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:

Wet Dreams May Come

Sweety Tweety

Come being the veiled operative, the arrival of mainstream movie veteran Joel Lamangan into the indie arena with his seminal (pun unintended) work Walang Kawala has left many a moviegoer tightened to the coil and ready to be cloyed by the subsequent votive designs of a master of populist directing. His pseudo-sophomore work Heavenly Touch (Fuschia not included) has all the makings of a crowd pleaser, with the crowd being mostly homosexual men, and the pleasure being solidified and assembled on a conveyer belt of contemporary gay-themed flicks whose production rate can be likened to China-bred teddy bears. If the demand is indeed related to the implacable concupiscence of a predominantly male audience, then the supply has little reason of abating.

The movie centers on the lives of robust young men working as masseurs in the seedy but ostensibly clean “Heavenly Touch” spa run by the perpetually fan-wielding and diminutive Mama Orange (Jim Pebanco) and his tyrannical not-so-campy masculine counterpart Sir Tong (Jeffrey Santos). Their able-bodied employees are displayed like vacuous dolls behind a glass pane, and like the industry that prides itself on the dispensability of its human resource, Sir Tong does not hesitate to discipline his nubile wards with casual fatality. Though a more sensitive dimension is conveyed through a romantic dynamic between the two, the portrayal of Sir Tong and Mama Orange in the movie is a fascinating reflection of the sexual politics that predominates among gay Filipinos. To summarize, effeminates are seen as weaklings, with predictable desires and informidable but amusing personalities, while bisexual mustache-clad men are imposing, albeit malicious, assholes, but ultimately more desirable. Of course the crucifix of seduction is planted on the masseurs themselves, hard-up and fresh-cheeked detachables that cater to a more primal logic conveniently stored in every ticket-payer this side of the pink district. This is the very essence of Lamangan’s cinematic language, he practically wrote it, the sweet and universal poetry of the shirtless male constitution. Though true poetry is of a more rarefied ilk, Lamangan makes no apologies in giving the public exactly what they asked for, and that is something you can bring straight to the bank. He employed them all, along with some of his favorites, the scandal king Paolo Serrano, the frontal nudity king Marco Morales, the monotonic and awkward king of the moment, Mr. Lakan male pageant winner Joash Balejado. Throw in a pair of clichéd queens predictably acted by Paolo Rivero and that other gay guy giving away expensive merchandise and you have a full house. And that is exactly what Lamangan intends to achieve. It may be an iffy gamble but his delving into a more concentrated target market may reveal more than his artistic experimental proclivities. The fact that he is able to make such movies, release them with no perceived trammeling from the ratings board, and have them run for more than a week is sheer evidence of his considerable hold on the industry. The power is there, and perhaps the patronage, but does Lamangan have what it takes to elevate his work to a higher tier, more than Mano Po 3000 uberload or Manay Po 10? Does he care? The fact that he endeavored to tread on this side of the river implies that he does. And he knows well enough how tricky the river bends.

Inevitably Lamangan’s Heavenly Touch will be compared to others of its flock, to the Chionglo and perhaps even the Brocka films that virtually created the genre. The subject matter itself is almost identical to Brillante Mendoza’s Masahista though that is where the similarity ends. The two films represent two different schools of thought, Lamangan’s plot-driven traditional film-making (though not without its surprises carefully calibrated to shock the jaded moviegoer) and Mendoza’s stylistic exhibitionism rank with fancy angles and sprawling particularities. The latter being buffeted with shiny trophies and pretty plaques, mostly international, while the former being more accessible to the masses, the divergence hints a wobbling diversity within contemporary Philippine cinema. Hopefully it will not be inimical to the industry as a whole. While some things are changing, Lamangan’s socio-political expressionism that teeters on the edge of redundant melodrama underscores his reliance on recurrent themes and cookie-cutter archetypes that are not always redeemed by his talent for characterization. He mixes it up a bit and breaks some of the rules, but in the end his intrinsic almost perfunctory desire to placate the audience is indomitable. He even made two hot guys fall in love, placing them on a bus bound for a golden world of reciprocal passion and resolved conflicts, a certified wet dream both timeless and meretricious. It is a mollified version of his previous indie adventure, cherry-topped with a happy ending that eluded a disappointed swarm of romantics. Even the weak female archetype in the person of Irma Adlawan, the powerless mother-spectator, was content in the end, despite watching her only son evanesce indefinitely with a man-whore. It’s ingratiating to be sure, but if I were asked who among the current Filipino directors society should cryogenically freeze for the sake of our culture’s posterity, I would personally elect Joel Lamangan as one of my top choices. Embedded in his DNA are the desires and weaknesses of an entire nation, an organic admonition to the future Philippine stock. If that’s not worth preserving, I don’t know what is.

