Movie Review

(Manila Kingpin: Asiong Salonga Story)

Cast of the movie:

Major Cast

 Jeorge "E.R." Estregan as Nicasio "Asiong" Salonga

 Phillip Salvador as Domeng Salonga (Asiong's brother)
 Carla Abellana as Fidela Salonga (Asiong's wife)
 John Regala as Totoy Golem
 Baron Geisler as Erning "Toothpick" Reyes
 Yul Servo as Bimbo
 Ronnie Lazaro as Boy Zapanta
 Dennis Padilla as Tambol
 Ketchup Eusebio as Kiko
 Ping Medina as Piring
 Gerald Ejercito as Badong
 Roi Vinzon as Viray
 Joko Diaz as Pepeng Hapon
Other Cast

 Amay Bisaya
 Valerie Concepcion
 Paloma Esmeria
 Perla Bautista
 Robert Arevalo
 Bing Angeles
Summary of the movie:
The life of an ordinary King starts with his birth, and his claim to the royal
bloodline. Then it goes on his training for the Kingship. And it proceeds to his
struggle against pretenders to the throne, annihilating any opposition to claim
ultimate monarch-ship. Then,his coronation.Asiong Salonga was considered as
the "King of Tondo". All of the stages of being a King was portrayed in the
film.His claim to the royal bloodline was his leadership skills in managing a
young yet closely knit gangster group that takes care of the community rather
than suck them dry. He tried to annihilate some of his enemies, but failed to
really conquer the entire Tondo because several survived him and even went
on the extent of betraying him and killing him eventually.
The first half failed to tell us when did the people vested him his kingship. Was
it during his jail fight with Ventura when he was proclaimed king? Or was it in
the early aspects of the film when he shot and nearly killed Waway? Yes, his
own people proclaimed him as King, but, honestly, he was still a pretender to
the throne because most of Tondo were still being ruled by Totoy Golem’s group
who was larger and more lethal than his. If the first half lacks context, the
second half redeemed our frustrations. It is quite evident that two strands of
thought was applied to the film, and the producer tried his darn best to give us
a tightly spunned story.
In my estimation, he failed. He should have allowed just one strand of thought
to prevail in the movie. Likewise, let me say to all Filipino filmmakers—the
essence of a good film is in the storytelling. All others are just supports used by
the filmmaker in trying to make his story understood by his viewers. The film
starts with a man, fortish looking, being beaten to a pulp by another man, in a
darkened room somewhere in the world. While the scene is being shown, it is
juxtapose by several scenes showing some people sharpening their balisungs
(knives of the Filipino) and pana (arrowheads, used in local slingshots). Nothing
wrong with the opening scene, except that, if I'm not familiar with the story of
Asiong Salonga, I probably would have difficulties situating myself in there.
The first scene is a creative rendition of how this man, was introduced into the
world which he chose--the world of the gangster. That scene which shows him
being beaten and threatened not to take part in this world because he's still
"nursing from his mother's milk" and those scenes showing others sharpening
their knives were allegoricals. It is an allegory because it shows that this man is
trying to enter a world where there are numerous other gangsters like him in
the territory. Those scenes show that this man, Asiong, has already penetrated
some of those areas being ruled by othersBut, is this historically accurate?How
young did Asiong really rule Tondo or a greater part of it? A Manila Chronicle
article says that Asiong died on October 5, 1951, a few days before his birthday
on October 11th. He was just 27 years old. Meaning, he was born 1924.
Obviously, he probably did not rule Tondo as a legitimate gangster during his
teens because he probably spent it during wartime. So, the only time he could
have probably ruled tondo was during the period 1946 up to the time he died.
Or probably even less, because he was arrested and jailed. Asiong must have
ruled as the ultimate king for two years or even a year before he died.

Again, Asiong Salonga died at a very tender age of 27 years old.So, there. If
you don't know anything about Asiong, you would accept that he looks "fortish"
and probably that era was well in the 1950's, which is historically incorrect.
Why the confusion? Because the first half of the film failed to give the story
some context. Audiences have probably asked themselves during the screening,
where in time did all these things happen? Where is Tondo? Why was Tondo
poor at that time? Nothing of that sort was provided. The first half dismally
confused the audiences in terms of the true character and identity of Asiong
and the environment that he was in. There is some confusion also if Asiong was
indeed, a gangster par excellence or just a young thug who portrayed himself
as a neighborhood Robin Hood. There was no explanation as to how Asiong get
his money. Did he get it from stealing? Did he get protection money from
numerous businesses which sprang from Tondo post-war? The two scenes which
suggest that he did neither was when he intercepted a smuggling operations of
one his enemies, Ventura. Ventura, as the story goes, was one of the members of
the Totoy Golem group. Ventura was eventually killed by Asiong in a jail fight.
His other enemies, while he was in jail, tried to kill themselves for the honor of
being the ultimate siga in Asiong's territories.
Highlights of this film were those artistic shots of street and gangsta fights
involving Asiong. I was moved in the scene where Asiong was fighting Hapon
played by Joko Diaz in a gunbattle. That scene alone deserves an award,
although it is quite similar with that scene in the movie of Nicholas Cage in
Face/Off.
Equally great was the scene when Asiong was killed. It was another allegory on
how a king was betrayed by his own friend during a feast. There was some
aspect of biblical allegory as prior to this dinner killing, Asiong already said
that Ernesto "Toothpick" Reyes would be used by his enemies in killing him, and
Toothpick indeed killed him. (Likened to the Last Supper of Christ).
There was a scene, quite disturbing, about the death of Erning" Toothpick"
Reyes. In a news article, Toothpick surrendered to the police. He surrendered
the 38 caliber pistol revolver he used in killing Asiong Salonga. Yet, never
mentioned what happened to him afterwards. The movie said, he was killed in
a ritual killing by his own friends in a cemetery. How true?
(Totoy Golem in the fictional movie played by Anthony Alonzo in "Totoy ng
Bangkusay" claimed that Golem was Asiong's gunman. That is farther from the
truth. Totoy Golem was the real gangsta boss in those times, even eclipsing
Asiong in notoriety. Fact is, Golem ruled Tondo before Asiong and when Asiong
was killed, Totoy Golem continued wrecking havoc in Tondo before, as the
legend says, he was killed by Asiong's brother in a street fight)
The last scene was probably inspired with the carnage shown in the film, “ The
Gangs of New York” of Martin Scorsese. By the way, most of the artistic shots
done by the director were not originals. Some were either inspired by Scorsese
and others by Michael Bay.
 Movie review
(My House Husband)
Cast of the movie:

 Judy Ann Santos as Mia

 Ryan Agoncillo as Rod
 Eugene Domingo as Aida
 Agot Isidro
 Francine Prieto
 Miriam Quiambao
 Rocco Nacino
 Renz Valerio
 Derick Monasterio
 Lexi Fernandez
 Boots Anson-Roa
 Dante Rivero
 Bobby Andrews
 Sabrina Man
 Shalala

Written & Directed: Jose Javier Reyes, Screenplay also by Mel Del
Rosario
Produced by: OctoArts
Plot: In “My Househusband: Ikaw Na!”, Eugene Domingo plays Aida, a
mistress who happens to be Rod(Ryan Agoncillo) and Mia’s (JudyAnn
Santos) neighbor. With Mia always away, Rod and Aida develop a friendship
that even has the Mrs. Jealous at one point. When Rod lost his Job., Mia again
started to work as a part time insurance policy agent and the conflicts within
their families started when Mia and Rod are being beaten by their pride,
strategies and how to solve their financial constraints.
For starters, Im a sucker of Joey reyes Films. (I don’t know If I told him about
this during our previous meetings and presscon but yep, I am). From here
comes the Bride (1989) to May Minamahal to 9 Mornings to Kasal, Kasalo and
even his TV works (bud brothers) to mention a few, I have been living with
Philippine Entertainment admiring his Projects.
The last one I did a review of his work is The Wedding Tayo Wedding Hindi
topbilled Toni gonzaga and Eugene Domingo opposite Zanjoe Marudo and
Wendell Ramos respectively. He is a genius in terms of Drama and comedy.
He is predictable in a sense that you will expect a genuine, ‘can relate’ and
stellar story telling on the big screen that sometimes I even told him on
twitter, “Istorya ko ata yan..” That is how remarkable a Jose Javier Reyes for
me.
In this film, I like how he explained the situation and presented a possible
scenarios and upcoming trials. Direk Joey delivers without fail. Judyann
Santos, I would say mastered the art of combined Drama and Comedy. Ryan
Agoncillo also delivering a very convincing role. their tandem as reel and
real life couples gave the audience a relief that they can pull the roles better.
And they did.
Though I guessed the trailer made by OctoArts gave away too much of the
plot. I even feel that the highlights were all laid out there, so as a moviegoer,
you simply wait for the scenes to happen and await the conclusion. But
surprisingly, the plot gave more funny scenes that the trailer cant laid in a
few minutes. Which is pretty interesting. Eugene Domingo, on the other hand
will snatch the Best Supporting Actress without blinking an eye. I cannot
imagine this film with Uge. She is a best supporting Actress both to Ryan and
Juday. I keep admiring her. She is always good as her last performance. I
must say the story appeals to me as more of comedy than romance. I also
cant help but notice Juday’s wardrobe. Pretty as her outfits may be, the
greens, whites, and some sexy corporate look. I love it.
For Rocco Nacino, Miriam Quiambao and Francine Prieto, they were like a
phrase. the movie can stand without them. Rocco’s exposure are always not
his. He is always a sider. Agot Isidro’s role is convincing. I think her acting is
just fine.
The movie tells a story of a good neighborhood, reminds me of our
community. How judgemental and at the same time friendly people on our
everyday lives. The movie also teaches us to recall the power of lying and
not telling the truth.
My favorite scenes are:
1. Eugene Domingo in the hospital.
2. Judyann Santos and Eugene Domingo met, Judyann’s reaction is very
natural.
3. Ryan Agoncillo hiding in the house from someone knocking outside.
4. Confrontation scene between Judyann and Ryan about Pride.
5. Ryan Agoncillo and Eugene Domingo scene sharing problems
 Movie Review
(Segunda Mano)
Cast of the Movie:

