Hugh Jackman, Zac Efron, Michelle Williams, and Zendaya Shine in “The Greatest Showman” Teaser

Prep up for the most wonderful time at the movies as 20th Century Fox teases with the initial trailer of The Greatest Showman starring an exciting cast of performers led by Academy Award nominee Hugh Jackman, Zac Efron, Academy Award nominee Michelle Williams and Zendaya.

The Greatest Showman is a bold and original musical that celebrates the birth of show business and the sense of wonder we feel when dreams come to life. Inspired by the ambition and imagination of P.T. Barnum, “The Greatest Showman” tells the story of a visionary who rose from nothing to create a mesmerizing spectacle that became a worldwide sensation. Barnum rose from nothing to create the “Greatest Show on Earth,” the movie celebrates of his larger-than-life imagination that captivated audiences around the globe.


The Greatest Showman is directed by exciting new filmmaker, Michael Gracey, with powerful original music and songs by Academy Award winners Benj Pasek and Justin Paul (“La La Land”).

Opening on January 24, 2018 – The Greatest Showman is from 20th Century Fox to be distributed by Warner Bros. (in Phils.).

The Game Has Changed in “Jumanji: Welcome to the Jungle” Trailer

The game has changed, but the legend continues. Columbia Pictures’ new action-adventure Jumanji: Welcome to the Jungle has just debuted its international trailer which may be viewed here:

Starring Dwayne Johnson, Jack Black, Kevin Hart, Karen Gillan, Nick Jonas and Bobby Cannavale, Jumanji: Welcome to the Jungle soon in Philippine cinemas.


In the brand new adventure Jumanji: Welcome to the Jungle, the tables are turned as four teenagers in detention are sucked into the world of Jumanji. When they discover an old video game console with a game they’ve never heard of, they are immediately thrust into the game’s jungle setting, into the bodies of their avatars, played by Dwayne Johnson, Jack Black, Kevin Hart, and Karen Gillan. What they discover is that you don’t just play Jumanji –Jumanji plays you. They’ll have to go on the most dangerous adventure of their lives, or they’ll be stuck in the game forever…

The film is directed by Jake Kasdan, screenplay by Chris McKenna & Erik Sommers and Jake Kasdan & Scott Rosenberg & Jeff Pinkner. Screen Story by Chris McKenna, based on the book by Chris Van Allsburg.

Jumanji: Welcome to the Jungle is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.

First 4 Entries of #MMFF2017 Revealed!

For the 2017 edition of the Metro Manila Film Festival, 8 entries will be competing – four original scripts, and four finished films. Earlier today, the first four entries, being those with original scripts were announced.

They are as follows:

Ang Panday


Directed by Rodel Nacianceno

Starring Coco Martin

Produced by CCM Creative Productions, Inc.

Almost is Not Enough


Jennylyn & Jericho in ‘Walang Forever’ (2015)

Directed by Dan Villegas

Starring Jennylyn Mercado, Jericho Rosales

Produced by Quantum & MJM Productions

The Revengers


Directed by Joyce A. Bernal

Starring Vice Ganda, Daniel Padilla, Pia Wurtzbach

Produced by Star Cinema & VIVA Films

Love Traps #FamilyGoals


Directed by Tony Y. Reyes

Starring Vic Sotto, Dawn Zulueta

Produced by OctoArts Films

Other entries will be posted once they arrive. You can catch these films at the 2017 Metro Manila Film Festival on December 25.


Movie Review: ‘Transformers: The Last Knight’ (2017)

Every time a new Transformers movie comes out, it’s just really hard to get a grasp of what’s going on in Hollywood. Michael Bay birthed this blockbuster monstrosity of a franchise years ago with a penchant for explosions and apparently, nothing else but that. At times, it’s interesting for our eyes to get a taste of cool visuals from it which, on a technical level are actually impressive. There’s no denying that. But what needs to be brought to this franchise for it to live on are fresh ideas that will help shape a new mold to get rid of years-old staleness. In every passing film, what we get is more of the same, only the latest entry always tries to outdo the last in terms of heightening the chaos. That’s what inevitably happens again in The Last Knight, the fifth installment and fourth sequel in this film series about talking robots and non-stop action.