Written by: Alex Milla (Guest Critic)

Agaton & Mindy

Agaton & Mindy is a romantic film by Peque Gallaga. It stars Cherie Gil, Louise delos Reyes, Chase Vega, Desiree del Valle, Audie Gemora, Sharmaine Centenera, Mailes Kanapi, Ketchup Eusebio, Nonoy Froilan, Dwight Gaston, Pilita Corales and Dina Bonnevie.
Agaton & Mindy will be shown in selected theaters starting May 27, 2009.

Tutok

Tutok is a drama thriller film directed by Joven Tan. It stars Emilio Garcia, Allen Dizon, Boots Anson-Roa, Ian de Leon, Victor Aliwalas, Andrea del Rosario, Lloyd Samartino and Raymond Cabral.
Tutok will be shown in selected theaters starting May 27, 2009.

Litsonero

Litsonero is a film by Lore Reyes. It stars Paolo Contis, Karylle, Maricel Laxa, Michael de Mesa, Jun Urbano, Gerard Pizzaras, and Joanne Quintas. It will be shown in theaters starting May 20, 2009.

BFF (Best Friends Forever)

BFF (Best Friends Forever) is a comedy film directed by Wenn Deramas. It stars Sharon Cuneta and Ai-ai dela Alas.
It will be shown in theaters nationwide starting May 13, 2009.

BFF (Best Friends Forever) Official Website

Wiggle your Hips, Bitches

Torn between two lovers...

Fuschia is an enjoyable film. Its absurd and outrageous scenarios could be the reason why the film works for me. It is definitely an assortment of different comedic elements ranging from observational to farce comedy interspersed with socio-political satire. Ricky Lee and Joel Lamangan made the script and Lamangan directs Fuschia with a possible inclination of camp style.

Mameng (Gloria Romero) lives with his second husband Gener (Robert Arevalo) in a provincial town. One day, she receives a letter from her first husband Mars (Eddie Garcia) that he will come back after four decades of living in Hawaii. To make amends with Mameng, Mars gives his newly acquired house to Mameng. Mars also confesses that he has a terminal illness. Mameng decides that Mars will live together with her recent husband Gener, who is also Mar’s best pal.

It is a type of comedy and the situations that are building up are well-executed by our country’s film legends. Mameng takes care of his previous husband with a shocking decision of a ménage à trois setup. The people within the community have expressed aversion to the arrangement. Mameng’s older sister Juana (Armida Siguion-Reyna) made it known to her in a condescending mode. This starts a conflict between the two sisters with primordial rivalry from the past now being brought up.

Of course Lamangan made it sure that the film will be fun amidst the seniority of the casts poking fun at how we think of life too seriously. Despite the film tackling death, corruption and even decadent behavior, the film’s output just made fun out of the serious topics. Even when it is fused with melodrama, it does not precipitate a disarray of the comedy that has been installed. It is a rare treat to see film legends in one film and despite the campy portrayal or the absurdity of the film, the execution is commendable. After all, Lamangan is not after the marginal merits but rather he's presenting himself as a filmmaker who is after the bizarre and outrageous bearing of a story that could possibly work in films. He could have taken inspiration from the early works of Almodovar and even our very own Gosiengfiao. Of course he could not take away his political remarks and it was layered within the story from land grabbing, rural urbanization, political killings and oppression. It is an indication that a comedy does not equate to escapism.

