Do ‘Enteng 10,’ ‘Super Parental Guardians’ and ‘Mano Po 7’ deserve to be in the MMFF?
Jessy Mendiola (left) and Enchong Dee in “Mano Po 7: Chinoy”
Do “Enteng Kabisote 10 and the Abangers,” “The Super Parental Guardians” and “Mano Po 7: Chinoy” deserve to be in the eight-entry lineup of the rebooted (but shortened) Metro Manila Film Festival (MMFF) this year? Our answer is an unequivocal no.
The ludicrous titles of the first two films say it all—but, if we go by the age-old maxim, “The proof of the pudding is in the eating,” there’s really not much for viewers to savor in the comedy capers of Vic Sotto and the box-office tandem of Vice Ganda and Coco Martin.
Not even the “high-tech” gloss of the sci-fi enhanced “Enteng 10” can conceal the franchise’s hackneyed storytelling style and musty, been-there-done-that gags.
If anything, its underwhelming performance at the tills suggests that it is no longer the “panlasa ng nakararaming manonood,” as its movers and shakers initially claimed. Indeed, it’s never wise to dumb down viewers’ cinematic taste and preferences.
On the other hand, “Super Parental Guardians” may be silly as heck, but its gay comic lead’s prodigious ability and skill to “sell” even the most vacuous of jokes is nothing to scoff at. Vice certainly knows how to tickle millennial moviegoers’ funny bone.
Moreover, the winking same-sex romance that he and Coco introduce at the film’s final fade is a clever and “subtly” staged pop-culture “influencer” that deserves a pat on the back for its daring boldness. But spot-on humor and political correctness don’t a festival-grade, “quality” film make.
Front row, from left: Coco Martin, Simon “Onyok” Pineda, Vice Ganda; back: McNeil “Awra” Briguela
‘Revamped’ criteria
So, given the “revamped” criteria set by the MMFF, it is befuddling to hear some of the aforementioned films’ backers whining about their entries’ inability to make the grade.
With the inane, formulaic flicks it’s been churning out for decades now, the annual festival has subverted its founders’ original vision and, along the way, redefined the meaning of “quality” to justify the so-called “mainstream mafia’s” income-generating agenda—so it’s high time to set things right if we want viewers’ perception and taste to change for the better. However, that’s a much-needed change that requires viewer support and patronage.
What about the latest installment of “Mano Po?” Boosted by Lee Meily’s theme-enhancing photography and career-best portrayals from Enchong Dee, Jean Garcia and the appropriately cast Richard Yap, Ian Loreños’ three-hanky drama gets off to an auspicious start, but eventually succumbs to turgid convolutions and distended complications that undermine its stirring, relatable tale and relevant themes.
Up until its mushy third act, “Chinoy” proficiently plays out the compelling domestic drama that threatens to tear a Chinoy family apart: Motivated by his difficult past and a loving but tough-talking mother (the riveting Rebecca Chuaunsu), business tycoon Wilson Wong (Yap) may seem like a nice guy, but he’s an iron fist in a velvet glove—especially where it concerns his family, composed of his subservient wife, Debbie (Garcia), his loving daughters (Janella Salvador and Jana Agoncillo) and troubled son Wilson Jr. (Dee).
Vic Sotto in “Enteng Kabisote 10 and the Abangers”
No clear heroes, heels
There aren’t clear heroes and heels in Wilson’s story, just imperfect individuals who don’t know how to express their love for each other. That focused simplicity is one of the film’s biggest draws—until it veers off-course and decides to give Debbie a plausible but unlikely extramarital diversion (courtesy of Jake Cuenca) that quickly turns on the schmaltz. It then results in melodramatic excesses that derail its initially peerless storytelling trajectory.
Fine performances are turned in by Chuaunsu and Eric Quizon (as Wilson’s runaway gay brother), but Dee, Garcia and Yap are welcome revelations. In a role that fits him to a T, Yap is neither rigid nor phlegmatic and, in fact, delivers his most textured portrayal to date.
Garcia is just as empathetic and believable, but it’s really Dee who manages to dig deep into his character’s core and go for the thespic jugular.
The actor has always been an enthusiastic actor, but the performances he turns in are perfunctory at best. Here, he finally comes into his own as he imbues his dramatic moments with uncommon grit and sensitivity.
The film is another matter, though. When we say that it doesn’t end well, we don’t mean the Happily Ever After denouement that perfunctorily wraps up every mainstream drama in the biz.
If you’re partial to predictable resolutions that make you forget about your indecisiveness and its heart-breaking repercussions, this film could very well be your feel-good story this Christmas season.
But you can’t say you didn’t see everything coming from the get-go.
