Reviews

Interesting movie but something is unexplained

I had zero expectations before I watch the movie so I enjoyed it up until the last bit scene before the ending and the ending.

The movie perfectly captures the horror theme associating with an urban legend that haunts the island. I got really hooked while watching as the movie had a clear, smooth, logical flow of the story, had a normal pace and scares you time to time. Though I wish they would show more about the main character (Tomohiko) as it feels like there's something the audience didn't know much about him.

In the ending however, it's quite confusing and I understand the director wanted to make an open ending for the audiences to think or wanted to make a part 2 of the movie but in this types of films, I really expected a straightforward ending that satisfies the audience (but maybe that's just me idk) it feels like all the efforts that Tomohiko did is useless considering how the movie ends. The little bit of romance at the ending is rather shocking as I thought Tomohiko and Tamaki would just remain friends and no other feelings involved are present.

Also, Shigeru destroying the computers to save Imajo + killing hilmself after just didn't make sense. I understand the suicide part as everyone hates him except Rin but he didn't need to care about the VR research team.

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An exhausting and infuriating film

To be quite fair, I skipped so many parts of this movie, because it was just so unbearable to watch, that I'm not sure I can say if it was good or not, all I can say is that I feel.... unsure and angry and sad and disappointed in humanity.

It was a very well-made movie with fantastic acting from the entire cast, especially the children, and I'm happy it created so much anger that it led to change in legislations in South Korea regarding the sexual abuse of children and people with disabilities, but I don't think it needed to put the child actors in a position where they had to film such graphic scenes.

I think the graphic nature completely destroys any rewatch value of the movie, and I'm questioning the need to risk potentially traumatizing these children. There has to be better ways to explore sexual assault in movies, especially of minors, in a way that does not put the actors at any risk.

I hope they had psychological support during the filming process, because no art is worth hurting a child.

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Comedic, Entertaining & Fun!

Saw the trailer and it was so funny so had to watch it when it was out. Yosh also looked so cute and handsome.

The story was written very well and wrapped everything up nicely. The premise was interesting and unique and the movie ended without any loose ends. I loved the cinematography and comedic timings. The little duck is also very cute aha. It was added in at the perfect time in the movie and it was very funny and enjoyable to watch. There are also some romantic scenes and I liked the chemistry between Yosh and the female lead.

Overall, a very funny and cute story! The trailer did this movie justice without any filler scenes. Yosh and the female lead's acting also were amazing, and the other actors too. Totally recommend if you're looking for a light hearted funny story!!

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There are directors with fetishes and obsessions when it comes to creating. On more than one occasion, a specific actor becomes an indispensable figure in a director's filmography. While the filmmaker is in charge of creating a universe that highlights the virtues of his favorite actor, the performer lends voice and face, perfectly understanding the objective pursued.
This union is so powerful that the actor ends up becoming a "fetish" for the director, a blind belief in his talent, necessary perhaps so that his films turn out as the director expects, or because said actor knows and understands the perfection his vision; making their films develop as fluidly as possible, because the chemistry between the two is so natural that the final result is unique.
One of these artistic partnerships between actor and director has as protagonists the Filipino performers Ace Toledo and JM Martinez and the filmmaker Tim Muñoz, who apparently finds it almost impossible not to have these two actors in his film productions.
Being openly homosexual, most of his themes are gay in nature, having the filmmakers Marco Berger, from Argentina, and the Mexican Julián Hernández as his new idols.
In 'Estranghero', from 2016, Tim Muñoz's first film after filming some short films, he addresses a recurring problem in his work, an obsession, you could very well call it: heterosexual boys experimenting with gay sex. 'Estranghero' also marked the first foray of both actors into the seventh art.
In 'Lodi', from 2017, the director and screenwriter of the largest television network in the Philippines, ABS-CBN, for about 15 years, before settling in the United States, returns his fetish actors to the big screen. The protagonist, named Franco (JM Martinez), a sex worker with a beautiful body, is criminally obsessed with Brent (Ace Toled), a heterosexual boy, and will not hesitate to commit the most violent crimes to fulfill his erotic fantasies.
Accustomed to immersing himself in every detail of the production, from the script to the direction, from the camera work to the editing, Tim Muñoz builds in 'Hombre' (2018), the cinematographic anthology extracted from the Pinoy blog M2M Erotica, a drama of LGBT+ theme, Maduro and Ómnibus, with explicit sex, extreme sexual content and nudity that revolves around his recurring obsession and also features the prominence of his fetish actors.
Each of the stories that make up the film raises the question: what would a heterosexual man do in a gay situation?
Also known by the title 'When heterosexuals become homosexuals', 'Man' tells five stories that try to answer the previous question.
"Hombre" is a Spanish word for the English word "Man." And yes, we get plenty of them in this sexy and delicious gay erotic movie from the Philippines.
The main of the five film stories that make up the film and to which the rest of the stories are integrated is titled 'Blog', and stars Ace Toledo and JM Martinez, who play Bonnie and Cholo, respectively.
In 'Blog', a heterosexual man, Cholo, discovers that Bonnie, his cousin and blogger, who lives under his same roof, has fallen in love with him and fills the pages of a blog with his erotic dreams in which the two are protagonists. What will the straight boy do once he has discovered his cousin's secret?
'Good Boy' is the name of the second story. Starring Mark Roca as JV and VJ Gomez as Hiro, it revolves around a man whose vehicle breaks down late at night in the middle of a dangerous neighborhood. So he gladly accepts a kind stranger's offer to spend the night in his cramped room. Only to realize that she had already met her handsome host earlier that day.
Meanwhile, 'Batang Bilog' (English title 'The Boy for Circle') tells the story of a handsome gym instructor in deep debt who recently lost his job. When the debt collector knocks on your door, you have to figure out how to get out of this difficult situation. Especially when the attractive visitor is clearly irritated and has had enough excuses. This story features Jerson Bugarin as Dennis and Ordy Yu as Rockie.
'Turuan Mo Ako' (English title 'Teach Me'), starring Ron Canda as Benji and Mico Madrid as Ryan, takes us to the story of a young student who received an unusual gift from his girlfriend: a dildo. Now you are experiencing the joy of using it, but you are too embarrassed to tell anyone. One day, his brother-in-law discovers his little secret. How will you explain this?
Finally, 'Bayad Utang' (English title 'Payback') introduces us to a heterosexual renter who, in the middle of a night of bad luck, is pleasantly surprised when he receives a visit from a former colleague. His mentor in the flesh trade is now a successful businessman with a wife and children of his own. But what is he doing in his seedy place for sexual encounters between gay boys? This story stars Jerom Umali as Obed and Carlo Mendoza as Galo.

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Lesbians ending men ahahaha

I've known about this movie for a while due to its popularity. I did put off watching it for some time as I heard negative things about it. But wow. I'm glad to have finally watched it.
I was genuinely amazed and in awe of this movie. It tells such a beautiful story... I was so touched. The writer did such an amazing job with every storyline, truly brilliant.
It has you rooting for the characters wanting everything to go right for them, leaving you on the edge of your seat the whole movie. It is sometimes hard for me to finish such lengthy movies, however, this one was over before I knew it! I'm always one to love a good plot twist and surprise in a film, and this gave just that. The deception made the movie.
The era this movie was set in makes it all the more beautiful. The leads had great chemistry, making every scene between them special. I think this movie does a perfect job portraying sapphic love. Korea needs more representation in their media, I am glad this masterpiece exists.
To say I loved this movie and story would be an understatement. I highly recommend this movie to anyone who is looking for or loves wlw films.

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"Once you join a family, you have to pitch in, right?"

Voice of Silence was an amalgam of different genres with results as mixed as the narrative moods. Shots of bucolic farm land and cornflower blue skies camouflaged empty buildings hiding dark, deadly secrets. The acting and cinematography were excellent, I just can’t say that I thoroughly enjoyed what was supposed to be a heartwarming story of a child in jeopardy.

