One last look at the filmfest entries

The 32nd annual Metro Manila Film Festival is over and done with and below is a recap of some of the entries:

Kasal, Kasali, Kasalo – Still the best among the nine entries. This Jose Javier Reyes film will surely garner more nominations in the coming awards race this summer. Outstanding are the performances of Judy Ann Santos, Ryan Agoncillo, Gina Pareño, Gloria Diaz, Ariel Ureta, Soliman Cruz, Juliana Palermo and Tuesday Vargas. The material is meticulously written and the sensibilities very Pinoy. Truly deserving of the Gatpuno Antonio J. Villegas Cultural Award and even Best Picture, but Bayani Fernando and I will never agree on this so I will just shut up – for now.

ZsaZsa Zaturnnah (Zee Moveeh) – One of the most entertaining entries in the film festival. It boasts of a good material, great musical numbers (everyone loved the production number with the zombies) and excellent performances by Rustom Padilla, Chokoleit and Zsa Zsa Padilla. Unfortunately, the film bombed at the box-office. A clear indication that we are not yet ready for movies that try to get out of the formulaic mold. No wonder we are stuck with the kind of films we have – not to mention the kind of organizers that run this annual festival.

Ligalig – I’ve always said that its mood and temperament is non-Filipino, which was why I didn’t think it was going to win the Gatpuno Antonio J. Villegas Cultural Award. But even if it was supposedly copied from a French film, we still cannot dismiss outright its handsome production values – like the cinematography, for instance – and the performances of Cesar Montano, Sunshine Cruz, Celia Rodriguez, Johnny Delgado and John Regala.

Matakot Ka sa Karma – I don’t remember getting frightened in any of the three episodes – about a bed, a wooden cabinet and a dresser that came with a free antique necklace. The only people who probably got scared were the antique dealers because this movie is definitely black propaganda against the antique business. I also hope its creators can answer the question on the lips of everyone who saw it: Where is the karma there?

Shake, Rattle & Roll 8 – The first episode is better skipped. The second episode – entitled Yaya – stands out because its director Toppel Lee knows how to scare. Iza Calzado – as the nanny from hell – is very good, as usual. Child actor Nash Aguas also contributes a lot to the success of this episode. The only problem with Yaya is that its material is old. Didn’t Kris Aquino also have a Shake, Rattle & Roll episode with the same title in 1991? Third episode – LRT by Mike Tuviera (who had a very impressive directorial debut in Txt) – has some of the most suspenseful moments I’ve ever seen whether in local or foreign films. (I believe that Tuviera is our version of M. Night Shyamalan.) LRT only bogs down when it tries to revive the love team of Manilyn Reynes and Keempee de Leon after 20 years (like the fans still care). Why, why do they have to put that into the story? It ruins what could have turned out to be one of the best episodes in the Shake, Rattle & Roll series since it started in 1985. Tuviera is a very good director who knows the film medium and LRT really gives viewers a good scare – until that out of place love story. In fairness to Keempee, however, he shines in his scenes and the supporting cast (IC Mendoza, Eugene Domingo, Miko Palanca, etc.) don’t do so badly either.

Mano Po 5 Gua Ai Di – The most wasteful film of the festival. Its terrible script (the worst imitation of Meet the Parents) wastes the acting talents of its cast members – including Gina Alajar (the first time she is unable to save herself from drowning in a bad material). Richard Gutierrez is a fine young actor (and I’ve said that many times over) – very sensitive – but given his unsympathetic character in the movie (did he have to play dirty against rival Christian Bautista?), you just don’t care anymore if he ends up or not with Angel Locsin. You just want the film to end. The only positive thing about this movie is the fact that we are finally able to discover that Lorna Tolentino – a drama great – can also be effective in the field of comedy. It’s her luminous performance that keeps viewers awake – or from walking out.

Enteng Kabisote 3 – Technically and in terms of special effects, it is the best of the series. I just don’t know what kept its creators from developing its material further. But it’s undeniably the luckiest festival entry. Before its showing, it already made money with those casual plugs that are all over the movie – from meat products to phone cards. It even becomes top-grosser and – surprise – Best Picture. How can some people be so lucky? Where is the fairness in this world?