 Kris Aquino as Mabel Domingo

 Dingdong Dantes as Ivan Galvez
 Angelica Panganiban as Mariela Domingo-Galvez/Marie Domingo
 Bangs Garcia as Anna
 Sofia Millares as Angel
 Jhong Hilario as Dindo
 Helen Gamboa as Adela Domingo
 Angel Jacob as Young Adela Domingo
 Ian Veneracion as Ivan's father
 Rico Blanco as Owen

Summary of the Movie:

In the story, Ding Dong Dantes plays Ivan Galvez, a mentally disturbed lover
turned killer after losing his wife (Angelica Panganiban) over another man. He
soon meets Mabel Domingo (Kris Aquino), an owner of an antique shop, and
soon starts a romantic affair. In one of their dates, a designer friend chances on
Ivan over dinner leaving Mabel insecure. So she decides to reinvent herself and
turns to her best friend played by Bangs Garcia, owner of a second hand bag
retailer. Unknowingly, she purchases a red bag which used to belong to Ivan’s
late wife.

Add a little of mother-daughter drama scenes wth Helen Gamboa which all
rooted from the untimely demise of Mabel’s lost sister which turns out to be
Mariela, Ivan's late wife.The series of scenes then leads us into believing
that Mariela was the one who haunts Kris and eventually kills other
characters in the story. However, we then unravel in the near end that it was
Ivan who does the killing and Mariela actually played as Kris’ advocate.

We see again the role of religion as a last resort when being haunted. I realized
that these kinds of scenes only happen in Filipino movies. Haven’t seen
anything like it in Japanese or American horror films.

The story itself had a good twist in the last twenty minutes. Although the idea
that Kris and Angelica as sisters was a giveaway, the motive of the ghost was
quite unexpected and wasn’t revealed in the near end. Finally, not another
horror movie that was predictable from the very start.

SCREENPLAY, SPECIAL EFFECTS, AND COSTUME

The special effects and costume wasn’t that amusing, especially the rainfall
that obviously pours down in a button press. The death of Kris’ sister was
unconvincing as the tides seemed too small to wash away a girl. The “magical”
apparition of Angelica, riding the sunken car as it was being towed upward
from the lake didn’t work either. It was corny and not to mention, generic.

The shady lighting of the night scenes in the movie was effective in creating a
“horror” atmosphere. The use of the horror elements such as the appearance of
a cat under the table was very thrilling yet some of the parts looked like they
had less than ideal timing for an added shock value. (e.g. the scene in the
swimming pool when Ivan’s child was telling Kris that dinner was already
prepared. Nakita agad yung bata sa likod nya bago magplay yung gulat sound
effect)

Let me share with you one thing I’ve learned in class. That once someone gets
hit in the head, the part in your brain which is responsible for vomiting will
more likely be triggered first before falling unconscious. A thing that isn’t
portrayed in most movies. Let this be a note to all directors to keep some
realism going on. Although I doubt if a vomiting Kris Aquino would be good
for screenplay.
Being a nursing student, I was surprised that in the movie, Kris knew how to
manage a feverish child: giving a sponge bath and administering medication.
Although it is never ideal to self-medicate, the thought of including “sponge
bath” sounded very nursing to me. Lay people will more likely say, “punasan
natin sya”. Kris didn’t do sponge bath the ideal way in the movie though, just
saying.
 Movie Review
(YESTERDAY, TODAY AND TOMORROW)
Cast:
Screenplay by Alberto Moravia, Cesare Zavattini and Eduardo De Filippo;
directed by Vittorio De Sica; produced by Carlo Ponti. A Champion-Concordia
Film released by Embassy Pictures. At the Festival Theater, 57th Street west of
Fifth Avenue, and the Tower East Theater, Third Avenue and 72d Street.
Running time: 120 minutes.
Part I—Adelina (Naples)
Adelina . . . . . Sophia Loren
Carmine . . . . . Marcello Mastroianni
Pasquale Nardella . . . . . Aldo Giuffre
Lawyer Verace . . . . . Agostino Salvietti
Police Captain . . . . . Pasquale Cennamo
Part II—Anna (Milan)
Anna . . . . . Sophia Loren
Her Lover . . . . . Marcello Mastroianni
The Other Man . . . . . Armando Trovajoli
Part III—Mara (Rome)
Mara . . . . . Sophia Loren
Rusconi . . . . . Marcello Mastroianni
Grandmother . . . . . Tina Pica
Umberto . . . . . Giovanni Ridolfi

Summary
The mere thought of seeing Sophia Loren and Marcello Mastroianni strutting their
stuff, under Vittorio De Sica's direction, in three comedy-farce vignettes will no doubt
attract sufficient film fans to "Yesterday, Today and Tomorrow" to guarantee a
beautiful engagement for this new show at the Festival and the Tower East.
And if the fans can bear the creeping ennui that the first two items are likely to
produce, they should get more than ample satisfaction and compensation from the
third.

That is, if they are open-minded enough not to take a ribald joke that joins religion
and sex as a shocking sacrilege. For this third item is a shameless dilly in which
Miss Loren expansively portrays a courtesan who is suddenly immobilized by an
onrush of piety, and Mr. Mastroianni plays her panting suitor who must wait out
her pietistic whim.

It is a wonderfully elaborated burlesque that has flowed from the facile pen of
Cesare Zavattini, one of the top screen writers of Italy. And Mr. De Sica has staged
it with the same flair of bouncing ribaldry that he got in "Gold of Naples" and other
of his pizza-padded films.

Miss Loren is in her finest fettle as this well set-up Roman prostitute whose beaming
equanimity is unsettled at the very time her most lusty customer, a scatterbrained
sport from Bologna, is in town for a couple of days.

It seems that her next-door neighbor in the terrace apartment overlooking the Piazza
Navone is storming at her because she has flirted with the neighbor's grandson, a
seminarian, and the youth has recklessly decided to abandon the holy calling
forthwith.

While the breezy buck from Bologna waits in bewildered dismay, the prostitute
battles boldly with the old woman next door and finally comes to terms with her
when the grandmother bursts into tears. But then, with everything settled, with the
youth returned to the fold and the buck admitted to the boudoir the prostitute changes
her mind in the midst of an extravagant strip-tease. To assure the youth's
reconversion, she remembers, she has made a vow of abstinence—for one week.
That's the gist of it, but the details had better go un-described, first, because they
defy description and, second, to leave you something to enjoy. Let is be said merely
that Miss Loren is a female of dazzling temperament and Mr. Mastroianni is
hilarious as a voluptuary, Italian style. But before this item comes up, the viewer
must endure two prior pretentious items that get progressively worse. The first,
written by Eduardo De Filippo, starts out with a pretty good joke, and it does
contain some scenic and salty Neopolitan atmosphere. It has Miss Loren as a
housewife who must stay in a state of pregnancy — a legal loophole—to avoid
being arrested for black market activities.It's fun at first, with Miss Loren
amusingly out of form and swapping vulgar wise cracks with her slum friends who
greatly sympathize. But it gets both gross and obvious when her poor husband—Mr.
M., of course—runs out of strength to provide her with an exemption and she must
go to jail. The idea is singularly heavy and the humor is painfully forced. The next
item, based on a short story by Alberto Moravia, is no more than a cheerlessly trivial
and empty dialogue. Miss Loren, looking lusciously stylish as the elegant, brittle
wife of a Milanese manufacturer, takes her lover, Mr. M. for a ride in her beautiful
Silver Cloud Rolls-Royce, and that's the only bit of fun the viewer has — sitting
back in the sleek vehicle and watching the colorful country near Milan roll by. When
they have a slight accident, Miss Loren abandons her lover to look after the car and
she, selfishly and nonchalantly, rides off with another man. So that's it — a spotty
picture, in excellent color with a good musical score provided by Armando Trovajoli,
who briefly plays the "other man" in the Milan item.