Reviews

reviews are proof that people can’t pay attention to anything.

based on the reviews here, it’s a bad movie. but what I think that it’s definitely one of the best movies I’ve watched recently.
some say it doesn’t make any sense. like bfr did we watch the same movie? detailing was crazy and I pretty much caught everything up at the very moment. I mean if you can’t connect the dots isn’t that on you?😭
some say it didn’t meet their expectations meaning it wasn’t about overcoming crisis. so basically you neither watched the trailer or saw a poster. again ON YOU.
another said it an AI propaganda yet somehow Black Mirror is one of the best shows out there. that’s very much double standards.

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Is this AI propaganda or just an open ending???

I don't actually think this is a bad movie or one that's difficult to understand.
The change in the genre shouldn't be that disappointing, since it's always been classified as Sci-fi and I don't really believe in genres that limit the writer's creativity.
I also don't believe this is motherhood propaganda, I'd like to reserve that title to that one K-drama with Lee Minho...
My problem here is how open it is towards the whole AI situation, I feel like it's dangerous in our current political climate. You could also think that it's meant to make you think about it, but as artists I think it's really important to be clear about this kind of topic.
They talk about AI that perfectly imitates human feelings through memories and experiences. However, they're still not human, that child is not a human nor the mother after dying the first time, even if the robot holds all her memories. At the end it's just a bunch of code that will end up repeating the same things endlessly because that's what it's meant to do. And trying to produce sympathy towards a computer feels like you're supporting it.
As I said before, the open ending with the new artificial human species could just be a way to make you think and not necessarily telling you to support AI. But that's how I felt after reflecting a bit that ending full of hope...

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good action comedy

I enjoyed this movie from start to finish. It had a good dosage of humor and fun without compromising the seriousness of the main issue.

North Korean elite detective Im Cheol-ryung (Hyun Bin) is back in Seoul chasing a ruthless crime boss, and once again, he’s paired with the goofy, endearing South Korean detective Kang Jin-tae (Yoo Hae-jin). Their tried-and-true North/South 'bromance' is the undisputed heart of the film, constantly shifting between reluctant partners and genuine friends.

The story is quite easy to follow too not convoluted and has a little international elements with 3 countries trying to catch the bad guy.
The entire cast did an amazing job playing their characters. The chemistry between Hyun Bin, Yoo Hae Jin, and Daniel Henney was really good with their comedic acting.

If  enjoyed the first part of this movie and want more of the same with added international flavor, I can recommend it.

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bug names nothing more....

​I went into Uprising expecting a grand, sweeping historical epic, but I walked away feeling like I’d just wasted my time. For a movie with this much talent involved, it’s shocking how little actually happens.
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​The "story," if you can even call it that, felt like a never-ending cycle of the same beat: two friends have a falling out and then they fight. That’s it. There was no real character growth, no depth to the conflict, and absolutely no improvement in the storytelling as the movie dragged on. Instead of an epic war drama, it felt like a repetitive loop of petty resentment that never justified its runtime.
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​While the production was "fine," it was nothing special. I was expecting something visually groundbreaking or at least a story that moved me, but everything felt incredibly flat. It lacked the "soul" that makes you care about who wins or who survives. By the halfway mark, I found myself checking the time, waiting for it to finally end.
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​Despite the big names, Uprising is a hollow experience. It’s a repetitive, uninspired story about a friendship gone wrong that fails to deliver any emotional punch. Save yourself the two hours—this one is a "skip."

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Are We Getting the Main Point of this Thriller Wrong?

In the few pieces I've read about this thriller, the main plot seems to focus on a woman trying to save her child when confronted with an apocalyptic event. Granted, that is what we see on the screen.

But could we be getting the main plot wrong? I believe so. This is some really narly creative writing.

Not a day goes by that I don't read an article or headline, or hear a podcast about the upcoming world we live in with AI. We definitely are living in the age of the AI dominance race. There seem to be two messages. One, that AI will dominate the human landscape when it comes to jobs. Second, that AI can't replace humans because of our emotional intelligence and ability to connect.