This time, the plot is centered around the truth about human history which reveals that the Transformers have actually played a huge role all along, and all of those come in as early as the very opening scene per the series’ tradition to set up a convoluted narrative. Oddly enough, seeing it unravel all throughout the film feels meagerly exciting, and all that could be owed to its new screenwriting duo of Art Marcum and Matt Holloway, who, try to make the entire film watchable with their own powers. What then occurs is the watering down of Michael Bay-isms that has damaged those that have came before it. Racial humor, Bay’s (excessive) expression of love for the military and other Bay-isms still do make an undesired comeback, but thankfully, Marcum and Holloway make us feel as if they’re in control of it at some point.


But since all good things must come to an end, those bits of enjoyment that you’ll have are just momentary. It’s almost as if they told and taught Bay themselves how to make a proper Transformers film, only to see him just smashing everything that they’ve worked hard for. That’s perhaps the biggest flaw with this fifth entry – it’s that Bayhem is on the loose all the time, and that, Michael Bay pridefully continues to show that he only knows how to make bigger movies that are devoid of quality – at least for this film series. With the special effects and grandeur that he has to work with, he puts in too much enthusiasm that there’s nothing much left for us to savor. Characters are one-dimensional indeed, but again, as Art Marcum and Matt Holloway butt in during all that occurs, thankfully, a semblance of betterment comes in the way. As a surprise, the moments that we share with everyone are actually tolerable in comparison with what we had to put up with in prior entries.


A majority of head-scratching dialogue is taken out, and to take its place are lines that desperately try to erase the bad taste of those from Age of Extinction, which to remind you was totally abysmal and absurd. Overall, what you’d get from seeing The Last Knight is just the same with the others that you could basically predict what will happen since you can easily sense where it’s headed to. You could come up with a check-list of everything that it has in it, and in the end, all of those boxes are ticked. Some aspects could gain merit, but they aren’t too big or redeeming enough to cover up the biggest errors that it keeps on committing. Michael Bay undeniably knows how to do these films, and seeing him use that talent to create ginormous, successful productions is worth appreciating keeping in mind that, they give him credentials and that people expect and pay to see what he does best. But what’s bothersome and scary is that, trickery always comes with it, and to add insult to injury, he always gets away with it by use of deception.


To wrap it all up, Transformers: The Last Knight isn’t really as horrendous as Age of Extinction. In fact, it’s slightly better, and less dull. But still, you already know that it isn’t a good movie either to brand it as thrilling or interesting since what we get from it is still not what we needed. At least though, we see something from it that should be properly utilized in future installments – so yes, some hope may still be left for this series to cling onto. There are actually genuinely fun moments where the entertainment that it brings feels easy and enjoyable to digest, particularly during the climax, but that’s just about it. With a sixth film (inevitably) coming, it just may be the time to take Bay off the throne so someone could charge new energy into its rotten veins. If that happens, it should be that this entry’s screenwriters return since they feel quite eager to provide quality service to both fans of the Transformers and casual moviegoers alike to reinvigorate this film franchise.



Transformers: The Last Knight is now showing in Philippine cinemas from United International Pictures Philippines.



“Spider-Man” Comes Home to MCU in a Fun-Filled Action Adventure

Peter Parker strives to join the Avengers as the most popular character in comic book history takes his rightful place as part of the Marvel Cinematic Universe, in Columbia Pictures’ new action-adventure Spider-Man: Homecoming (in Philippine cinemas Thursday, July 6.)
Marvel’s crown jewel, Spider-Man made a cameo debut in the MCU in Captain America: Civil War last summer; the overwhelming positive reaction by both the critics and fans to the new vision for the character has whetted the appetite as now, Sony Pictures and Marvel Studios team for this new adventure.


Embraced all over the world, Spider-Man now comes home in a film with a fresh, fun tone and new take, produced by Marvel Studios, that brings the Peter Parker of the comic books to the screen alongside MCU heroes for the first time.

