Nominated for Best Picture, Best Director, Best Actress, Best Supporting Actor, Best Adapted Screenplay, Best Original Score, Best Production Design, Best Cinematography, Best Makeup and Hairstyling, Best Costume Design, Best Film Editing.
I’ve heard a lot of things about this film, and one of them is that it’s too graphic, so I was somewhat prepared but still found myself occasionally taken aback. Personally, I’m not keen on excessive sex scenes in non-pornographic films, haha, so the abundance of that here was quite WOW.
Setting that aside, which admittedly was difficult, I found the film pretty engaging. It delves into themes of learning, female empowerment, and the journey to adulthood in a captivating and multifaceted manner. Its narrative, both heartfelt and eccentric, explores the essence of adventure, self-discovery, and the profound significance of life’s journey.
The performances by Emma Stone, Mark Ruffalo, and Willem Dafoe are truly outstanding. Stone, particularly in her role as Bella, portrays a captivating journey of self-discovery and growth. Her character’s evolution and assertion of her desires are depicted with remarkable authenticity, showcasing Stone’s talent for capturing the essence of seizing control over one’s destiny.
The production design is impressive, with top-notch cinematography and costume design adding depth to the film’s visual appeal.
In summary, Poor Things is an inventive, visually stunning, and genuinely amusing film. I’m not sure if I will be rewatching it anytime soon, but it’s definitely an experience.
Rating: 3 out of 5 stars
Directed by: Yorgos Lanthimos Produced by: Ed Guiney, Andrew Lowe, Yorgos Lanthimos, Emma Stone Cast: Emma Stone, Mark Ruffalo, Willem Dafoe, Ramy Youssef, Christopher Abbott, Jerrod Carmichael
Nominated for Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Original Score, Best Sound, Best Production Design, Best Cinematography, Best Makeup and Hairstyling, Best Costume Design and Best Film Editing.
Set during a major moment in history, the movie dives deep into J. Robert Oppenheimer’s life with incredible detail and authenticity. Nolan’s careful attention to every aspect of the film, from the special effects to the cast, shines through.
Led by the remarkable Cillian Murphy in a career-defining role, the performances in “Oppenheimer” are nothing short of incredible. Robert Downey Jr., Emily Blunt, and Matt Damon shine in their respective supporting roles, adding layers of depth to an already stellar cast.
The movie’s pace keeps you hooked, with multiple storylines unfolding seamlessly. The hauntingly beautiful music by Ludwig Göransson adds to the overall experience, and Nolan’s refusal to use CGI makes everything feel real.
While some might nitpick some scenes, like the Trinity test, it doesn’t take away from the overall greatness of the film. “Oppenheimer” showcases Nolan’s storytelling genius and solidifies his place as one of the best directors ever.
In short, “Oppenheimer” is a masterpiece that goes beyond typical historical movies. It’s a must-watch for anyone who loves historical films and this cements Christopher Nolan’s legacy as a visionary and one of the best filmmakers in history.
Rating: 5 out of 5 stars
Directed by: Christopher Nolan Produced by: Emma Thomas, Charles Roven, Christopher Nolan Cast: Cillian Murphy, Emily Blunt, Matt Damon, Robert Downey Jr., Florence Pugh, Josh Hartnett, Casey Affleck, Rami Malek, Kenneth Branagh
***I’ve watched Oppenheimer around the same time I’ve seen Barbie, and they’re so opposite, and I feel that I kind of messed up my review here, so I’m adding a few things I remembered from the film. ***
Nominated for Best Picture and Best Original Screenplay.
“Past Lives” is a semi-autobiographical narrative that draws from the experiences of its writer and director, tracing the journey of two childhood friends across 24 years as they navigate the evolving nature of their relationship and diverging life paths. It offers a poignant exploration of fate, choices, and the complexities of human connection.
The film unfolds as a meticulously crafted story about human connections, losing them over time, and reconnecting in the future. Greta Lee delivers a captivating performance, complemented by John Magaro and Teo Yoo’s raw and understated acting, creating a palpable on-screen chemistry with both.
I think one of the film’s strengths lies in its sensitive portrayal of the immigrant experience, capturing the intricacies of cultural adaptation and belonging. It has profound dialogue, nothing that is contrived, and will most likely resonate with a lot of people.
However, I find the pacing excessively slow, as the narrative unfolds gradually without significant plot developments.
I still think that its nomination for Best Original Screenplay is well-deserved, reflecting the depth of Celine Song’s storytelling in offering a nuanced exploration of human relationships. Celine Song really delivered a riveting debut of a film that is quite understated but still hits home.
Rating: 3 out of 5 stars
Directed by: Celine Song Produced by: David Hinojosa, Christine Vachon, Pamela Koffler Cast: Greta Lee, Teo Yoo, John Magaro
Nominated for Best Picture, Best Actor, Best Supporting Actress, Best Original Screenplay, Best Editing.
“The Holdovers” transports audiences back to the winter of 1970, where a group of boarding students find themselves stranded at school during the Christmas break. Amidst the watchful gaze of a strict classics teacher and the school’s head cook, their holiday takes an unexpected turn, leading to stirring character development that reveals both virtues and flaws.
What sets this film apart is its refreshing originality, offering a fresh narrative that breaks free from remakes, sequels, or true-story adaptations. The storyline is straightforward, but it is elevated by the exceptional performances of the cast. The chemistry between the leads is palpable, with Paul Giamatti and Da’Vine Joy Randolph delivering standout performances, while newcomer Dominic Sessa is such a revelation in his pivotal role.
Director Alexander Payne delivers a brilliant homage to 70s cinema, capturing the era’s aesthetics flawlessly. The stellar cast, including Da’Vine Joy Randolph, Giamatti, and Dominic Sessa, delivers Oscar-worthy performances, infusing the film with both heartbreaking and heartwarming moments. I’m going to nitpick its pacing, but it’s an overall charming, heartwarming, and thought-provoking comedy-drama that is going to be one of the nostalgic holiday classics in years to come!
Rating: 4.5 out of 5 stars
Director: Alexander Payne Produced by: Mark Johnson, Bill Block, David Hemingson Cast: Paul Giamatti, Da’Vine Joy Randolph, Dominic Sessa
Nominated for Best Picture, Best Supporting Actor, Best Supporting Actress, Best Adapted Screenplay, Best Costume Design, Best Original Song, Best Production Design.
Greta Gerwig’s take on one of the most iconic figures in history, Barbie, is a delightful surprise, offering much more than just a glossy, plastic world. Gerwig infuses the film with layers of depth, transforming it into a thought-provoking exploration of identity and societal expectations.
Barbie and Ken are thoroughly enjoying themselves in the vibrant and seemingly flawless realm of Barbie Land. Yet, when an opportunity arises for them to venture into the actual world, they swiftly encounter both the pleasures and pitfalls of coexisting with humans.
Margot Robbie shines in the titular role, bringing a refreshing complexity to Barbie’s character as she navigates the pressures of perfection. Ryan Gosling’s portrayal of Ken adds charm and wit to the dynamic duo, while America Ferrera’s poignant monologue resonates with the struggles women face in a world dictated by unrealistic standards.
Gerwig’s direction ensures that Barbie is not just a feminist movie but a universal story of self-discovery and realizing there really is more to life than the status quo we were told to live in. Through Barbie’s journey, audiences are invited to examine their own perceptions of gender roles and the constraints they impose.
Visually stunning and emotionally resonant, Barbie captivates with its blend of humor, heart, and social commentary. Gerwig’s signature storytelling coupled with a stellar cast make this film a must-watch for audiences of all ages.
Rating: 4 out of 5 stars
Director: Greta Gerwig Produced by: Margot Robbie, David Heyman, Tom Ackerley, Robbie Brenner Starring: Margot Robbie, Ryan Gosling, America Ferrera, Kate McKinnon, Issa Rae, Rhea Perlman, Will Ferrell, Alexandra Shipp, Hari Nef, Sharon Rooney, Ana Cruz Kayne, Ritu Arya, Dua Lipa, Nicola Coughlan, Simu Liu, Kingsley Ben-Adir, Ncuti Gatwa, Scott Evans, John Cena, Helen Mirren, Michael Cera, Connor Swindells, Jamie Demetriou, Emeral Fennell, Asim Chaudry, Ray Fearon, Erica Ford, Hanna Khalique-Brown, Mette Narrative, Marisa Abela, Lucy Boynton, Rob Brydon, Tom Stourton, Ann Roth, Annie Mumolo, Lauren Holt, Ryan Piers Williams,
The Boy and the Heron tells the story of a boy named Mahito (voiced by Soma Santoki), who, upon discovering an abandoned tower in his new town, ventures into a magical realm accompanied by a talking gray heron. Mahito, full of longing for his mother, travels to a realm where life and death coexist.
Watching my very first Hayao Miyazaki’s work on the big screen, I cannot help but be enchanted yet again by its meticulous animation. Each scene is a visual spectacle, transporting viewers into a world where everything feels like a new experience, even though the film is very reminiscent of the many Ghibli films from the director that we’ve come to love.
What I really appreciate about Miyazaki’s storytelling is that it is always thought-provoking and contemplative. The pacing of the film was initially slow, and its narrative seems confusing at times, but I think this ambiguity is precisely what makes it a great film because it invites its viewers to dig deeper, prompting exploration of the film’s underlying themes.
After watching the film, I was asking myself, “What did I just watch? But after a few days, while still thinking about what to write for my review, I figured that each viewer’s understanding—or rather, my understanding—is uniquely my own.
The Boy and the Heron is a captivating journey of masterful storytelling with top-notch animation that breathes life into each frame, evoking a poignant resonance that defies easy categorization because it engages its audience on a personal level based on personal experience and perspectives.
It is a testament to the power of Miyazaki’s storytelling. Whether it leaves you yearning for something undefined or sparks a newfound understanding, one thing is certain: Miyazaki’s masterwork is an experience that transcends the boundaries of cinema, leaving an indelible mark on those who dare to venture into its world.
“Suzume” follows the journey of a 16-year-old high school student named Suzume, whose life takes an unexpected turn when she encounters Souta, a young man claiming to be a “closer.” Souta reveals a mission to prevent a calamitous worm-like creature from emerging through mysterious doors scattered across Japan. When a magical keystone transforms into a cat, cursing Souta and turning him into Suzume’s childhood chair, Suzume feels compelled to join him in closing these dangerous portals. Together, they embark on a fantastical adventure across Japan, facing challenges and uncovering secrets as they strive to protect their world from impending disaster.
II’m torn on Suzume because I’m a huge admirer of Makoto Shinkai, and his recent blockbusters, Your Name and Weathering With You, set the bar quite high. Even though Suzume opts for traditional 2D animation, I felt compelled to experience it in IMAX. After catching it over the weekend, I can confidently say that spending 690 PHP was worth it solely for Shinkai’s visually stunning animation.
Suzume, the protagonist, embodies bravery and responsibility, admirable traits considering her upbringing by her aunt following her mother’s early demise. Despite her maturity, she’s still a 16-year-old grappling with typical adolescent struggles and yearning for her mother, showcasing remarkable resilience.
In contrast, Souta’s character lacks depth in backstory. While we learn he hails from a family associated with closing gates, his motivations seem simplistic, leaving unanswered questions about his familial ties and the nature of their role as “Closers.” Similarly, the origin of the mysterious worms remains a central enigma, despite hints at alternate dimensions or the afterlife.
While inspired by significant events like the 2011 Tohoku earthquake and tsunami, which left a lasting impact, Suzume’s narrative falls short of the director’s previous works. Despite tackling weighty themes, it feels somewhat niche, leaving viewers with lingering uncertainties about its broader context and significance.
What I meant earlier about being undecided was that I didn’t feel a strong connection with the characters in the movie. While they’re pleasant enough, unlike the compelling relationships of Mitsuha and Taki in “Your Name” or Hodaka and Hina in “Weathering With You,” I didn’t find myself truly rooting for them.
Instead, I found myself focusing on other elements of the film. I particularly enjoyed the moments when Suzume interacted with the fascinating strangers she encountered while traveling with Souta as a chair. The climax was undoubtedly the film’s highlight, allowing Suzume to confront her grief, her feelings of guilt towards her aunt, and ultimately find her own path.
Additionally, the music was a standout feature. The soundtrack was ethereal; I was compelled to stay until the very end of the credits to fully appreciate it.
The movie received a nomination for Animation of the Year at the current Japan Academy Film Prize, underscoring the immense respect for Shinkai’s work within his native land. While I may be among the few who didn’t fully embrace the film, if you appreciate stunning visuals and captivating music, it’s definitely worth watching!
Rating: 3 out of 5 stars
Director: Makoto Shinkai Cast: Nanoka Hara as Suzume Iwato (岩戸 鈴芽, Iwato Suzume)[4] Akari Miura as child Suzume[5] Hokuto Matsumura as Sōta Munakata (宗像 草太, Munakata Sōta)[6] Eri Fukatsu as Tamaki Iwato (岩戸 環, Iwato Tamaki)[7] Shota Sometani as Minoru Okabe (岡部 稔, Okabe Minoru)[7] Sairi Ito as Rumi Ninomiya (二ノ宮 ルミ, Ninomiya Rumi)[7] Kotone Hanase as Chika Amabe (海部 千果, Amabe Chika)[7] Kana Hanazawa as Tsubame Iwato (岩戸 椿芽, Iwato Tsubame)[7] Matsumoto Hakuō II as Hitsujirō Munakata (宗像 羊朗, Munakata Hitsujirō)[7] Ryūnosuke Kamiki as Tomoya Serizawa (芹澤 朋也, Serizawa Tomoya)[8] Ann Yamane as Daijin (ダイジン)[9] Aimi as Miki (ミキ)[10]
Through their social media, Cinema Bravo announced that Spencer starring Kristen Stewart as Princess Diana, would open in Philippines theaters on November 17, 2021.
Storyline of Spencer:
The marriage of Princess Diana and Prince Charles has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. There’s eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be profoundly different. SPENCER is an imagining of what might have happened during those few fateful days.
Since its premiere at the Venice International Film Festival last September, the film has received positive reviews from critics, with particular praise for Stewart’s performance. Stewart is now touted to be the early frontrunner of next year’s Oscar for Best Actress. Spencer is a film by Pablo Larrain, who directed the 2016 Academy Awards nominated film Jackie.
I am excited to watch it! I’ve been a big fan of Stewart for years now, and I am proud of what she’s accomplished over the years working within the indie film industry after her Twilight years. I wanted the film to succeed here, and I hope the cinemas get very strict regarding the number of audience per screening because I still get paranoid with crowds.
ICYMI: After closure for almost two years, select cinemas within the National Capital Region (NCR) and provincial areas are opening. NCR and most of the Philippines are under Alert Level 2 until November 30, which means an increased capacity for businesses and activities, including the opening of theaters!
Now, this looks absolutely smashing! Kristen looks the part, and she’s definitely channeling Princess Diana in these little snippets of her talking and those facial expressions!
The marriage of Princess Diana and Prince Charles has long since grown cold. Though rumors of affairs and a divorce abound, peace is ordained for the Christmas festivities at the Queen’s Sandringham Estate. There’s eating and drinking, shooting and hunting. Diana knows the game. But this year, things will be profoundly different. SPENCER is an imagining of what might have happened during those few fateful days.
Directed by Pablo Larraín Written by Steven Knight Starring Kristen Stewart, Jack Farthing, Sally Hawkins, Timothy Spall, Sean Harris
I’ve got a feeling that with all the raves she had been receiving since the film’s premiere in Venice last month, she’s getting that Oscar nod. I’m also curious to see if the BAFTA will also give her a nomination, at least. I cannot wait to watch it!
I thought I’d share this audition scene from the movie CODA, a coming-of-age film that follows a hearing teenage girl who is a child of deaf adults (CODA for short). I’ve seen it multiple times now, and it never fails to move me, especially when she started signing midway through her audition.
CODA premiered in January at the 2021 Sundance Film Festival, receiving rave critics’ reviews.
I haven’t watched the entire film, but I’m dying to see it. I’d probably schedule it where I would just stay in bed the whole day, eating while watching movies lol!
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