Looking at his list of works for both TV and movies, I would say that he is not only prolific, but also very versatile.
Jose Javier Reyes’ first work as a scriptwriter was for Regal Films’ Problem Child (the launching film of Cherie Gil). Then, came Oro, Plata, Mata for Experimental Cinema of the Philippines. Directed by Peque Gallaga, Reyes’ script here is not exactly perfect. But it is such a big and encyclopedic film that you cannot help but have little loopholes here and there. In spite of the tiny flaws in its screenplay, Oro, Plata, Mata remains my all-time favorite Filipino film. Another one of my favorite Joey Reyes screenplays is Pahiram ng Isang Umaga, the Vilma Santos movie that won for him his first Urian trophy.
On the small screen, my favorite among his TV shows is Eh Kasi, Babae, for which he initially served as screenwriter, but eventually ended up directing. And for all the things they said about Palibhasa Lalake (the script of which he wrote), I thought it was very funny.
When Joey Reyes began directing for the movies, his first film project was Regal Shockers, the Movie, a rather forgettable flick. (Maybe I have to watch it again because there may have been gems in it that I didn’t see the first time.)
But he more than made up for this in his other films, which often figure in awards derbies. (His Makati Ave.: Office Girls won for him the Urian Best Picture, Director and Screenplay trophies.)
And then, he also managed to prove his versatility. Unlike most other filmmakers who get stuck on one genre, Joey Reyes has directed practically all types of films. Initially, he was identified with films about middle-class living. Then, he also proved to be very good at youth-oriented films (Pare Ko). Of course, like most other directors, he also tried drama (Ikaw ang Lahat sa Akin, Paraisong Parisukat, etc.). And take note that his dramas do not only work up the viewers’ lachrymal glands. These drama films also have satire in it to awaken your social consciousness.
In 1999, he also tried action-suspense – in Luksong-Tinik where Lorna Tolentino also gave one of her finest works. Produced for the Manila Film Festival, Luksong Tinik is one suspenseful film that really kept me at the edge of my seat while watching it.
Then, in 2001, Joey Reyes made the one film that created a big controversy which rocked church and state: Live Show. Although it had the moralist and liberal-minded fighting with each other, at least he can say that he, too, can make sex films – and how!
This year, Joey Reyes made four films: Anghel sa Lupa (a fine filmic work – I swear), Pinay Pie, Kung Ako Na Lang Sana (a very entertaining movie with wonderful performances courtesy of Aga Muhlach and Sharon Cuneta) and Malikmata, official entry of Canary Films to the 2003 Metro Manila Film Festival.
I’m actually intrigued no end by Malikmata because we are going to see here a more mature director in Joey Reyes doing horror once more (His Regal Shocker, The Movie is basically a teen flick with a flavor of horror.)
Malikmata stars Rica Peralejo as a clairvoyant – just like a grandmother who has passed on to the other world long before. The other stars of this movie are Ricky Davao, Dingdong Dantes, Anna Capri, Nikki Valdez, Marvin Agustin, Wowie de Guzman, Shintaro Valdez and Barbara Perez in one of her rare movie appearances.
If I’m excited to see Malikmata, I guess it’s because it’s a Jose Javier Reyes work and I hardly miss any of his films. Like what I said, he’s not only prolific, but also versatile. (And I can’t wait to see what he will do this time in this horror flick.) More importantly, his films – whatever the genre, never disappoints me.