Fuschia has a good story backbone and the genre it tries to combine within the story is well manipulated to make it enjoyable. Liberation is not so easy in a democratic country that has already achieved liberation for more than a century. True recognition of liberation and truth is within us. There will always be laughter for hypocrisy and this film is a result. I would like to commend Romero’s performance. Despite her reputation, she deliberately played a character that is disgraceful, mannish in her principles but full of charm. For that, my respect for her is higher.


Charlie Koon's Rating:

Holy Cow

Let's pray. Don't smile at the camera

True enough, Padre de Pamilya is a troubling film (literally) just like what the bishop said about it. On the other hand, it is good to see that the attendance was adequate while I was watching. I suspect that the film format is quite new to their senses (indie spirit). This film is well promoted by the Catholic Church. I guess even Shake Rattle and Roll XXV will be recommended by the church as long as the aswang is shown praying the rosary.

Joselito (Ariel Rivera) is a government employee working in the sanitary division. He gets to approve permits from businesses and factories in the town. His son needs to have a new computer for his studies. His wife Maggie (Jacklyn Jose) is also troubled by the family’s budget and sometimes shoplifts. Joselito is soon bribed by one of the rejected businesses and he gives up all his principles in order to buy his bratty son a computer.

The film tries to maximize the plot’s irony to come up with a seemingly simplistic instrument for the conflict to arise. Joselito is convinced to buy his son a computer package. I would be more practical about it and suggest computer rentals. But there are other desires that tempt him towards a better life. Maggie dreams of a family life that is trouble-free and even hints her husband to be a little more open to the opportunities present in his post in the government. I am still not convinced with how the film sets itself to the flame. Situational films that tackle moral uncertainty must have a better logic for each action that could lead to the aim of the film. Padre de Pamilya appears more of a parody than a valid reproduction of a society’s moral downfall. They could have layered the story with more sincerity and avoided cliché plots and unnecessary compounding dialogues that have no mark for the allegory.

The story also showcases political issues. Tessie Tomas plays the Mayor whose verbal histrionics is given more detailed attention than her chief authority as a public official. I know they wanted to make fun out of it. But the ideas involving this lampoon could have been executed with much more dexterity. The effect is the other way around as it appears that it makes fun of the film. Another minor issue that tries to thicken up a generally sparse political concern is the garbage handling. Dump trucks are not being purchased due to corruption and there is a segment in the film that the media is making an in-depth exposition about it. Instead of conveying solid evidence, the media attempts to sensationalize by hitting the eye through hidden camera pranks and impromptu interviews of the people within the town.

Acting from the likes of Rivera, Jose and Tomas are sufficient. The direction of their acting is barely passing. What can a director do in order to give other layers to these monosyllabic characters? This is important because the film tries to show family relationships, distraught government officials and parenthood. Although the ending is a bit alarming, this is not very typical of a moral film. It is now an advantage that is seen by religious people. The point of the film is for us to learn from this troubled people with the church’s guidance.

I have no qualms in films that either preach or represent morality for the betterment of the society. But I prefer well made stories and Padre de Pamilya lacks what the definition of well-made is. The structure of the story could collapse at anytime. The contrivance is okay as long as the logic of the situations they wanted to show could be possible. Films are as powerful as the church. We have to use it at its full advantage and not waste energy in making a film that is scruffily written and yet expects the audience to be completely transformed.


Charlie Koon's Rating:

Boobies and Buns Galore

Yeah-boy

What do you get if male fantasies are unleashed? Sumpa. This film summarizes men’s desire to have sex with a pretext of love being only a remote option. It’s just the work of the imagination to get our desire with a huge consequence to follow. Surprisingly, this femme fatale horror film has the idea of what they might probably want to showcase. But it lacks the deep commitment to make a story more compelling and credulous to the audience. Sumpa has the only aspiration to make men look weak and cheap and women as threats.

