any solos to their credit.
What should be credited is the camera choreography, with most (if not all) productions in long single (or fake-single) takes.
Everything else is familiar territory to existing fans, but in Gen Z fashion. Yes, including Glen Coco. Tina Fey and Tim Meadows reprise their original roles as well as Ms Norbury and Principal Duvall respectively.
Mean Girls is out in Philippine theaters today February 7. Rated PG. Images courtesy of Paramount Pictures Intl.
acid reflects 