‘OTJ’ energized by savvy choice of subject


ERIK Matti (center) directs Gerald Anderson (left) on the set of “On the Job.” reality entertainment

For years now, the Filipino action film, which lorded it over the local entertainment scene decades ago, has been practically extinct. On occasion, some efforts are made to revive it, although without much success.

But, the current film “On the Job” is doing better than expected at the tills, so if it continues to prosper, it could help revive the once popular film type, to the delight of its macho adherents who, for over a decade, have been patronizing American actioners instead.

Local context


Those blockbusters have scored at the box office, but they don’t give local action fans the down-home specificity and local context and “flavor” once supplied by the starrers of Fernando Poe Jr., Joseph Estrada, Ramon Revilla and Lito Lapid.

Happily, some of those long-lost traits are to be found in “On the Job,” so hope springs for a second coming for the Filipino actioner.

“OTJ,” directed by Erik Matti and scripted by Michiko Yamamoto, is energized by its savvy choice of topic: Prisoners who are guns-for-hire are spirited out of prison to kill important people for a syndicate, then go back to jail, where they have the perfect alibi, and the crime thus goes unsolved.

As this movie tells it, the syndicate is financed by powerful people with strong military ties, and they practically run the country. Thus, their nefarious activities are acutely relevant to the issues of corruption and absence of genuine peace and justice that are so much in the news these days.


Aside from this alarming context, the film scores with its close-up look into the lives of two hired killers, the “old” Tatang (Joel Torre), and his young protégé (Gerald Anderson).

They provide the specificity and personal conflicts that prevent the movie’s topic and theme from being just abstract verities that don’t impinge all that much on viewers’ feelings.

Other personal connections are made by two NBI officers played by Piolo Pascual and Rayver Cruz. In particular, Pascual’s character is eminently “corruptible,” because his wife is the daughter of a “well-connected” politician with blood on his hands.

These and other conflicted characters provide details and texture that reveal how deeply “institutionalized” corruption and coopted justice have sundered the nation’s core.

Most instructive of all is Tatang’s tragic tale: Killing has become just a job to him, but the “machine” that he has become is still fraught with feelings that ultimately push him, when his tenuous family life crumbles, to the quixotic “sacrificial” act that, depending on how you perceive it, either damns or “saves” the protégé whom he’s learned to love as his surrogate son.



Piolo’s character is similarly complex in conception and execution, and his portrayal culminates in his own “sacrificial” act that, again depending on how you see it and its aftermath, could mean nothing or everything in how it comes to bear on the all-important struggle against corruption.

On the minus side, the film can be occasionally faulted for too much fuss and bother to make some scenes look more “interesting” and “textured,” like the “water festivity” scene in which Tatang executes his first victim. In addition, the storytelling encompasses more characters than it can clearly limn and develop.

But, these are minor distractions that don’t adversely compromise its overall power and focus.



Finally, one of the film’s most unique strengths is its complex and sometimes even contradictory view of life, eschewing facile black-and-white renditions in favor of a more realistically complicated depiction and interpretation, depending on the characters involved, and their apparent or hidden motives.

This “attack” presumes that viewers are similarly capable of complex perception.

Are we?

Get Inquirer updates while on the go, add us on these apps:

Inquirer Viber

Disclaimer: The comments uploaded on this site do not necessarily represent or reflect the views of management and owner of We reserve the right to exclude comments that we deem to be inconsistent with our editorial standards.

  • indiosbravos2002

    The film is surprisingly good. This is only the 2nd Filipino movie which I totally enjoyed. The other one is Oro, Plata, Mata. I was expecting a mediocre filipino action/drama movie banking mainly on the boxffice draw of Gerald Anderson and Piolo Pascual but what I saw was a well scripted, well acted, well paced, well directed and well edited movie.
    The director was able to pull off a police drama that gets moviegoers glued from start to finish. Well worth the 200 I paid for.

To subscribe to the Philippine Daily Inquirer newspaper in the Philippines, call +63 2 896-6000 for Metro Manila and Metro Cebu or email your subscription request here.

Factual errors? Contact the Philippine Daily Inquirer's day desk. Believe this article violates journalistic ethics? Contact the Inquirer's Reader's Advocate. Or write The Readers' Advocate:

c/o Philippine Daily Inquirer Chino Roces Avenue corner Yague and Mascardo Streets, Makati City,Metro Manila, Philippines Or fax nos. +63 2 8974793 to 94


editors' picks

June 03, 2015

In love with Guy



latest videos