MMFF 2014–when less is so much more

RAMSAY AND MERCADO. Learn from their imperfections in “English Only, Please.”

There’s been some ranting in the social media—even from those in the Metro Manila Film Festival’s “winners’” circle—about who should have won in categories they thought were theirs for the taking. But, the proof of the pudding is in the eating and, as expected, we’ve had more “fast food” than “gourmet dishes” at the festival this year.

For starters, it was laudable for MMDA chair (and MMFF over-all head) Francis Tolentino to have expunged “commercial viability” from the judging criteria for the fest’s Best Picture race.

The move is an enlightened step in the right direction—but, the bigger picture continues to reflect the absurdity of choosing the “best” from a predominantly deficient (and defective) lineup. Alas, it’s business as usual at the 40-year-old, income-generating movie fest!

Take Vic Sotto’s three-in-one starrer with Ryzza Mae Dizon, “My Big Bossing.” Sotto has tapped directors, Marlon Rivera (“Taktak,” about a young grifter who discovers her power to talk to the dead) and Joyce Bernal (“Prinsesa,” a “Prince and the Pauper” knockoff), to help Tony Reyes (“Sirena,” about an obese girl who is transformed into a mermaid) boost the viewability of his anthology. —But, not even Sotto’s considerable charm can save the film from its been-there-seen-that gimmicks, moldy humor and mind-numbingly puerile writing.

Wenn Deramas’ “The Amazing Praybeyt Benjamin,” which shows gay Col. Benjie Santos (Vice Ganda) getting too big for his britches, is just as silly—but, Vice’s penchant for irreverence and self-deprecation helps the film rise above its risible dialogue, episodic comedy, Richard Yap’s phlegmatic mien and the charming but underwhelming Bimby Aquino Yap.

It doesn’t hurt that Vice, with the loopy Alex Gonzaga in tow, knows how to “sell” even his most ludicrous lines. You can say what you want about the gifted comic’s occasionally offensive humor, but Vice is without a doubt this generation’s most talented comedian—and this movie proves it.

However, we must point out that Vice’s performance is in no way worthy of any acting award, which he (dubiously) managed to do early this year, for his MMFF entry last year, “Girl, Boy, Bakla, Tomboy.” —Some clueless award-giving bodies seem to think that popularity and acting excellence are one and the same! Weh.

ABELLANA, GONZALES AND POE. Topbill uneven horror anthology

Once again, Kris Aquino’s befuddling look of eternal dread is on view in Chito Roño’s “Feng Shui 2,” where her character, realtor Joy Ramirez, teams up with petty thief, Lester Añonuevo (Coco Martin), as they race against time to break the Chinese charm’s deadly spell.

While Roño’s ability to create an atmosphere of creepy foreboding has long been established (those leering, cyanotic ghouls still look terrifying), it soon becomes clear that the production merely trots out more of the same, old shriek-inducing ploys and contrivances—unless a jacked-up body count is your idea of cinematic innovation.

In the “Ulam” episode of “Shake, Rattle & Roll XV,” Jerrold Tarog coaxes a memorable portrayal out of Chanda Romero (one of the year’s finest), as the deceptively doting caretaker of an ancestral home owned by Henry and Aimee (Dennis Trillo, Carla Abellana).

Even if it has more holes than Swiss cheese, it is nevertheless the horror trilogy’s scariest yarn—unfortunately diluted by a convenient but unconvincing explanation. It’s more notable for the mood it creates than for the plausibility of its tale—which is crucial in chillers with a cautionary tone.

Dondon Santos’ “Ahas” breathes sinister life into an ’80s urban legend—about a lovely heiress and her ravenous twin snake (both effectively played by Erich Gonzales), who devours shoplifters and nosy kibitzers in the shopping mall owned by their business-tycoon father.

Like his recent film, “Dementia,” Percival Intalan’s confounding “Flight 666” is an aimless jumble of themes that banks on spectacle and crowd-pleasing gimmicks more than on a coherent and comprehensible story. It has star-crossed lovers (Matteo Guidecelli, Lovi Poe), a gun-toting hijacker and a pint-sized monster that leers, jeers and sneers like Peque Gallaga’s “Tiyanak.” —The episode is more (unintentionally) funny than frightening.

Erik Matti’s “Kubot: The Aswang Chronicles 2” is as visually appealing as it is narratively frenetic, and the performances turned in by Dingdong Dantes, Joey Marquez and Lotlot de Leon as they fight tooth and nail to survive the wrath of the vengeful Aling Veron (Elizabeth Oropesa) are nothing to scoff at. But, the film is weighed down by its meandering exposition, a vampire warlord who lacks menace (KC Montero) and the lethargic Isabelle Daza.

Francis “Jun” Posadas’ sluggish “Muslim Magnum .357” stars the stoic Jeorge “ER” Estregan awkwardly wearing Fernando Poe Jr.’s action-hero mantle as decorated cop, Jamal Rasul (who wants to diffuse the tension between two warring Muslim clans). It’s compromised by its protracted running time and lofty cinematic ambition. It also vividly displays the hackneyed elements that led to the eventual demise of the Pinoy action genre in the ’80s and ’90s.

You can’t begrudge Enzo Williams’ glossy revisionist drama, “Bonifacio: Ang Unang Pangulo” (which won Best Picture) its enthusiasm and spirited portrayals—but, contrary to Daniel Padilla’s nasal pronouncements about the heretofore “untold story” of the Katipunan’s legendary Supremo (Robin Padilla), it doesn’t offer fresh insights on and revelations about Bonifacio’s life as Oryang de Jesus’ loving husband, Emilio Aguinaldo’s political nemesis and the country’s lionhearted revolutionary leader.

Even with Robin’s vein-popping passion and posturing, the film leaves viewers disengaged. As with his past movies, the actor’s indignant spirit and gung-ho earnestness are a snug fit for the fearless protagonist’s heroic proselytizing.

Having said that, it must be noted that Padilla’s impassioned portrayal lacks the texture and thespic refinement required to make his Bonifacio more than the blustering action figure he is depicted as in the movie!

—Which brings us to Dan Villegas’ delightful “adult” rom-com, “English Only, Please,” starring Derek Ramsay and the adorable Jennylyn Mercado, who turn in the finest performances of their careers.

Boosted by a script cowritten by the prolific Antoinette Jadaone, the film examines the bond that develops between Fil-Am Julian Parker (Ramsay) and Tere Madlansacay (Mercado), the Filipino interpreter he hires.

In time, they help heal each other’s broken hearts, wounded pride and low self-esteem—and even learn from their imperfections!

Derek and Jennylyn (who were declared Best Actor and Actress, respectively) fit their characters to a T. As they say in acting school, half the job is done when actors are cast in roles that approximate their physicality, acting ability and thespic temperament—so, you don’t see Jen and Derek struggling to “look, speak and act” to make their characters believable. Viewers root for them—even if they aren’t exactly fighting for their country’s freedom.

In this instructive scenario, less is truly so much more. Despite its occasional excesses and crowd-pleasing embellishments, the film is the festival’s best reason to go to the movies this holiday season—because it doesn’t just wear its heart on its sleeve, it also has its cinematic feet planted firmly on the ground!