Thrilled by his experience with the Avengers, Peter Parker (Tom Holland) returns home, where he lives with his Aunt May (Marisa Tomei), under the watchful eye of his new mentor Tony Stark (Robert Downey Jr.). Peter tries to fall back into his normal daily routine – distracted by thoughts of proving himself to be more than just your friendly neighborhood Spider-Man – but when the Vulture (Michael Keaton) emerges as a new villain, everything that Peter holds most important will be threatened. His moment has arrived as he is challenged to become the hero he is meant to be.


For producer and Marvel Studios President Kevin Feige, bringing the character into the Marvel Cinematic Universe in an original way that film audiences have never seen before was a top priority. “Over the past 15 years, we have built the Marvel Cinematic Universe with so many characters and movies, and now we have the opportunity to introduce Peter Parker and the Spider-Man franchise into that universe for the first time,” says Feige. “It’s exciting because that’s how he truly was in the comics, from the very beginning – he didn’t enter the comics as the only hero; he entered a world in which Tony Stark, Captain America and the Avengers all were there. And now, for the first time, we get that in an entire film, which makes it fresh and new.”


Producer Amy Pascal speaks to the unprecedented collaboration. “This movie is a product of Sony and Marvel working closely together,” says Pascal. “It’s a Sony movie and a Marvel production. Everyone came together and decided if we can put Spider-Man back in the MCU, which he always was a part of in the comics, everybody wins – and the biggest winner is the fans, as they finally get to see what they’ve been waiting a long time to see.”


“Putting Spider-Man in the MCU is the best thing in the world for me as a storyteller,” says director Jon Watts, who takes the helm of Spider-Man: Homecoming. “Not only did they take care of the origin story and heavy lifting in Captain America: Civil War – which they did so economically and beautifully – we also didn’t have to spend any time explaining why this 16-year-old kid would come up with the idea of becoming a superhero. He’s grown up in the MCU; when Peter Parker was eight years old, he saw Tony Stark say ‘I am Iron Man’ on TV. So the idea of this being a world where superheroes exist means that we don’t have to spend any time addressing any of these issues. We just get right into the fun of it.”

Spider-Man: Homecoming is distributed in the Philippines by Columbia Pictures, local office of Sony Pictures Releasing International.

“Happy Death Day” Teaser Poster Makes a Deadly `Cut’

The first poster for the new suspense thriller Happy Death Day has just been unveiled by Universal Pictures and Blumhouse. The film is co-written and directed by Christopher Landon (Scouts’ Guide to the Zombie Apocalypse).

Check out the film’s teaser one-sheet art below and watch Happy Death Day in Philippine cinemas on Oct. 11, 2017.


Blumhouse (Split, Get Out, Whiplash) produces an original and inventive rewinding thriller in Happy Death Day, in which a college student (Jessica Rothe, La La Land) relives the day of her murder with both its unexceptional details and terrifying end until she discovers her killer’s identity.

The film also stars Israel Broussard, Ruby Modine, Rachel Matthews, and Charles Aitken.

Happy Death Day is distributed in the Philippines by United International Pictures through Columbia Pictures.

“Flatliners” Launches Poster with Intriguing Tagline

“You haven’t lived until you’ve died,” or so proclaims the intriguing tagline in the teaser poster of Columbia Pictures new suspense thriller Flatliners that’s just been released by the studio. The film stars Ellen Page, Nina Dobrev, Diego Luna and James Norton.

Check out the one-sheet art below and watch Flatliners soon in Philippine cinemas.


In the film, five medical students embark on a daring and dangerous experiment to gain insight into the mystery of what lies beyond the confines of life. The bold adventure begins when they trigger near-death experiences by stopping their hearts for short periods of time. As their trials become more perilous, each must confront the sins from their past while facing the paranormal consequences of journeying to the other side.

Flatliners is directed by Niels Arden Oplev, from a screenplay by Ben Ripley, story by Peter Filardi.

Flatliners is distributed by Columbia Pictures, local office of Sony Pictures Releasing International.

In the Midst of War is Hope and Joy “In This Corner of the World”

Based on the Award-winning Manga “Kono Sekai no Katasumi ni” by Fumiyo Kono. “In this Corner of the World” revolves around a young bride named Suzu Urano who moves to small port town Kure with her husband to start a new life. Not knowing that an impending war would change things indefinitely.


Adolescent Suzu shows life in Japan in the early days leading to the second world war. Her life is put into turmoil and chaos when her small town is bombed during the war but with her courage, perseverance and faith she tries to live her life normally. Her values were further tested when her husband left to join the army to protect the country.

The heartwarming and inspirational story shows how the Japanese people face the challenges of a violent and war-torn country, showing how citizens are victims of nations at war. The film being set in the 1940’s does not lose its hold towards the new generation. War is again imbued in other nations and what happened to her back in the past is again happening to people around the world.


The film is written and directed by Sunao Katabuchi “In this corner of the world.” has received critical acclaim, winning Best Japanese Movie of 2016, garnering a best director award for Katabuchi and the Japanese movie award of excellence at the 71st Mainichi Film Awards.

In this Corner of the World opens June 28 in cinemas from Rafaella Films.

The Bellas Go to `War’ in First “Pitch Perfect 3” Trailer

Universal Pictures has just released the first trailer for the musical comedy Pitch Perfect 3, the upcoming sequel that reunites the Barden Bellas post-graduation.

Watch the trailer at:



Now graduated from college and out in the real world where it takes more than a cappella to get by, the Bellas return in Pitch Perfect 3, the next chapter in the beloved series that has taken in more than $400 million at the global box office.


After the highs of winning the World Championships, the Bellas find themselves split apart and discovering there aren’t job prospects for making music with your mouth. But when they get the chance to reunite for an overseas USO tour, this group of awesome nerds will come together to make some music, and some questionable decisions, one last time.

Pitch Perfect 3 stars Anna Kendrick, Rebel Wilson, Hailee Steinfeld, Brittany Snow, Anna Camp, Alexis Knapp, Hana Mae Lee, Ester Dean, Chrissie Fit, Kelley Jakle, Shelley Regner, John Lithgow, John Michael Higgins, and Elizabeth Banks.

Opening in Philippine cinemas in 2018, Pitch Perfect 3 is distributed in the Philippines by United International Pictures through Columbia Pictures.

Movie Review: ‘Moonlight’ (2016)

Review by lou.

Moonlight is a resplendent cinematic wonder that is a feast for the eyes, yet a breathtaking torment for the spirit to endure so blissfully. There’s just something attached to every photograph that enables itself to allure so hypnotically that, you just can’t take your eyes off of it for the visuals expressing its lyrical structure satiate the senses from the artful sensitivity. Undoubtedly, Barry Jenkins’ sophisticated sheen gleams so brightly. The it’s sincerity that he exerts rustles in deep resonance.What he achieves here is something of an urban drama tongued with exquisite taste that headily touches on black culture, and the members of its society whose tales of splendorous struggles are kept in the dark. His genius exposes a soaring excellence wins the sympathies of audiences and critics alike – sheltering them in a world built only in authenticity, and nothing more than that. Looking at it in face value, still, there is never a pretentiousness that sticks out, nor is there a message conveyed that could be found artificial and conformed – only truth and truth alone is what filmmaker Barry Jenkins puts at the helm, and a most beautiful film that doesn’t come every once in a while is what you’ll get to encounter.


Drawing its picture with an opening scene that takes its context to a different area midway, through a moment that parallels and gives more meaning to everything else, it immediately alarms and disarms whatever we have within ourselves. Journeying through a life of pain in three acts containing affecting moods that it stimulates through its technical wonders as well as its quiet explosions – all of which shocks and sweeps us away to see how much we would break. His story submerges his travails in a manner that gets us feeling the rough texture of the world that he walks on, and emphatically makes known the pain that cripples his desires by a connection that binds him to our empathy. Racial constructs that shape the black culture and its society surround the life of Chiron, our main character, and they act very much like a monster with a torturous intent to chain him in confines that grounds him in a nightmare that he can’t put up with – or at least that is what it wants us to see.


Growth that culminates in a society so cruel and insensitive is seen to bloom so bleakly in him, and how we see and analyze the way his broken mind influences the way he acts, responds, and moves in a world that shapes his unwanted identity breaks our hearts right in front of us. Three actors depict Chiron at three different stages of his life, and all of them give off something that makes them distinctive from each other in terms of revealing manipulative facial expressions and silent, devastating gestures that when conjoined, builds a singular effort with a might that is simply too powerful and competent enough to deem as just mere performances as they navigate us to trace the roots of a life not well lived, basked in forcible conformity and ultimately doused in haunting anguish.



Each act leaves something to eternally treasure, and in the first of the three, we get introduced to its perfected crafts that open up his world through an exploration that reflects of reality, and by it, our perceptions are left with an effect later on by the wondrous narration of the themes that accentuates from one another – namely, the motifs of discovery, love, and identity. Love, a central matter is what dictates its main character’s course – be it of a mother’s, desired parents’ or a friend’s, it tells of it in such a way that is miraculously real, and unrelentingly powerful. The love of a friend is what veils the film’s outstanding second act, and what it is turns into a ruminating memory that is written all over with compassion inspired by experience. What follows next, in the third act, intensifies the aching, and wraps up the journey with a finale that gives a tender hug – wrapping up the voyage with a farewell that feels so classic; solidifying this trilogy of chapters of a man’s life that uncontrollably teems with grace and fidelity that basically makes the film as a whole, a landmark of modern American cinema that is of a singular persona.


Their division in three chapters make them out to look like raw footage, albeit with esthetics so dreamily magnetic that they show the beauty that hides underneath their agonies in a way that makes us feel what needs to be felt. If anything else, they are video recordings of one’s life taken out, and compiled into a film to speak out for what’s real, and convince us to heed what’s true – artistically declaring statements enveloping sorrows apparent in reality that it makes so recognizably identifiable; getting us to feel responsible for this heinous, unjust crime that humanity carelessly fires at itself which allows for the invisible to step forward out of the shadows. Music is also instructed to act as company for the visuals to harmonize with, and together, they bring out the immensity of the film’s depth that gives every detail a quality that seduces, and could very well be likened to a ballad of depressive misery sung with weeping passion and immeasurable splendor.


Purifying its heart in a pool of honesty, director Barry Jenkins brings the ghetto to the cinema with a light tinted in hues of blinding artistry that is rarely seen in the common envisioning of a struggle that is impossible to grapple with. Almost all of the grittiness that we usually see gets cleansed, and paves the way for its own sublimity with unrestrained elegance to trudge on instead of adhering to a brooding brutality to majestically embody what it symbolizes. The film purely consists of African-American actors that lifts it all up to a peak that manifests of its prime, and they, in particular, Mahershala Ali and Naomie Harris, are astonishing in their respective roles that magnificently contrast one another – realizing personal intimacies that rends apart and mends, and furthermore heaving the stellar nature that gusts through its cold, alarming screenplay.


What is brought to modern cinema with Moonlight is a genuinely 21st century, eye-opening, shattering sensation of depth – a provocatively written coming-of-age indie drama endearingly engendering a rawness too sincere, a behavior so expressive, and a universality so commanding that, one sitting is enough to take in all of its painstaking brilliance that vividly presents to us a story baring the unbearable evils and conflicts bore innately in culture and society depressingly affecting those living a life hidden in plain sight. Pridefully, it boasts a cast populated with actors/actresses of color, and for a film inclusive of them, debates whether it is deserving of any critical acclaim or not are inevitable to occur. To argue with conviction, taking it as an Oscar-bait type of picture is a mistake too grave to forgive, and a sinful one nonetheless as it solidifies where it stands firmly. It doesn’t oblige itself of claiming accolades, and only does what feels right to swing its point home, and hard with severe austerity – leaving a genuinely stinging wound that is hard to recover from, for the spiritual and conscious elation and unease gives emergence to a revolutionary and unparalleled art piece that will be just as relevant tomorrow as it is now.