Chang Bok and Kim Tae In both have physical disabilities. Chang Bok walks with a significant limp and Tae In is mute. They live amongst beautiful farmland in peasant shacks selling chicken eggs at the market. In their spare time they clean up crime scenes for a gang. They know where all the bodies are buried because they buried them. Things go sidewise when their boss tells them to take care of a little girl who has been kidnapped. Because the kidnappers accidentally grabbed Cho Hee instead of her brother, the father has been haggling with them, unwilling to pay much for her. Tae In takes her home to his small squalid place he shares with his little sister. Cho Hee befriends Moon Ju and helps to civilize the almost feral girl. Chang Bok takes Cho Hee on their jobs and the child scarcely bats an eye at the bloody business. The more her father holds out the more danger the little girl is in even from her well-meaning caretakers.

It felt like I was supposed to become invested in Tae In and Cho Hee’s relationship as the two seemed to bond. In truth, the only characters I cared about were Cho Hee and Moon Ju. Chang Bok and Tae In may have cared about her to a degree but were also willing to hand her over to child/organ traffickers. Unlike church going Chang Bok, Tae In’s moral compass began to point toward protecting Cho Hee. Yet Tae In was still a criminal. When a police officer investigated Tae In’s property, I was hoping she would find the girl, she certainly didn’t deserve what happened to her.

The most fascinating character to me was Cho Hee. What kind of family did she come from that burying a body and bloody scenes didn’t affect her? The film never told us. At every crisis she processed the information and pinned a placid expression on her face. Regardless of any sympathy she felt toward Tae In she was smart enough to realize how precarious her situation was with the two inept criminals surrounded by sharks. Her family might have been reluctant to have her returned but her fate was a terrible end the longer she stayed where she was.

I’m quite sensitive to child in jeopardy films and despite Tae In having a good heart working at a bad job, Cho Hee was in danger. "Once you join a family, you have to pitch in, right?" Just because they made the child an honorary family member while she was a prisoner didn’t mean that what was planned for her was any less heinous. It didn’t help that the film ended as if the writers ran out of paper when typing out the script and decided they’d gone far enough. Open endings are my least favorite and always feel lazy to me like the writer didn’t want to commit to an ending for fear of angering some part of the audience.

Voice of Silence did not fit neatly into any category. Was it a crime drama? There were plenty of bodies. A comedy? Maybe, I laughed once. Social Commentary? The two inept criminals did seem to be forced to work for the gang due to financial hardships in the rural area. Strange Criminal Slice of Life Buddy film? Probably the closest fit. Mostly, the message that came across was that one day you’re hanging someone on a meat hook, the next day it might be you.

16 August 2024

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Time travel story

I really liked this movie, I like that there's different stories and all. I liked the way they did the time travel in the movie and the story behind the cafe.

However, my only critique it's regarding the adaptation. While I understand that not everything needs to be exactly like the book, there were certain elements from the book that I preferred over the movie's interpretation. I think that there were a few changes that felt unnecessary too, but the movie also did some good modifications

Overall, despite that, I still really enjoyed the movie. It captured the essence of the story and delivered a compelling and emotional experience and I also really liked the ending.

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Fun but forgettable

Not gonna lie. I had fun watching this movie but ultimately this seems like one of those average Netflix movies. I guess what bothers me the most is that the movie resembles Hollywood action comedies a little too much and I wouldn't want Korean movies going that direction.

In terms of comedy and action, the film provides enough material. I didn't find some jokes funny at all, but others made me laugh out loud. Also, the production is at a high level so we have some very good action scenes. The plot is interesting, but forced. Many events happen without any logic, but so that the story can take the desired course. This is an ideal movie for those who want to refresh a boring evening, but it is not a movie that will be on any top lists.

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A Cinematic Masterpiece

Rarely does a film come along that redefines the boundaries of storytelling and cements its place as an undeniable masterpiece. This film does just that, delivering a cinematic experience that will linger in your mind long after the credits roll. From its breathtaking cinematography to the exceptional performances by the lead actresses, every element of this movie is meticulously crafted, resulting in a work of art that stands head and shoulders above the rest.

The cinematography is nothing short of extraordinary, with each frame meticulously composed to draw you deeper into the narrative. The director's use of light and shadow, coupled with stunning, sweeping shots, immerses the viewer into the film's world, making every scene not just a visual treat but also an emotional journey. The visuals perfectly complement the film's tone, enhancing the tension and the beauty of the story.

The acting in this film is truly remarkable, with the lead actresses delivering performances that are as powerful as they are nuanced. The chemistry between them is palpable, creating an authentic connection that drives the narrative forward with intensity and passion. Their portrayals are so believable that you feel every emotion, every conflict, and every moment of tenderness between them. It's this chemistry that forms the heart of the film, making the characters' journeys both relatable and deeply moving.

What sets this film apart, however, is its storytelling. The narrative structure is sublime, allowing us to see the story unfold from both protagonists' perspectives. This dual point of view adds layers of depth to the film, making the final plot twist not just surprising but utterly satisfying. The twist is a testament to the film's brilliant writing, weaving together all the narrative threads into a conclusion that feels both inevitable and shocking.

In summary, this film is a masterclass in filmmaking. It excels in every aspect—from its stunning cinematography and exceptional performances to its brilliant storytelling and unforgettable plot twist. It's a film that demands to be seen, appreciated, and remembered as one of the greats.

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For more than a decade, producers of LGBT+-themed films in Philippine independent cinema were just looking for an opportunity to earn income. Like it or not: sex sells. Much more so if two or more men are in the same bed.
Some veteran directors presenting their works at the Malaya Independent Film Festival, the Philippines' biggest film event, had their roots deep in mainstream cinema, and it turns out that bad (mainstream) habits die hard.
For that reason, the history of cinema of that nation ultimately produced some of the most inferior, self-oppressive and tasteless works, digging a deeper margin for the members of that human community and misleading the public about what their defenses really were in the face of a conservative, heteronormative and discriminatory society.
However, this sad cycle of Philippine filmography changed when director Joselito "Jay" Altarejos made 'Kasal' in 2014, and that year it won the Best Feature Film, Best Music and Best Cinematography Awards at the 10th Cinemalaya Festival, even surpassing the most requested 'Hustisya'.
The feature film immediately attracted the attention of the public and specialized critics, both local and international, as 'Kasal' broke with a previous scheme, planted deep within filmmakers interested only in their profits, by bringing a more realistic and identifiable representation of relationships between people of the same sex.
The film talks about how homosexual couples are situated in a society in which they are prohibited from marriage even though they may have a lifelong commitment.
I am not offering a spoiler here, since Altarejo took it upon himself to talk in every possible way about the content and premise of his film.
Paolo (Oliver Aquino), a film, commercial and video director, encourages his boyfriend Sherwin (Arnold Reyes), a renowned professional lawyer, both breadwinners for their respective families, to hold a wedding ceremony, but Sherwin refuses to accept Paolo's proposal because he knows that the marriage law in the Philippines is only for male and female couples and, as a law graduate, he must respect the law.
In the film, Sherwin, who values ​​the tradition in which he was raised since childhood, and Paolo, who has a more open family that is aware of his homosexuality, attend the wedding of Sherwin's younger sister in Batangas.
Sherwin wanting not to disappoint her parents, conservative and very devout of the Christian faith, if she admitted to them and the rest of her family about her relationship with a man, she prefers to hide her romantic relationship.
The filmmaker, recognized with several prestigious awards both in the Philippines and internationally for his innovative openly gay-themed films such as 'The Man in the Lighthouse', 'Antonio's Secret', 'Kambyo', 'The Game of Juan's Life', ' Pink Halo-Halo', 'Tale of the Lost Boys' and 'Unfriend', among others, films a feature film that explores secret issues surrounding the cries for equality of LGBT+ people in the Philippines and elsewhere in the world.
In this sense, 'Kasal' defends homosexual marriage and equality before the law on marriage between people of the same sex. But even maybe not just equality before the law but also proper understanding of the LGBT community.
In the face of discrimination, the film shows that human beings need an open-minded environment that does not degrade them as people and allows them to live equally and freely with the gender they prefer to embrace.
Even though homosexuals represent a group largely treated as a minority, the film is incredibly inclusive. It portrays the problems that lack of communication can cause in relationships (homosexual or not) and even touches on family conflicts.
'Kasal' is neither an all-out feast of flesh, nor a series of intolerable acts, but a presentation of silent oppression. It carefully presents a strong argument as to why the LGBT+ community in the Philippines and beyond continues to fight today, 10 years after its release, for the basic right to marriage equality.
The performances of its two protagonists stand out. Arnold Cruz Reyes and Oliver Aquino give strong performances of two lovers who are trapped in a circumstance from which they cannot escape. The chemistry between the leads is so genuine that you know the film is not just about gender. It is truly and simply about two people in love, struggling with the universal difficulties of love.
The film excels at offering audiences an intimate, rarely seen glimpse into the life together of two gay men, complete with the mundanity, incredibly detailed sex, and emotional nuances of almost every other romantic relationship.
The script written by Zig Madamba Dulay and Altarejos himself, not only delves into the complexities and challenges of being gay in a conservative society, but also delves into the struggles within a romantic relationship. Instead of distinguishing the unique difficulties of same-sex relationships, the film focuses on what makes them equal to others.
'The Commitment', as it is also known, stands out as a truly independent film, in terms of treatment. It seems like a relatively small production. Many of the scenes appear to be filmed in convenient locations, mostly indoors.
The tight cinematography takes us right into the characters' comfort zones, showing us what they are like at home, at work, with friends and with family. And with the explicit, prolonged, continuous, uncut softcore scene lasting probably at least 5 minutes, 'Kasal' is as intimate as it gets. But at the same time it raises a theme that has been present in world cinema for decades, while successfully describing how cultural and religious oppressions provoke the personal and emotional struggles of queer people.
In this very honest film, I am captured by two parallel scenes filmed behind a window, and in which I am suddenly relegated to the role of an outsider.
I am referring to the opening scene taken from the balcony of the condominium showing the interior of the room occupied by the two protagonists, and the scene with the lovers engaged in a heartbreaking fight on an empty street. In the latter, we can see the couple, but not hear them – as it is filmed from inside the car. These two scenes noticeably mark a distance between the characters and the camera.
But the most interesting thing, in my opinion, is that at the same time, from this distance, we can see the gap between the two lovers, no matter how intertwined they are. It is no longer the faces of the actors that speak to us, but the space of uncertainty that surrounds them and that threatens to open a gap between the two souls that painfully cling to each other.
These two scenes alone would be enough to demonstrate the professionalism in their craft, the natural and convincing acting skills of the lead actors, and the ordinariness of the settings make the film easy to identify with. The conversations also seem spontaneous. As in real life, it is in the slight changes in tone and sudden moments of silence that we see how easily we tend to sweep things under the rug and, at the same time, how difficult it is for us to forget.
The script and story are strong enough for the audience to empathize with the characters' feelings.
In short, 'Kasal' stands out for its technical aspects. The camera angles focus on the actors' expressions. The lighting is perfect in all locations and manages to highlight the necessary lights and shadows in each scenario.
The elements used in the staging are organically well prepared, especially when they filmed in the province. Meanwhile, the costumes and set design blend well, particularly with the traditional wedding celebration in Batangas.
The music by Richard Gonzalez and the sad and heartbreaking love song "Ikaw at Ako", by Johnoy Danao, fit perfectly with the emotion of the characters and the atmosphere of the dramatic part.
Inside my chest I felt Paolo's pain when his boyfriend Sherwin introduced him as his best friend. My heart was torn when I saw the ring that Paolo bought for the wedding with his lover thrown into the trash. This image symbolizes that the marriage between them will never take place.
But I also have mixed feelings, as I try to balance Paolo's position with Sherwin's situation, who is torn between his love for Paolo, his dedication to work, upholding the law, and his family's views on marriage. In this sense, it is also difficult for me to determine which one I should prioritize because both characters touch my soul deeply.

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