But what if AI could be taught emotional intelligence and the ability to connect at a human level?

I think what we're seeing on the screen in this movie is an AI simulation performed over and over again so AI can learn and develop a strong emotional connection. I say this as we kept seeing scenes done over and over again, and notice how they kept focusing on her shirt with the number increasing. What a brilliant storyline and commentary on the question as to whether AI can truly replace human beings.

Loved the special effects, and loved Kim Da Mi. What a grueling role she had to play, but as usual, she was superb.

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Feels rushed

I might be the only one who will say this but I felt like the ending doesn't make sense and feels rushed. The writer might thought that it needs to have an element of sad (to have an appeal) so he/she needs to deliberately kill the lead, I can't even cry and was questioning the ending for like hours. It would have been better if it was an accident or like he needs to disappear because she got an oppprtunity and they met at the end without her remembering, I would have enjoyed that ending. The initial plot was good, the execution could have been better.
Overall, I like the acting and chemistry.

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From 1775 to 2050: A Bold Return to Form

I went into Shake, Rattle & Roll: Evil Origins fully intending to watch it anyway — I have friends in both the cast and the production — but I didn’t expect to see it in advance, alongside the cast, on premiere night. That alone already set the mood. Part of the 2025 Metro Manila Film Festival and rated R-13, this entry marks a confident, high-profile return for Regal’s longest-running horror franchise.

Since its debut in 1984, Shake, Rattle & Roll has been a staple of Filipino cinema, delivering some of the country’s most unforgettable horror moments. For me, nothing still tops “Undin” (1991) — that toilet scene remains one of the most traumatising bathroom scares in local film history, so iconic that Filipinos still joke about “Undin” lurking in drains decades later. Evil Origins clearly understands that legacy, but instead of coasting on nostalgia, it takes a genuine creative risk.

True to form, the film is split into three episodes, but for the first time in the franchise, they are interconnected, forming one overarching story that spans the past, the present, and the future. Directed by Shugo Praico, Joey De Guzman, and Ian Loreños, and running close to 148 minutes, it sounds like the kind of runtime that could easily drag. Thankfully, it doesn’t. The film stays engaging because each segment offers a distinctly different flavour of horror — and because the connecting thread gives the whole thing momentum.

The opening chapter, “1775,” is set in a Spanish-era convent and leans heavily into atmospheric, religious horror. A group of nuns find themselves trapped as an unseen evil turns faith, repression, and desire into weapons. Visually, it’s moody and gothic, with strong production design that recalls The Nun. Janice de Belen is genuinely chilling as the cruel Mother Superior, while Carla Abellana, a veteran of standout SRR segments, brings gravitas as a prophetic figure. The script could have benefitted from deeper backstories, but the performances carry it — especially Loisa Andalio, who leaves a strong impression and feels like a future scream queen in the making.

The clear standout of the film is “2025,” a high-energy slasher set during a Halloween masquerade party. This is Shake, Rattle & Roll at its most fun and confident. The music pulses, the visuals pop, and the pacing never lets up. Fan-favourite pairings Francine Diaz and Seth Fedelin, as well as JM Ibarra and Fyang Smith, deliver both chemistry and individual presence, while Sassa Gurl steals scenes with perfectly timed comic relief. The kills are creative, the tension is real, and the mix of horror, humour, romance, and gore just works. It’s campy, bloody, and exhilarating — easily one of the best local slasher segments in recent years, and one that honestly feels strong enough to stand alone as its own film.

