Who am I?

Mrs. Doubtfire??

I made a mistake. I just got into the mall when I suddenly remembered that I forgot my umbrella in the open parking lot. Upon reaching the lobby it rained right away wrathfully. I could have left my brain for a while in my car before seeing Oh My Girl!. But the weather became erratic, it gave me no choice. And I was right. The security could have placed a warning sign outside the theater similar to the one I see in the trailer of District 9. They could have warned the viewers that the film could prohibit future usage of human emotions, except of course a full-range of facial tweaks while vomiting (endlessly perhaps). Lacuna Incorporated could have been in the credits too by performing a free procedure of erasing one’s memory (selective) after watching.

I could have forgotten the film afterwards but here I am in front of my laptop, remembering such a gloomy experience in this supposedly bubbly comedic film. The ironic effect has been successful without really intending to do so. Oh my, I should not be thinking this way – it has crossed the borders of the film’s intentions. Okay, if you hope to really laugh hard, there’s really a ploy for your wish to come true – amnesia. But you may also skip it; you are not obliged towards self-infliction.

The start of the story shows a little flashback of the lives of our two lead characters. Darling (Judy Ann Santos) gets on the train hoping to travel for a future romance (very 2046). But instead, her recollection of the past always gets in the way. She remembers her childhood as a chubby girl with a raisin mole in her cheek. She is called “Opao”. Biboy is her best friend who is with her when they escaped the orphanage. But due to Opao’s hunger, Biboy is forced to go back. A sudden twist of fate happens when Opao is adopted by a semi-retired beauty queen named Inday Langging (Carmi Martin) and separates the two friends. Biboy runs away and is now taken care by Crisp Pops (Roderick Paulate).

Years have passed, Darling is a successful all-around artist. Biboy (Ogie Alcasid) has not yet reach the success of his long lost friend. It is totally understandable that Biboy is an underachiever since he dedicated his entire life searching for Opao. One day, Biboy heard their friendship song being sung by Darling in one of her television shows. Fast as lighting, his step-brother Bob (John Prats) helps him since he will be part of Darling’s latest commercial. Coincidentally, an old looking lady needs to be in the commercial and Biboy snatches the identity of Aling Sita (Nova Villa) and presents himself as Frida Akikla.

Well at least in here; Ogie’s female impersonation has more humanitarian bearing than his character in Desperadas 2 as Luga Luda. No wonder Darling admired her in an instant and chemistry ignites. But that’s only at the start when most of the succeeding scenarios fail on the aspect of being comical. It seems that before we point a sore finger at our actors, the spoiled script is by large the reason of the films’ downfall. If we also sift through with the actor’s execution, they seem half-dead or even confused with the purpose of their dialogues. So the timing suffers even with our country’s most gifted comedians.

Dante Nico Garcia’s move into mainstream is totally understandable and I think he wants to downplay his previous achievement in Ploning. He wants to get more in touch with an audience. Comedy genre is a great choice that could make a connection since most of us loves to laugh even for the simplest matters. But unintentionally, we laugh in the film for the mishaps of its entirety. It is a misery on their part. They might consider this as their failure to impart genuine comedy.

I enjoy dance sequences in films. Some might get really annoyed with this but I have grown with films that has more dancing and singing. It is important too that this should be done in a way that is not really disparaging to the aim of light comedies. Oh My Girl! has made a parody of the train dance sequence similar to Danny Boyle’s Slumdog Millionaire upon its closing credits. It could also be the tradition by Mother Lily Monteverde’s previous films in the 80’s and even in the 90’s era when dancing is also part of the credits. I think they just have to use this more often to humanize the characters instead of novel-length dramas happening without really basing the proper emotions. But if they dance, it reinvigorates. The aim gets to be larger than nearly one and a half hour long of sloppy shenanigans. Oh My Girl! has simple aims to make us laugh. Instead, it made me forget that laughing is a great quality of our existence.


Charlie Koon's Rating:

Ammonia Fever

Fainting Drag Queen

This is a crazy film. I know that anyone who happens to see this film will unquestionably admire its outrageous rendition of a family mourning for the departure of the head of the family. I suppose everyone has been in a funeral. And if you happen to be a spectator, you will laugh your heart out most especially for the spectacular gestures of grief, fainting galore, outlandish cries for exculpation and even the climactic confrontations of ancient resentment towards your rival sibling. Ded na si Lolo delivers a meritorious dark comedy directed and written by Soxie Topacio. I am certain that this kind of film is what filmgoers in our country crave the most.

In simpler terms, Ded na si Lolo tackles death. It is actually a taboo in this country full of apprehensions towards the topic. Topacio takes this to heart, does not mind the implications and made a film that is very observational to the rituals and traditions of a Philippine funeral. I agree that this film did acquire a representation that is close to the truth. And the truth is it is a one of a kind hilarious occurrence to a superstitious-strict and grossly sentimental nation.

We might wonder upon this hysterical visual rendering of mourning people. And we could not blame their fascination to television melodrama. Trash TV could have induced this trend in families but hey, there are real emotions infused into this role-play. Ded na si Lolo is narrated through the eyes of a child named Bobet (BJ Forbes). And he narrated it understatedly but the subtlety will do a disservice to his over-the-top aunts and uncles. His mother Charing (Manilyn Reynes) is the usual nagger with an overwhelming reaction upon hearing the death of her father Juanito. This is the same with the rest of the clan having different spotlights for their overdramatic monologues.

