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Entertainment => Film & TV Talk => Pinoy Entertainment => Topic started by: Klaus Weasley on Dec 06, 2009 at 03:15 PM
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I'll start this thread.
Mano Po ULIT?!?!?!?
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Ano pa bang aasahan mo kay Mother Lily? Yun ngang Shake, Rattle and Roll, pang-11 na ba yun?
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kasama din ata ung walang kamatayang PANDAY ;D
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Nagkaroon ba ng panahon na maasahang magaganda ang mga pinapalabas sa Metro Manila Filmfest?
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wapakman! hahaha
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Nagkaroon ba ng panahon na maasahang magaganda ang mga pinapalabas sa Metro Manila Filmfest?
A long, long, long, long, long time ago, I believe.
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YEah, that was in the very early 80s. I still remember the time Himala was an entry.
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Same old same old...
Vic Sotto will have the most money after the festival while the others will only get a trophy.
Saan ka pa?
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MMFF used to be a treasure cove of fine quality films like Himala, Brutal, Burlesque Queen and Kisapmata and the acting arena of Nora Aunor and Vilma Santos. People then have fine tastes in films and always look forward to the MMFF but those were the days. Times have changed indeed.
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Allow me to repost the late Alexis Tioseco's piece on the MMFF:
Reinvigorating Philippine Cinema:
The Possibilities of the Metro Manila Film Festival
Audiences and industry folk alike have long been preaching the death of Philippine cinema. We gaze back fondly through sepia shades and smile at the glory of our past, shake and scratch our heads lamenting over our pathetic present, and blink and miss opportunities to improve our future.
The Metro Manila Film Festival is a great idea to support the local film industry. It reserves the time of year when most people are able to enjoy days of leisure, and allows only locally-produced films to be shown in commercial theaters. At the same time, it stages a “Film Festival,” a term that carries with it the connotation of presenting films of a higher-than-normal quality, and supposedly highlights our best works, bestowing them with awards and showcasing them: allowing the films to humor, move, teach, challenge, identify with and unite the county in a celebration of art and the best of what the Filipino is capable of.
The Metro Manila Film Festival is a great idea to support the local film industry.
Unfortunately, it is only an idea.
As it exists today, the Metro Manila Film Festival accomplishes all of the above– reserves the Christmas season for a display of local works, stages a “Film Festival,” and gives out awards. What is lacking, however– sorely, painfully, sadly– is the driving desire to show quality films.
The decision of whether a film will or will not be accepted into the Metro Manila Film Festival is made all the way back in July, usually before even a single frame of film for ANY of the projects to be considered has been shot.
If shooting of the film has not yet begun, how then, one might ask, are the films chosen? Based on the script?
If the script has been written, yes.
But what if, as of July, there is no script– as was the case with Regal Films entry Mano Po 2?
Why, no matter, simply submit an outline of the plot.
And if there is no plot yet?
Umm… a list of the cast will be fine.
And if the entire cast has not yet been confirmed?
A proposed list will do just as well.
Are you beginning to see the inanity of it all?
What would happen, if, say, the announced director of a project drops out, and the submitted script; the script that the selection committee read and was the basis for the film’s inclusion (and ranking) in the festival, is completely re-written? This was the case with one of 2003’s MMFF entries, Captain Barbell: Quark Henares dropped out as director, and the original script written by Lyndon Santos and Ramon De Veyra that was approved by the Metro Manila Film Fest was re-written by RJ Nuevas beyond any semblance of its former self.
Would not this illicit a second look by the selection committee? Would it not warrant an investigation into whether the film still merited its slot (and ranking) in the festival?
As this year’s festival’s selection committee made apparent: No. Captain Barbell stayed in the festival without so much as a peep or raised eyebrow from the selection committee, nor, heaven forbid, a read-through of the new script or preview of the film beforehand.
What exactly is the criterion for the selection of films into the MMFF? Director Joey Romero, a member of the screening committee, broke it down in a December 13 article that appeared in the Philippine Daily Inquirer: creativity and style, 50 %; commercial viability, 30%; and exemplifying Filipino culture and history, 20%.
EXCUSE ME?!
Before anything else, let us remember that the selection committee makes their choices, at most, based on the script. Sometimes, as has been outlined above, the decision is made based on much less than that. Disregarding the idiocy of the film’s script being the final arbiter of its inclusion in a Film Festival, let alone a script that is often radically changed before, during, and after shooting, but to judge a film’s CREATIVITY AND STYLE, or COMMERCIAL VIABILITY, based on its script?! A film is not the equivalent of a book of prose– audiences don’t read it; they see and hear it, and creativity and style in the written form don’t necessarily translate to creativity and style on the big screen.
The MMFF is a great idea to support the local film industry. But in order to turn that idea into a reality, some serious changes need to be made.
Imagine a December festival done properly: one that, for example, chose to bring back the best films of the past year, chosen after viewing the finished film, not the cast list, not the plot, not the first draft of the script. Imagine a festival that awarded the acclaimed but overlooked films of the past year, such as Maryo J. Delos Reyes’s Magnifico, Quark Henares’s Keka, Mario O’Hara’s Babae sa Breakwater, or even Lav Diaz’s Singapore and Brussels Film Festival Best Film awardee Batang West Side of 2 years ago (a film that has received awards and been screened in numerous prestigious film festivals abroad, but which until now has never seen a commercial release in the Philippines), and re-released and re-introduced them to local audiences.
Imagine a festival that dared to do something as radical yet practical as encourage and promote our young and courageous independent filmmakers, artists like Khavn Dela Cruz, RA Rivera, Ditsi Carolino, Ramona Diaz, Sari and Kiri Dalena, and Raymond and Jon Red (to name but a few), by showing their works theatrically, either before a film or in combination as a feature in itself, introducing them to Philippine audiences.
What if, perhaps, 2 or 3 classic films were chosen each year to be shown during the festival, to re-introduce to Philippine audiences young and old the important works of our cultural history?
What we would have, then, is a breeding ground for the education of our audience towards our cinema’s past, a display of the absolute best of its present, and a harvest of the seeds of its future.
Having a festival where a prime consideration for a film’s acceptance or rejection is its “commercial viability,” is utterly ridiculous. Without getting into the argument over the selection committee’s mystical methodology for determining a work’s “commercial viability” (based simply on the reading of a cast list, plot, or even script) it is safe to say that this should not even be of concern to the festival organizers. Choosing the best possible films should be their main concern, as making the best possible films should be the concern of the filmmakers. The audience is there– the responsibility in a festival such as this does not lie in showing them what we believe they want to see, but simply showing the absolute best of what we have to offer.
The Metro Manila Festival is a good idea for a way to support the local film industry. But without a drastic overhaul in regard to its implementation, it will remain simply an idea.
–
Alexis Tioseco awaits the death of Philippine cinema with optimism.
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MAGNIFICO was suppose to be an entry to the MMFF but failed to meet the criteria given by the committee.
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I hope I can live long enough to see the day when the Metro Manila Film Festival returns to its former luster.
My first experience with this "festival" was when our film teacher in high school showed us Mike De Leon's Itim (still my favorite pinoy film) and consequently asked us to write a paper on one of the iterations of "Shake, Rattle and Roll" in the 90's.
It was quite a depressing experience. It is even more depressing to realize that things have not quite changed 15 years hence.
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Itim wasn't an entry to the MMFF... it was however one of the best films from 1976, which was considered the Second Golden Age of Philippine Cinema along with Ganito Kami Noon... Paano Kayo Ngayon?, Nunal Sa Tubig, Minsa'y Isang Gamu-Gamo, Tatlong Taong Walang Diyos, Alkitrang Dugo, Sakada and Insiang.
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Arguably the first golden age was before the war; second golden age was immediately after the war (the 60s were a time of decline; that said, a few filmmakers including Gerardo de Leon did some of their best work here). The 70s might be considered the third. A mini wave during the late 90s, and then the present one, on a smaller budget and in digital form.
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Itim wasn't an entry to the MMFF...
I didn't say that it was. :)
What I meant was that before we were asked to do a critique on a Shake Rattle and Roll film during an MMFF in the 90's, our film teacher screened to us this film.
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The present wave is quite possibly more prolific than the previous ones (I might be wrong, though). The only difference is it doesn't get as much screen time as it deserves.
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Mano Po 6: A Mother's Love (Joel Lamangan, 2009) (http://oggsmoggs.blogspot.com/2009/12/mano-po-6-mothers-love-2009.html)
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Watched two movies, and currently waiting for the third to start. Here are some quick impressions:
Ang Panday
What a ripoff! The effects and backdrops were clearly lifted from "The Lord of the Rings". The central plot branched off unnecessarily numerous times just to feature useless love teams and irritating comedic cameos. And what is up with each main character having his/her comedic sidekick?! Philip Salvador didn't look or act ominous at all - more like a Boyoyong clown who inhaled too much balloon helium. The ending was senseless, undoubtably to set up the mood for a sequel it doesn't deserve. It was such a relief when the credits started rolling.
Wapakman
This movie felt like it was shot in two parts by two different directors. The first part (about 1/3 of the movie) was quite good, featuring indie-like handycam-style camerawork, clever editing and a genuinely funny script. The other part felt rushed, with half-polished effects, poorly directed action sequences, dragging dialogue and loose ends. It's also quite ironic that Pacquiao's acting is one of the weak links of this Pacquiao movie. He's a natural comedian, but needs more work in the drama department (and this movie has quite a handful of touchy scenes). I've heard of a rumor that this film was rushed for the filmfest. I guess that's true.
Be right back for Shake, Rattle & Roll 11....
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Watched two movies, and currently waiting for the third to start. Here are some quick impressions:
Ang Panday
What a ripoff! The effects and backdrops were clearly lifted from "The Lord of the Rings". The central plot branched off unnecessarily numerous times just to feature useless love teams and irritating comedic cameos. And what is up with each main character having his/her comedic sidekick?! Philip Salvador didn't look or act ominous at all - more like a Boyoyong clown who inhaled too much balloon helium. The ending was senseless, undoubtably to set up the mood for a sequel it doesn't deserve. It was such a relief when the credits started rolling.
I saw the preview. There was one shot CLEARLY lifted directily out of LoTR but oddly enough I heard a passer-by (I saw the preview on a screen in SM) say after seeing, "Wow! Ang galing!" I was like :-\
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Wapakman : i heard once na more or less one month lang ang production nito... minadali talaga daw ito.
ako lang ba ang nakakapansin or unfair lang talaga ako sa movie na wapakman... everytime i passes the cinema section specially Cinema 4 at tinitingnan ko ang ticket booth... bakit walang laman???? ibig sabihin walang nanood....
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Shake, Rattle and Roll XI
After two successive years of relative crappiness (meaning, really bad compared to the rest of the franchise), this year's installment is quite okay. There is a great improvement in terms of editing and cinematography, although Regal badly needs to update its filming equipment because what upgrade in filming style happened in this movie, got badly blurred and darkened by the quality of the lenses and/or films used. Each episode is less ridiculous and even a bit more fun than the anthologies from the most recent past. But I do wish the directors stop complying with the customary cliffhanger ending for each episode, because for two of the three parts, the conclusion became inconsistent and senseless due to the inclusion of these twists.
Of the three episodes, the weakest would be the first, "Diablo". Although I was quite delighted that it featured the beautiful church of my ancestral hometown, it had lots of unnecessary things going around that could have made it tighter. The possession scene had too many gimmicks going on, it got somewhat boring. It did have the scariest imagery, most artistic shots and the best sound design of the three.
Even if we had been bombarded to death with showbiz features on Ruffa and Zoren's reunion in this movie, the second episode "Ukay-Ukay" has surprisingly the most engaging plot. True, a killer wedding gown may sound silly, but there's a sheer campy pleasure that could be had from watching Ruffa and Zoren beat the hell out of that cursed matrimonial garb. Plus, you get to hear one-liners like "Fashion designer ako, gown ka lang!", "Bumalik na yung gown!" and "Harapin mo ako, leche ka!". Classic. The scenes are much clearer this time (thanks to better cameras and/or films?) but the few computer effects it employed were god-awful cheap.
The last episode "Lamang Lupa" featured young stars and several love teams, but thankfully, it did not turn into a mere vehicle for these teen actors to be cast in pointlessly. This is due to a more effective script that did away with the potentially unneeded stuff films starring matinee artists usually have. Among the three, this had the only ending that befitted the rest of its story.
Overall, the latest installment of this franchise offered a vast improvement in story, direction and editing compared to the most recent previous films. But I do have problems with the forced cliffhanger endings and the substandard quality of the footage (resolution and image sharpness). Hopefully, next year would see an improvement in these as well.
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Shake, Rattle and Roll XI
Hopefully, next year would see an improvement in these as well.
Hopefully, we will never see a Shake, Rattle and Roll release ever again! ;D
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LOL, I can agree with that. The MMFF seems so canned, formulaic and predictable eversince I can remember. You get the same mother's plight, a fantasy, a slapstick comedy, horror and a love story. Nothing bad about them, but are those the only subjects film for a film festival?
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A friend of mine said that Wapakman flops while Panday is currently the highest grosser ;)
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A friend of mine said that Wapakman flops while Panday is currently the highest grosser ;)
http://showbizandstyle.inquirer.net/entertainment/entertainment/view/20091226-244059/Pacman-flick-knocked-out-on-first-day
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Maybe the target market of the MMFF is not the film critics nor the Class AB but rather the "masa" crowd. These films are not appealing to our taste because they were not meant for our viewing anyway. But to the ordinary Juan, these flicks are already of great entertainment that take them away off problems, distress or poverty. And the producers are giving them what they want.
The "masa" won't care if the movie was "copied" from a foreign film or if the plot totally sucks. What they want to see are their pop idols, loveteams, Vic Sotto's slapstick comedy, fantasy flicks, rich girl meets poor boy, what have you. In Dec 25 - 31 last year, the combined gross box office of 8 MMFF entries was recorded at P284,000,000. This means that people are watching these films despite the criticisms.
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I've long missed Imelda's MIFF. That was the time I saw Scorpio Nights and OroPlataMata. Not that I want her back, but if she were in power she'd probably have all those people behind the MMFF lined up and shot. ;D
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It's poss
Maybe the target market of the MMFF is not the film critics nor the Class AB but rather the "masa" crowd. These films are not appealing to our taste because they were not meant for our viewing anyway. But to the ordinary Juan, these flicks are already of great entertainment that take them away off problems, distress or poverty. And the producers are giving them what they want.
It's possible to have an excellent popular cinema--look at Hong Kong in the '80s, or Japan in the '50s and '60s, or the anime crowd nowadays or South Korea or India all this time. The question isn't can we make money, we can, it's can we make money out of something we can also be proud of?
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Maybe the target market of the MMFF is not the film critics nor the Class AB but rather the "masa" crowd. These films are not appealing to our taste because they were not meant for our viewing anyway. But to the ordinary Juan, these flicks are already of great entertainment that take them away off problems, distress or poverty. And the producers are giving them what they want.
The "masa" won't care if the movie was "copied" from a foreign film or if the plot totally sucks. What they want to see are their pop idols, loveteams, Vic Sotto's slapstick comedy, fantasy flicks, rich girl meets poor boy, what have you. In Dec 25 - 31 last year, the combined gross box office of 8 MMFF entries was recorded at P284,000,000. This means that people are watching these films despite the criticisms.
I always thought that pandering to the lowest common denominator was never a good marketing strategy.
Sorry to belabor the point, but the 284,000,000 peso gross was beaten by The Dark Knight, a film without "pop idols, loveteams, Vic Sotto's slapstick comedy, fantasy flicks, rich girl meets poor boy, what have you."
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Are there pinoy films that outgrossed hollywood films being shown at the same time in the Metro? TIA
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Are there pinoy films that outgrossed hollywood films being shown at the same time in the Metro? TIA
I have no idea.
But maybe, these links will help:
http://en.wikipedia.org/wiki/List_of_highest-grossing_films_in_the_Philippines
http://chikamuna.com/15-top-grossers-in-pinoy-movie-industry-as-of-october-2008-2/
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Thanks Philander. The list of domestic box office of hits since 2006 shows a healthy competition between domestic and foreign films. 2008 showed 2 local films lording over such world hits as twilight, dark Knight and Ironman. 2006 saw Sukob over X-man The Last Stand
Assuming of course that the data is correct, while Hollywood films still dominate the list, local cinema is earning hundreds of millions on low budget melodramas like Ang Tanging Ina, Sukob, Caregiver and A very Special Love and lording it over high tech films like Ironman, Twilight, Dark Knight and X-men, it clearly proves that we can compete at the tills. We only need to tap better more daring stories in more films.
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I've long missed Imelda's MIFF. That was the time I saw Scorpio Nights and OroPlataMata. Not that I want her back, but if she were in power she'd probably have all those people behind the MMFF lined up and shot. ;D
This is what I missed also! Although it paved the way for soft-core Pinoy Films during the 80's, the worst and the best Filipino films came up during this period.
And seeing again the interview of Vilma Santos on Cinema One recalling the glorious days of MMFF in 1977 where Brocka fought with the head of the juror Rolando Tinio and her shoving match with her rival Nora Aunor for RUBIA SERVIOS & ATSAY made me nostalgic again.
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A friend of mine said that Wapakman flops while Panday is currently the highest grosser ;)
Heard from a grapevine that Pacman was inserting 500 bills in the t-shirts he was tossing out during the mmff parade. When he used up all the 500 bills, he replaced them with 1000.
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ewan ko lang sa sarili ko...
siguro nahilig lang ako sa hollywood movies kaya parang wala nang 'dating' sa akin ang MMFF (or pinoy movies - but of course maliban sa mga pelikula ni sarah at john loyd he he he and some good movie like ploning babae sa breakwater etc)....
dapat kasi kahit man lang isang taon ang preparation ng mga movie para naman masabi na pinaghandaan at piang-isipan ang pelikula...
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For the past few years, producers of movies who join the MMFF just want to earn big bucks, that's all.