The final chapter, “2050,” swings big with a post-apocalyptic Philippines overrun by aswangs. Empty highways, broken bridges, and abandoned trains give the episode an eerie scale, turning Metro Manila into an unsettling wasteland. Richard Gutierrez is in his element as the action-driven lead, backed solidly by Ivana Alawi and Matt Lozano, while Manilyn Reynes once again proves why she remains a quiet horror MVP — grounding the chaos with experience and emotional weight. Dustin Yu stands out here as well, delivering sharp line readings, expressive physicality, and impressively confident action work. His presence feels assured, and it’s easy to see why he continues to gain recognition in the genre. The aswang designs are excellent — fast, vicious, and far more terrifying than your standard lumbering monsters.

Taken as a whole, Shake, Rattle & Roll: Evil Origins is best experienced on the big screen, where its scale, sound design, and visual ambition really land. Not every narrative thread is perfectly polished, and some character arcs could be stronger, but the film’s willingness to experiment pays off more often than not. It’s loud, entertaining, occasionally messy, but never dull — and most importantly, it proves that there’s still plenty of life left in this franchise.

This is a bold, crowd-pleasing return to form. It delivers genuine scares, big swings, and memorable moments, carried by a committed ensemble that understands both the fun and the fear of Shake, Rattle & Roll. For horror fans, slasher lovers, or anyone looking for a full-throttle cinema experience with friends, Evil Origins is an easy MMFF recommendation.

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A City Losing Its Footing.

Manila’s Finest is a gritty, atmospheric crime thriller set in Manila in 1969, a city on edge amid rising crime, political unrest, and looming social change. Directed by Raymond Red, the film follows a group of Manila Police District officers navigating turf wars, gang violence, and a growing sense that something far darker is at play. What begins as street-level crime — illegal gambling, prostitution, and rival gangs — gradually exposes deep-rooted corruption involving powerful businessmen, politicians, and even the police themselves.

Running at 119 minutes, the film is written by Michiko Yamamoto, Moira Lang, and Sherad Anthony Sanchez, and balances police procedural tension with intimate human drama. At its core, Manila’s Finest is less about heroism and more about moral compromise, loyalty, and the cost of integrity in a city rapidly losing its footing.

Piolo Pascual anchors the film as Capt. Homer Magtibay, a seasoned but flawed officer trying to hold the line as the world around him shifts. Enrique Gil plays Lt. Billy Ojeda, his younger, idealistic partner whose restlessness hints at rebellion and poor choices. Ashtine Olviga stands out as Agnes Magtibay, Homer’s activist daughter, embodying the generational clash between authority and resistance.

The ensemble is strong across the board: Cedrick Juan is quietly menacing as Metrocom officer Danilo Abad, Romnick Sarmenta and Joey Marquez provide texture and sharp wit, Ariel Rivera brings dignity as the outgoing station chief, while Rico Blanco unsettles as his abrasive replacement. Rica Peralejo’s return to acting as Magtibay’s wife adds emotional weight, while Jasmine Curtis-Smith, Paulo Angeles, Dylan Menor, and Ethan David round out a cast that feels lived-in and purposeful.

The film opens with a patrol — squad car #014 cruising Manila’s streets as news of Gloria Diaz and the moon landing crackles over the radio — immediately grounding the story in its moment. From there, tensions rise as the Philippine Constabulary Metrocom begins encroaching on local police operations, mirroring real historical power shifts. Gang rumbles, student protests, and internal power struggles converge, leaving Magtibay squeezed from all sides — professionally and personally.

Magtibay himself is no saint. He’s violent when it suits him, unfaithful despite presenting as a family man, and too quick to threaten force. Yet the film never excuses him — nor does it demonise him outright. Instead, Manila’s Finest presents a world where there are no clean hands, only varying degrees of compromise. The police aren’t heroes here; they’re a flawed boys’ club barely holding together as history moves against them.

This is where the film quietly pulls the rug out. What looks like a nostalgia-tinged period cop movie is actually something bleaker: a portrait of institutional decay and the slow march toward Martial Law. The irony of the title is deliberate and relentless. The story offers little triumph, lingering instead on despair, inevitability, and the unsettling sense that resistance — from police or protesters alike — may already be futile.

Technically, the film is assured. Red’s cinematography is striking, full of energy and texture, while the production design is meticulous — from the MPD interiors to riot shields repurposed from woven rattan. The edit could be tighter, and the soundtrack’s reliance on mournful kundiman rather than ’60s rock feels like a missed opportunity, but these are minor quibbles in an otherwise immersive experience.

I caught Manila’s Finest at an advance screening — never one to say no to a free movie — and was genuinely pleased to spot friends like Sue Prado among the police ensemble, and Elijah Canlas in a brief cameo. I’ll admit I came in curious about Dylan Menor, and he didn’t disappoint. The film stayed with me long after the credits rolled, not because it entertained, but because it made me think — which is perhaps its greatest strength.

By the end, history becomes impossible to ignore. We know how this period ends, and the weight of that inevitability is crushing. Manila’s Finest isn’t an easy Christmas watch, but for those willing to sit with its discomfort, it’s a complex, sobering, and quietly powerful film — one that reminds us how quickly systems fail, and how those failures continue to echo today.

The question I left the screening with — and one I managed to ask the cast — was this:
Is the film suggesting that the police lost their dignity and effectiveness because Metrocom undermined and sabotaged them, leaving them powerless to push back?

Manila’s Finest doesn’t offer easy answers — and that, perhaps, is the point.

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What Survives the Flood

Though its narrative can feel cluttered, the film remains a deeply engaging and emotionally ambitious film.

At its core, it explores an empty vessel-an artificial consciousness-waiting to be filled with emotion, care, survival instinct, and the selfless love of motherhood. The entire project revolves around a singular, profound idea: how do you gift a body the emotions that make a human? Humans can be selfish, flawed, and cruel, yet the bond between a parent and a child, particularly between a mother and her child, often exists in a realm untouched by the outside world. That bond is the film’s true subject.

The humanoids were biologically complete, but biology alone was not enough. What they needed was a soul... and the film argues that soul is forged in the crucible of maternal love.

I appreciated how the narrative withholds its central conceit. We are not told upfront that we are watching a simulation; we experience the disaster and the desperation alongside An-na. Only later does the truth emerge and fall into place, rewarding the audience’s attention to its fragmented clues and narrative loopholes. The revelation, once pieced together, transforms the story from a survival thriller into something far more meaningful.

The supporting characters within the simulation--shaped by An-na’s consciousness, memories, and emotional experiences--each serve to push her beyond ordinary human limits. I was particularly captivated by Ji-Su, an emergent presence born purely from An-na’s psyche.

In this way, the film feels less about emotion in the abstract and more about the specific, primal emotions that bind a mother to her child. That love is presented as inherently selfless or at least as a love that must become selfless to be authentic. That selflessness is the quality that becomes the AI's final, indispensable lesson.

The ambiguous ending leaves us with synthetic versions of An-na and Ja-in, AI humans now imbued with real feelings and memories, heading toward the uncertain dawn of a humanity that is no longer entirely human.

On a technical level, I was mesmerized by the visual poetry: the slow-motion terror of the colossal waves, and the stunning moments where reality briefly glitches. In those instants, the film strips itself down to a particle-based, data-rendered core, revealing the simulation’s underlying architecture.

Despite its complexities, the ride was utterly compelling.

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Weak Execution

while kang haneul is always great in comedy, the rest of the cast feels a bit forced at times. overall the movie is just okay and lacks a clear direction on which theme it wants to focus on more, whether it’s comedy or the heavier topic of friendship. both themes could have worked well together if handled better, but that’s not really the case here. though cha eunwoo doesn’t have much screen time, but his acting feels very natural and he manages to draw me into his role within the friendship. i honestly wish i could rate it higher because i really love kang haneul’s works, but this time a 7 is the max for me.

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Watch this for MDL challenge. One very chaotic movie… Haha….

Story about the very conservative Rodrigo’s family & a family of gay pageant.

Rodrigo Sr., his wife Salve and their children Rodrigo Jr. and Blesilda are on their way to Junior's wedding on the day of the solar eclipse. Along the road, their vehicle collides with a van carrying a family of gay pageant performers: Mama Wendy, Wanda, Winona, Wilhelmina, and their trainee, Whitney.

When they all wake up, chaos begins: they’ve swapped bodies. Rodrigo Sr. with Wanda, Rodrigo Jr. with Wilhelmina and Blesilda with Whitney.

With the help of Joy—the Barangay Chairwoman (village captain) of San Rafael, who is also Salve’s cousin and Junior’s godmother—they finally reunite and piece together what happened.

Aside from dealing with the bizarre body swap, there are two big events neither group can afford to miss. Rodrigo’s family has a wedding to get through, while Mama Wendy’s family has a pageant to compete in. For the sake of both events, they call a truce and agree to help each other carry out their respective roles.

Now the question:
? Can they actually stay in character long enough for Junior to walk down the aisle…
? What will happen to Junior’s married life? Will they need to tell Yumi, Junior’s bride, the truth—and how will Yumi react afterward?
And most importantly:
? How long will they remain trapped in each other’s bodies… Will they have to wait until the next solar eclipse, or is there another way to reverse the swap….

That's pretty much the story without giving the spoiler. Now what I like and don't.

What I like:
+ Interesting story.
+ How they manage to change the perspective of a conservative family for LGBTQ community.
+ The support Sean gives to Junior—as his best friend and best man—despite his own feelings for him.
+ How funny everything in the end for the whole group

What I don’t too like:
- A little bit too chaotic for my taste.

Overall this quite fun little ride…

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The Trailer Overpromised

The trailer promised more than it delivered.

Visual Beauty, Emotional Gaps

The film was visually stunning, sensual, and tender at times, but also underdeveloped and even cringey in others. I had so much faith in Machida Keita before the release, but I felt he transmitted very little when watching. I had no expectations of Takeuchi Ryoma, on the other hand, because I’d seen very little of him, but he was the one who pulled me in. And I’m not even talking about the waist scene. It was his eyes and the yearning he portrayed after a certain point.

Stereotypes and Weak Writing Choices

I was not a fan of the heavy-handed stereotypes about Latin people, but that wasn’t his fault. It was the writer’s and the showrunner’s choice. The writing focused far too much on telling and not enough on showing. There’s a scene where Suzuki tells his dance partner how he can feel Sugiki’s emotions when he dances with him, listing many of them, yet the only one that actually comes through from Sugiki is his need to control. Suzuki’s partner and the bartender then tell Sugiki that he’s in love so the train scene wouldn’t come out of nowhere, yet they were still jarring. I've seen countless of edits online fawning over this scene yet it barely left a mark on me because in my mind it was supposed to be a build up of their connection not just after a tense moment when Sugiki had accidentally revealed what a sociopath he was to his dance partner.

Underdeveloped Relationships

The characters, their motivations, and their growing emotional connection are severely underdeveloped. Instead, time was wasted on behind-the-scenes sponsor meetings and whatever that conversation was with the British lady, as well as those men gossiping about Sugiki and Liana.

Language Breaks Immersion

The English and Spanish dialogue was embarrassing to watch, delivered by Japanese and non-Japanese actors alike. The non-Asian actors seemed like randos picked up from the street. Their delivery was wooden and cringey.

Ryoma’s and Keita’s multilingual lines were painfully delivered. We’re supposed to believe Sugiki spent time with a British lady as a surrogate mother and had a girlfriend who doesn’t speak Japanese, yet he can barely say a few lines in English? Ryoma’s mom is supposedly Cuban, yet he struggles to speak Spanish to the bartender. This completely takes you out of the story.

Language Proficiency as a Production Responsibility

And don’t give the excuse that they’re Japanese and other languages are hard to learn. I’ve recently seen two BL short series where the actors have heavy accents and are clearly not native English speakers, yet they deliver their lines so clearly and confidently that it doesn’t even matter. Connor, the actor from Heated Rivalry, did an entire speech in Russian, doing justice to his character, yet nobody bothered to teach these guys how to say a few sentences in different languages when the characters were supposed to be speaking them. They spent an entire year learning the dances, but couldn’t learn to pronounce a few lines with confidence?

Final Thoughts
I overall enjoyed the film. I’m just disappointed it was spoiled by such amateur work in certain aspects.

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The worst time wasting and boring movie I've watched in 2025

This is clickbait and worst netflix original I've watched in a very long time. The kid is probably the worst annoying character in the whole omniverse, petaverse, universe.. I'm not even bragging when I'm saying that but this movie is just the worse. If you are a survival lover it's never worth watching. Sci fi lovers are saying 2nd part is confusing and they like it but trust me it's not confusing, it's just annoying, super predictable and boring, like you can 100% predict the story and the story is boring, repetative and slow paced. I've never felt such annoyed by any movie yet in my life I swear.

If you don't believe me, watch and you'd know and if you do believe me, It's never worth watching and I hate it the most.

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Watch this for the MDL challenge. Lucky me this is easy to find on YouTube.

Story about the world of migrant workers from the Philippines who work in Hong Kong. It’s a quiet look at their struggles, dreams, and the search for belonging far from home.

The story follows Joy Fabregas and Ethan Del Rosario.

Joy is a hardworking domestic helper who struggles to make ends meet. To save enough money, she’s even willing to take illegal side jobs. Her ultimate goal is to migrate to Canada, where she hopes to finally practice her profession as a nurse and provide a better life for her family.

Ethan, on the other hand, is a charismatic and easy-going bartender dealing with his own family issues. Unlike Joy, Ethan is searching for stability and a reason to stay in Hong Kong after years of living as a “playboy” to mask his past heartbreaks.

Joy is a dedicated domestic helper. To save enough money for her dream, she takes on illegal side jobs—risky, but necessary. Her goal? To migrate to Canada, where she can finally work as a nurse, the profession she trained for. More than career, it’s about giving her family a better future.

Ethan is a charming, easy-going bartender who’s spent years avoiding seriousness. Behind his smile, he’s dealing with unresolved family issues and past heartbreaks. He used to be a "playboy"—not because he didn’t care, but because it was easier than facing pain. Now, after years in Hong Kong, he’s searching for something real—something that makes him want to stay.

Their story begins with a chance encounter. Ethan is instantly drawn to Joy—not just her beauty, but her strength, her fire, the way she carries herself despite everything. He starts pursuing her, persistent even when she keeps saying no. Her focus is clear: Canada. She can’t afford distractions. Love doesn’t provide for her family or buy visas.

But as they keep crossing paths—and as Ethan refuses to give up—something shifts. They start spending time together. Not grand dates, but small moments: late-night talks, shared meals, quiet understanding.

In each other, they find something rare: a sense of home in a city that treats them as outsiders.

Ethan helps Joy slow down, to see the beauty in the present—to remember she’s more than just a worker chasing a dream. And Joy inspires Ethan to grow up, to face his past, and take life seriously.

So now, the big questions remain…

Will they finally start a relationship—even though Joy’s time in Hong Kong is running out?
Could Joy ever choose to stay… for Ethan?
And if she still decides to go to Canada, what happens to them? Can love survive distance, duty, and dreams?

That's pretty much the story without giving the spoiler. Now what I like and don't.

What I like:
+ Joy’s persistence. She never weaver, not even when love knock on her doors
+ The complex family dynamics in both Joy & Ethan family
+ The picture of struggles, hope & dreams that we have & need to face in our life
+ The way Ethan in the end respect Joy wish & dreams
+ The tight family bond that all the migrant workers from the Philippines have with each other.

Overall this really one good movie that not only talk cr*p about love can conquer all…

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