It is hard to describe the design of comedy in this film. Although in semi-scholarly remarks, it has satiric social flavor with ultimate whips of absurd humor relegating to death. The vibrant factor with how this comedy works is by the demand to conform to ‘superstitious’ hearsays and hullabaloos. Parody is also present like when Bobet placed a pink baby bird in the coffer of his grandfather, not knowing it is intended for murdered victims crying for justice. The film is overwhelming in a good way though for their crazy antics towards our own beliefs. It could also be a summation of natural dead-pan social beings inclining it to serious comedy relief in actuality. Remorseless guilty-pleasure for heavy dramas is also installed with of course a surprising twists prior to the resolution. Mameng (Gina Alajar) still has an injured relationship with her older sister Dolores (Elizabeth Oropesa) over who is the favored daughter. It depicts sibling rivalry but has pinches of affection conveyed in a stubborn manner. To heal the wound of these two unyielding souls, the eldest brother Isidro (Dick Israel), unwraps a top secret to further the goal of this feel-good tale.

Topacio is known to be a flamboyant gay director hence the audience could not escape being weathered by homosexual psyches. Joonee (Roderick Paulate) is also the son of Juanito who is a female impersonator with discerning views on this particular family affair. He gets to oppose the superstitions being followed and gives insights to Bobet not without the hyperventilation of the folks. And if you are a bit homophobic, grab hold of your seats with a few more campy effeminate characters that are a bit annoying. Their existence in the story makes a clear gesture for social acceptance, you would rather vomit. It might be true that respect should be earned than plead.

Ded na si Lolo is a commendable comedy film but not for the one who is likely to die for practical reasons. This film is not made to be a masterpiece but Topacio have mastered the art of delivering good humor and such is relegated to this film. If there is a wider release for this, I am certain that it will be a terrific hit. Just remember, nobody gets out alive, so loosen up and get more acquainted with your good side. We are not sure when our right time is up. Ded na si Lolo paints a portrait of a society that is dead serious on all matters and to an extent, does not show the appropriate affection and has many inhibitions. In effect, they get to faint, cry, go crazy at the time of mourning. It’s funny and it’s the truth. We should be more of the opposite, particularly of their lives and behaviors as peace could be in our midst especially when the time ticks out.

Charlie Koon's Rating:

All Night Fun

Am I thinking?

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It is hard to make me laugh. I have no reservations in showing how sarcastic I can be once I am not pleased with any kind of joke delivered up front. One Night Only is an engaging sitcom that lets me out of my shell for a moment. It is surprisingly funny and sexy. It is a mixture of farce comedy and grotesque situations, equipped with a risqué story and we get to laugh even if it did not intend to be funny. I think the entire film is the punch line.

One Night Only gathers five of the gutsiest female stars (even male) in a comedy riot that will certainly intimidate other big budgeted, star-studded comedy films included in the Metro Manila Film Festival 2008. This is the version of a mainstream film when it comes to real time storytelling. One Night Only happens in a day (not only in one night) with numerous characters that were intertwined in multifarious and far-fetched scenarios in a motel called Lovers Hideaway.

There are four major scenarios within the film that will capitalize on the shambles-in-the-making during their stay in the motel. Jasmine (Katrina Halili) tries to make amends with her lecherous and hot-blooded benefactor Congressman Facundo (Ricky Davao). They decided to have a quickie before Jasmine leaves for a vacation in Macau. Jasmine’s friend Vivian (Diana Zubiri) is playing it hard-to-get to a hunky advertising executive named Pons (Jon Avila). Vivian tries to give-in to Pons. Pons is stuck in a bloody meeting and has already an early set rendezvous with Vicky (Valerie Concepcion). The two girls have some domineering tendencies and tries calling Pons the entire time. In effect, they both get to the same motel at the same time.

The other characters to this twist-of-twist oeuvre are the matinee idol Diego Ravago (Paolo Contis) and Angela (Alessandra de Rossi). Angela is an extra in a shooting where Diego is the main star. Diego is determined to hook-up with any girl he likes and ends up getting Angela to have a one-night-stand. The last addition (this is so crazy) to this zany scenario is the tandem of two pairs of queer lovers: Edward (Chokoleit) a beautician and a patron to a yuppie boytoy Nestor (Joross Gamboa), and George (Manilyn Reynes) a dyke who wants to commit suicide unless her beloved Elvie (Jennelyn Mercado) will talk to her.

One Night Only is written and directed by Jose Javier Reyes. I was flabbergasted with the film’s output. I personally crave black comedies and it is until now that I have seen a decent film that has explored this chic and campy genre. They performed the characters effectively which could have attributed to the typical casting employed by Reyes.

One Night Only meets its objective to give fun to the audiences. It has an appeal even to the elderly even if the scenarios are teasing. The awkward-grotesque situations employed as a major element of the plot is agreeable and even if it there is chaos, the story has a solid direction and a good surprising ending. This is the best film of 2008 Metro Manila Film Festival. It is funny. It is sexy. It is cleverly written. I too was surprised. Comedy is our finest element. We should stick unto this because we are capable to deliver the best we could put forward.
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Charlie Koon's Rating: