1. Int. Mcdo Katipunan. N-2008.
Jonathan and Geli, both 18, at a corner booth, sitting side-by-side eating caramel sundaes.
Geli
Stable and positively charged.
1. Int. Mcdo Katipunan. N-2008.
Jonathan and Geli, both 18, at a corner booth, sitting side-by-side eating caramel sundaes.
Geli
“It was never gonna last anyway. And now it’s done with. And who knows? Maybe years from now you’ll bump into her somewhere, you know at some bar, you’ll have a few drinks, and you’ll laugh about it. And that’s it. That’s life. So the best thing you can do is to let it go.”
The First Time is devoid of unnecessary attempts at juvenile humor commonly found in most teen-oriented romance flicks. The exposition is excellent; the point and the intention of the film is laid out during the first ten minutes, and the dialogue is intelligent and filled with mature insight about love, sex, youth, and ambitions.
Apart from the musical score being toned down and the ambient noises heightened, the authenticity of the mood is mainly carried by the treatment of the narrative. The film is very grounded to reality because it avoided overly romanticized meet-cutes and grand gestures. It was a good call to handle the love story in an awkwardly cute way—an accurate description of how first brushes at love usually are.

“Uhm… well, hey…”
“Yes?”
“Uh, I don’t know… would you… wanna maybe hang out sometime?”
“What were we just doing?”
“We were… I don’t know… I mean… I just mean…”

“All I want is for one of these boys to just… ask me a question. Like, my opinion, or how I’m doing, or really, anything. At this point, if one of them will open the door for me or… offer to buy dinner, I would be so freaking shocked, I would probably fall over.”

“I’m not even sure I’ll feel this way tomorrow.”
“Well, then, I guess, we’ll just have to drive around all night.”
RATING:
Entertainment value: 5/5
Production value: 5/5
Narrative: 5/5
Actors’ performance: 5/5
General rating: 5/5
Reblogged from alab ng panitikan:
nagkakasya tayo
sa ulan at abo.
matimtiman ang paghihintay
limampung oras, minsa'y
labinlima, sinisira
ang panata na ikaw
ang may dikta.
nagkakasya tayo
sa tingin at ngiti.
panakaw man, binubuo
niyan ang mga araw
at gabing nag-iisa -
kapit ang larawan mo't
naninimdim nang tuwina.
nagkakasya tayo
sa gabi at umaga.
puno ako ng pananabik
puspos ka ng takot
sa bukas, hinaharap.
Anna,
I remember being seated with you on the wooden floor of our bedroom. It was around 10 in the evening and the five of us—you, me, Jaise, Chezza, and Nicky—just finished eating our daily fix of siomai and fruit shake. We were talking about random stuff while scattered readings breezed lightly about the room. You picked one languidly and whispered, “Hindi ko na alam anong gagawin ko.”
The atmosphere in the university smelled of the approaching campus elections that time, and you were at a crossroads whether to run for office or not. People under the red banner were urging you to join their slate as Councilor; but at the time, you regarded yourself as young, timid, and someone with limited knowledge of the party’s main political stance.
But really, you were just scared of your own shadow. I saw the same potential STAND UP saw in you, and I was never wrong about it. You ran, you claimed victory, and you gave more than what’s required of you in the name of the studentry. For that, saying that I’m proud of you would be a great understatement.
I know I haven’t been there to celebrate your every success, but I have watched you from the sidelines. You have grown past your sheepish appearance, and you now own that same confidence in facts and revolutionary feelings that fires every Progressive’s words. I know I haven’t been around much, but the one thing I will always know about you, and about STAND UP, is that you are big on words, and even bigger on action. To say that I am proud of you for thriving in our struggle would, again, be a great understatement.
Today, you have been called to serve again. Answering the call to action is a victory in itself—service expects you to drop everything and put the struggle above all else—it cannot be that easy. But there is a grander battle beyond our person that must be won, and you rising up to the challenge brings us a step closer to our objectives. I know you can see that clearly; probably clearer than I do. I also know that you’re tailor-fit for this job.
I am rooting for you every step of the way, Anna. And I will continue to do so until my dying breath. Padayon! Hindi lamang sa eleksyon, ngunit pati na rin sa iyong patuloy na pag-aaral at pakikibaka para sa buhay, pag-ibig, lipunan, at mga prinsipyong humuhubog sa iyo. Mahal kita
I have been on a writing hiatus since January 25; the day my employer decided to let go of more than a thousand (I’m assuming here) employees to meet their economizing plans for 2013. Their reasons were vague upon announcement, and it remains so up to this point, but they sugar-coated the blow by offering a handsome severance package to everyone who lost their jobs; myself included.
And although it’s now moot to mull over the fact that it was unprofessional to pull the rug out from underneath all of us; or that it was unfair—unlawful, even—to layoff regularized employees who supposedly were under the protection of their tenure, allow me to say my two cents worth in this whole fiasco:
Cheesy as it may sound, after being debriefed of our duties, the Marketing Department then proceeded to gathering in groups to drink the pain away.
To be completely honest, I hated my job since Day 1. The building itself is a white, concrete reminder of my misguided life choices, and my principles I consciously ignored to appease my material and petty-bourgeois greed. But for the past six months, I fell in love with the daily faces smiling back at me every morning; that at some point I just realized that these faces are worth fighting for.
— —
As of late, my online activity is mostly consisted of answering hate mails sent to me through various social media platforms. My public accounts received much attention after posting my near miss/ near hit college love story in Overheard at UP.
Hi, sana mabasa mo ‘to. Alam kong may girlfriend ka na ngayon; kung kayo pa or hindi na, I don’t really want to know. There’s just this one question in my head I can’t push away; I think nasagot ko na siya mag-isa but I still need to hear it from you.
Naaalala mo pa ba ‘ko? It was 2011, and it was peculiarly dry for an afternoon in June. You saw me standing in front of OUR. Nakasakay ka ng Toki, mag-isa. You smiled at me and I smiled back. Bumaba ka ng Toki at nakipag-small talk. Hiningi mo yung number ko, and then you left.
Three days later, you called. Around 12nn yun and I was in Malcolm Hall. Sobrang hina ng signal but I recognized your voice. You asked if you can join me for lunch. I had to meet someone that day and I can’t turn her down, so I said no.
We started texting since then. After several attempts to meet, nagkasundo tayong after your training, mag-dinner sa Mcdo Philcoa kahit kasagsagan ng Bagyong Falcon. Pumayag naman ako agad because I really wanted to see you. Kadiri man aminin, pero konting push na lang mai-inlove na talaga ako.
Sinundo mo ako sa waiting shed nearest PhilPost. Basang-basa ka ng ulan, and your black shirt was sticking to your skin. Ibang level yung pag-blush ko nun, buti na lang hindi mo nakita.
Our conversation was really fun kahit amoy chicken nuggets ang paligid. We left Mcdo at around 2 or 3am, nag-taxi tayo at hinatid mo ako sa apartment. It was a good date, you said it so yourself.
You asked me out a few more times before June ended, I turned you down every single time. I explained repeatedly that it’s not because I didn’t like you, it’s just that I was very busy that month. And that pati July ko hindi na mababakante.
I wasn’t lying. I was writing my thesis and I can’t bear any distractions; however exciting and fun and lovable and cute that distraction was. I asked if you can wait for me until August. You said yes, you said you’ll wait however long it takes.
I was excited for August. I was excited to see you again.
One late afternoon after I met with my thesis adviser, I saw you again. You were wearing the same white shirt you wore when I first saw you. And you were smiling, walking hand-in-hand with another girl. She’s very pretty, I’ll give you that. But..
But you said you’ll wait? You said however long it takes? So.. what happened?
For the record, the post is nothing but a wistful retrospection of my last semester in UP. The intention was simply to share, and to seek out the person in question. The story never presupposed a contrast between males and females when it comes to handling romantic relationships. But apparently, some commenters felt that I was in violation of a dating code I wasn’t aware existed.
Following that, the comments section inevitably gave birth to an unnecessary battle of sexes, with which I was blamed for public comments I had no control over.
Hate mails would not be complete without a lame shot at ad hominem.
An ad hominem is not only argumentatively fallacious, it is—most of the time—also erroneous as a fact.
There is still a downpour of irate comments and questions in my Ask.fm inbox. While the vile-ridden messages can get pretty tiring after sometime, I can’t deny that I am deriving perverse pleasure from all the attention. If I were to make this into an academic endeavor, I would like to intensively dissect the hyperreal personalities behind this phenomenon—how it asserts itself, how it forms judgments and prejudices, and how distanced or proximate the hyperreal is to the real persona.
— —
You,
Your tummy is bulging out of your pants when you sit, and your hairline is receding. The bags under your eyes are getting worse by the day, and I hate it when you don’t shave. You slouch when you walk, you smirk a lot, and you condescend me for being a grammar freak. You also use the “:P” emoticon way too much because you think you’re cute. And sadly, you are cute. I hate it.
I also hate the fact that I don’t get to catch a glimpse of you anymore, and that I have to wait until 11 in the evening when it’s safest to text you. But by then you’re already too sleepy to talk for more than an hour, so I’ll wait around for tomorrow again. Sometimes I feel tired of hanging by a moment too, but the next second my phone rings, I eagerly jump back to square one with you.
Remember I told you that no matter how much I may like you, I will never make you choose between her and me? Between dangling modifiers and excessive use of exclamation points in alcohol-induced text messages, you know I meant every word of it.
I like you, I really do. And it’s okay not to choose me, but please give me some workaround here. Pucha naman, lambingin mo din naman ako.
After a series of unpleasant events in her life, Pascalina receives news that her Aunt Taba is dying but cannot do so unless she passes on a curse. Pascalina visits her dying aunt thinking that the news is only a big joke. But Pascalina begins to experience changes in her life that will push her to the edge of madness and monstrosity.
Cast: Maria Veronica Santiago, Peewee O’Hara, Cara Eriguel, Alex Vincent Medina
CATNIP
FEB 4 | 7PM
Liv is an introvert who hides her true personality because “everything she does is wrong.” The only person whe can be herself with is her friend Cieca. Cieca values her and is amused by Liv’s avant garde-esque unpredictability, a different flavor to her dull and boring world.
Cast: Lauren Young, Maxene Magalona, Rommel Luna, Ramon Bautista, Megan Young
MAMAY UMENG
FEB 5 | 5PM
Emily Dickens once wrote: “Because I could not stop for Death, He kindly stopped for me.” It is clearly not the case for Mamay Umeng, an 84-year-old man living in the quaint province of Pinagbayanan, San Juan, Batangas. He wants nothing more than to end his long life. But Death always eludes him; it is a never-ending game of hide and seek, to which he has always played along. One day, Mamay will stop playing this game. He will track and hunt down his own very demise.
Cast: all non-actors except for Sue Prado
ANG PAGLALAKBAY NG MGA BITUIN SA GABING MADILIM
FEB 5 | 7PM
The film presents the many facets and intricacies of the Bangsa Moro struggle in Mindanao. It narrates the story of 3 Muslim rebels trying to elude arrest from their captors. As Bapa Indo, Amrayda and Fatima traverse the mountains and highlands of Jolo, Sulu, they will meet a 9-year-old boy, Faidal, who seeks vengeance for the murder of his parents.
Cast: Fe “Gingging” Hyde, Irish Karl Monsanto, Roger Gonzales, Glory Pearl Dy
ANAK ARAW
FEB 7 | 5PM
Anak Araw is about a local albino searching for his identity. He believes that he is a son of an American and thus tries to learn English through reading translations and definitions from a Tagalog-English dictionary.
The film is shot in black and white.
Cast: Jay de la Vega
EDSA XXX
FEB 7 | 7PM
Set in the year 2030, The Republic of Ek-Ek-Ek has just elected their new president, Three Eyes aka Kulas Missing-Marbles. The street simpleton won the election by a landslide but will discover later on that his presidency is all part of an intricate conspiracy. This homage to Pinoy B-movies is a tribute to the late king of comedy, Dolphy. It is the first and only full-length film shot entirely in Corregidor and in fisheye.
Cast: Epy Quizon, Althea Vega, Sheree, Bong Cabrera
PALITAN
FEB 8 | 5PM
Palitan is an erotic, psychological drama-thriller set in the gritty street of Raon, Quiapo, Manila. Ill-tempered Nestor becomes buried in bad debt and costly favors from his cunning boss, Ramiro. But love-starved and porn-tired Ramiro wants more than money from Nestor: he wants Nestor’s young, lovely common-law wife, Luisa. This film is Bautista’s tribute to his favorite film, Peque Gallaga’s Scorpio Nights.
Cast: Mon Confiado, Alex Medina, Mara Lopez
MELODRAMA NEGRA
FEB 8 | 7PM
This urban contemporary tale delves into the lives of the fortunate who have both power and freedom to do as they please. It revolves around Dee, her dead friends Gomez and Lim, blood-hungry sociopath sisters Twinkle and Candy, their friend Bing, wealthy father and son Congressman Ramirez and Rex. The film is about lost chances and how wealth and power make you lose your moral compass.
Cast: Gee Canlas, Jerald Napoles, Bong Cabrera, Sheng Belmonte, Cindy Lopez, Ria Garcia, Cai Cortez, Mara Lopez, Bembol Rocco
**for ticket reservations, Click What’s Up>> Film Screenings. Or contact the UP Cineastes’ Studio on Facebook or Twitter
Filmmaking is a collaborative effort—from script development to principal photography, post-processing and distribution—people of varying sensibilities are given the power to decide on both the creative and the business aspect of the process.
The golden ratio for a film to succeed relies fundamentally on giving equal importance to artistic expression and marketability. The story line, the plot twists, and the visual and aural experience should be ingenious and novel enough to piqué the interest of the everyday movie-goer; but not so much so that the film estranges the audience and risks any further growth in sales.
There is nothing much to say about the cinematography of Alex Rider: Operation Stormbreaker; given its film studio origin, meticulous attention to visual details has surely been given. The same cannot be said about its music score, though; it does not level with the emotions of the sequences because it is unnecessarily upbeat, loud, and over-the-top.
The plot also leaves much to be desired. The film has an interesting kick-off, but everything goes downhill from the introduction of the main conflict. And although it embarrasses me to admit it; I slept halfway through the film—an act I don’t normally do because I have too much respect for the cast and crew. The story circumvents several times that the plot generally starts feeling like rhetoric. A lot of elements are also planted at the onset of the film, but the progression and even the ending leaves too many stones unturned.
From time-to-time, the film also resorts to a kitschy, exaggerated form of acting to pull off a lame attempt at comic relief.

Entertainment value: 3/5
Production value: 3/5
Narrative: 2/5
Actors’ performance: 3/5
General rating: 2.75/5
Alex Rider: Operation Stormbreaker is an example of a film that miserably failed in achieving the golden ratio. It has all the elements of a marketable film—catchy title, safe choice in genre, and bankable casting—but the plot is inadequate; it feels like a rip-off or a mishmash of some very popular teen spy stories.
Non-linear storytelling is very risky. Without engaging characters, a gripping narrative, and mastery of the technique, it will alienate the audience within the first fifteen minutes. A few minutes more of torture and your film will already be pilloried on Twitter.
Given the hit or miss nature of non-linear storytelling, it is important to gauge how workable this technique is with your narrative. In the case of Blue Valentine, it was a good call to inter-cut the past and the present state of a couple being subjected to different human forces and feelings. The technique provided more room for the audience to identify themselves with the characters in the film.

“I feel like men are more romantic than women. When we get married, we marry, like, one girl. We resist it the whole way until we meet one girl and we think, ‘I’d be an idiot if I don’t marry this girl, she’s so great.’ But it seems like girls get to a place where they just, just, pick the best option, ‘Oh, he’s got a good job.’ I mean, they spend their whole life looking for Prince Charming and then they marry the guy who’s got a good job and is gonna stick around.”
Another risky thing about Blue Valentine is the mature subject matter. It’s not much on the content per sé (although it does have a few scenes that are sexually graphic) but the central thematic backdrop—love, marriage, and the emotional repercussions of its dissolution—requires wisdom and sober judgment; things that might be a tall order for an average movie-goer.
As a film, Blue Valentine succeeded in stitching all its elements together to achieve the desired emotional impact. Acting and the delivery of the dialogue is candid, the cinematography is definitive of the characters’ sentiments, the music score and sound design is measured and disciplined.



RATING:
Entertainment value: 5/5
Production value: 5/5
Narrative: 5/5
Actors’ performance: 5/5
General rating: 5/5
You know you’ve watched a great film when long after the end credits have rolled, you’re still glued to your seat, figuring out what to think and how to feel about it. Such is the case after I’ve seen Blue Valentine. It took me a week to look past the feelings the film unearthed within me for me to be able to write an objective review.
As conclusion, allow me to share my friends’ opinion of the film.
B: Shit ‘yan. After all the sacrifices? Shit yan.
R: Ay, tangina ‘yon.
K: Puta, Blue Valentine? Ayoko na kumilos after nun. As in… ayoko na.
D: Pakyu bakit kailangan mo ipaalala?
and the most intelligent reading of the film from J:
I liked its honesty and its execution of tension and character flaws—I like the quietly chaotic parts. The juxtaposition of the timelines made the growing resentment all the more painful to watch, which is always a plus—unhappy beings make for good films. Although I don’t think I’ve ever seen it properly. With that said, I think the only valid thing in this message is congrats on finally making Ryan Gosling undesirable. Try watching Take This Waltz. Michelle Williams din and falling out of love.
Very eloquently put, everyone. Thanks!
Hollywood has been doing this for years: banking on pretty faces and witty one-liners to pull off a film. There’s also, of course, the glossy—and almost faultless—technical handling that without a doubt, appeals to mass audiences worldwide. Not that I’m complaining, I have been a fan of Hollywood films ever since I can remember. This is even one of the crosses I had to bear when I entered film school.*
In the case of Crazy, Stupid, Love, the treatment of the genre has certainly been laid out so well, that even though this is already the second time I have watched the film, it still elicited heartfelt laughter from me.
While the plant and pay-off with regard to Hannah/ Nanna’s identity in the film may arguably be considered expected; the entertainment value of the narrative overshadows the plant adequately—enough for the audience to still be surprised when the truth about her is revealed.
I like how the climax was treated. Yes, it’s amplified and overly zealous onscreen, but it has been adept in showing how family conflicts are noisy, quirky, and humorous all at the same time. All in all, for an ensemble comedy, Crazy, Stupid, Love is an above-average film.
RATING:
Entertainment value: 5/5
Production value: 5/5
Narrative: 4/5
Actors’ performance: 4/5
General rating: 4.5/5
I also watched Blue Valentine today, but I need to get a grip on my feelings first before I can expect myself to write an objective review.
* You see, when you enter film school, there’s a certain pressure from peers to prefer European films over Hollywood. Not to sound pretentious or anything, but European films do have maturity in terms of dealing with personas and social conflict. However, I have never been a film snob, so I watch whatever I can watch. I also like a film not because it originated somewhere, but because something about it stirred me.
Updated an old post from three years ago for my blog relaunching. Yes, people, I’m going back to blogging (Listen to me talk; as if I had a long-standing blog career I abandoned, that I’m now going back to. Eh after 2 or 3 posts, sumusuko na ‘ko. LOL.) Dear friends, please pressure me into keeping this blog active. I need something I can commit to. Something stable in my life. HAHA.

Arise, fair sun, and kill the envious moon; who is already sick and pale with grief.

When you fall apart, dry your eyes, dry your eyes. Life is always hard for the belle of the boulevard. -Belle of the Boulevard, Dashboard Confessional (2009)
Like blood to the veins or truth to the soul, imagination is to the spirit. Inspiration comes not in a blinding light, but in a single flash. But what tragedy it is to find that flash and do not recognize it; what tragedy it is to keep your sight, but lose track of your vision. (2010)

The only thing we can hope for is that tomorrow might be a better day.
Envy, mostly, is the driving force that pushed this blog relaunching. I noticed that the most brilliant people I know owns a blog. So, by logic—and hopefully, by association (Hi blogger friends! Link/ follow/ publicize me please.)—I’ll be as brilliant as them if I maintain a blog. (Basically, nakisakay lang ako sa bandwagon HAHA)

How can you be so blue? When somewhere, somehow, you fit. And you complete a picture—bigger than anything you can imagine.
Does anyone care that I returned to blogging? Comment naman diyan!