Sumpa is the debut film of Carlos Agustin and Melvin Brito. Raymond (Joross Gamboa) is a horny guy who needs to take a break from his chaotic lifestyle in the metro. He is advised by his sickly uncle Dennis (Mark Gil) to go for a vacation in his resort in Laguna. Upon his arrival in the resort, a mysterious woman (Mocha Uson) appears and instantly seduces Raymond.

Despite copious naked female bodies on display, the film garners a mild rating from the board of censors. Or maybe the MTRCB is just being more permissive in general. The surprising part is it is shown in the principled domains of SM Cinemas. And the other catch is the theatre is nearly vacant. Let’s put it this way; if you neglected this film, you just made the right choice. If they could have refined the story to its orgasmic condition, it could have been a passing film.

Sumpa aims to engage the audience with femme fatale archetype characters. Although this element equates with the ideas to be found appears to lack some flavor of a wholly pleasurable film experience. The characters are like androids which are only automated to copulate with each other. The level of testosterone could be so high which made the film acquire a predominant disease that deteriorates the quality of the film.

The technicalities of the film are worse as expected. The only thing executed correctly is when the camera is able to record the scenes as well as the sounds. There are also irregularities in some scenes that happen within the day but instantly shift to night. Gamboa has adequately portrayed his character without hints of difficulty. He just gets laid the entire time with different female creatures.

Sumpa stretches the male’s sexual desire to a point wherein they get bored and then ends up getting more bored. Its sexiness might illicit a bit of interest to some people especially for males who know or are infatuated by the sexy songster Uson. I know the difficulty to entice the audience to watch films without special effects or romantic formulaic stories. But if you have the special weapon, just like a typical femme fatale, the audience will possibly be enticed by the charm of a film. But the big BUT is that it is not enough, as this film portrayed.


Charlie Koon's Rating:

Rawness, Winsomeness

Muni-muni

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The Amazing Truth about Queen Raquela is enchanting. Johannesson’s magic wand has sprinkled every absurd and intriguing account on the life of a lady boy – a girl with a dick or a guy who wants to be a girl but has a dick (useless definition). All the glittery aspects of the film just made its way to work simply because of Raquela’s charm. This is very important because the tale involves a character that is not conventional to the eyes of the audience. It could only work if a film presents a character that is effervescent, smart and likeable.

Raquela (Raquela Rios) is a lady boy living in the Philippines. She is from the south province of Cebu. She has only one dream: To be in Paris. Her life in the province is full of ups and downs, living as a prostitute to open-minded male patrons as the latter. And she makes sure she gets penetrated without protection. It makes her feel like a real woman. Luckily, she was discovered by a photographer. Soon enough, she works on the internet porn industry by a moody owner Michael (Stefan Schaefer). There she meets Valerie (Valeria Grand Einarsson) a transsexual from Iceland who promised to bring her to Iceland for her to be able to achieve her lifelong dream.

Along the course of the story, we could distinguish the documentary style mixed with hyper-realistic situations. The film opted to use naturalistic dialogues with some interviews from real people. The story takes place in different countries which could also hint a bit of travelogue-road trip genre fusion. The transition from one place to another brings about a unique mood and disparate music. A possible romantic interlude with Michael and Raquela also takes place when the two finally meet.

The film could have this realistic-documentary effect but the insights are also seen in the viscera of the moving images. Living in a third world country could hinder someone to fulfill their dreams. But the impossibility might drive a person to hope for it to be achievable. Even living abroad is not a fairytale type of story. Raquela gets to Iceland and works in a fish factory just to live. Raquela is summoned by her dreams as well. Anyway, it’s not entirely serious in this matter. The film is rather fast paced, entertaining and well thought of.

People like Raquela have dreams and desires just like any other human. If there is a time that we question their authenticity or their declarations on how real they are, we tend to get the message in a blurred way. Raquela might actually be trapped in a man’s body. Raquela simply lives like just any ordinary human and making her dreams possible without despair for the life she has chosen.
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Charlie Koon's Rating: