Eddington (Ari Aster, 2025)

'Who is that masked man?!'

I have yet to warm up to Ari Aster, a talented filmmaker who does inventively staged and shot twists on classic horror but has yet to deliver a cohesive feature. Hereditary his debut starts off with a fairly unique premise-- a mildly dysfunctional family where the horror arises not from supernatural evil or witches' covens but from a peanut allergy; later Aster drags in the evil and covens, in a weak-tea attempt to emulate Rosemary's Baby. Midsommar is Aster's stab at remaking The Wicker Man with twice the budget and half the subtle wit. Beau is Afraid is arguably his most original work-- or at least his work with the most wide-ranging influences such that it seems original, even autobiographical-- and perhaps the one feature I like best to date. 

Eddington feels like a step backwards. Aster starts off well-- he almost always starts off well-- introducing a small town and half a dozen of the interlinked characters of that town, mainly Sheriff Joe Cross (Joaquin Phoenix) and his boss Mayor Ted Garcia (Pedro Pascal) and as Phoenix usually plays characters who lean into their awkward grotesqueness and Pascal usually plays charismatic patriarch figures you can be sure these two alpha males will lock horns at the mayor's re-election campaign. 

Ran (Akira Kurosawa, 1985)

Burning down the house

Been years since I saw Akira Kurosawa's Ran (1985) and decades since I saw it projected (an unimpressive 16 mm print in an improvised theater). Watching the 2016 4K UHD restoration on the big screen forty years after its premiere is like watching a storm surge approach shore: you're confronted with an unstoppable wall stretching from end to end, and you're not sure whether to run (where to?) or fall on your knees in worship. 

And then you realize, after so many viewings, like a shock of saltwater to the face: damn, but this film is funny.

Fantastic Four: First Steps (Matt Shakman, 2025)

Take four

You wonder why Marvel's First Family (and first collaboration between writer Stan Lee and artist Jack Kirby) would have so much trouble transitioning to the big screen when predecessors (Captain America) and contemporaries (Iron Man; The Avengers) went on to cause a bigger splash; suspect it all stems from something folks behind those efforts remembered that folks behind this team's previous incarnations forgot: that it isn't the cosmic-ray powers that appeal to readers so much as the motivations they hold for fighting crime, supervillains, various forces of evil and injustice. Not the what, to paraphrase a key lesson taught in Michael Chabon's The Amazing Adventures of Kavalier & Clay, as the why.

Superman (James Gunn, 2025)

The man with the golden Gunn

A lot riding on James Gunn's latest movie: not just the reboot of DC Films (now called DC Studios, with James Gunn and producing partner Peter Safran as co-CEOs) but also a reboot of not just a DC comic book superhero but arguably the foundational superhero (not the first ever but damned close and arguably the most influential)-- in effect, the salvation of an entire movie genre, which lately has been in a box-office slump generating more bad publicity than Elon Musk on a ketamine binge. 

So did Gunn do it? I'd say you're asking the wrong question. 

The Phoenician Scheme (Wes Anderson, 2025)

Trump, Inked

Wes Anderson should really preface his pictures with a paraphrase of Tolstoy: All Wes Anderson movies are alike; the better Anderson movies are better in their own way. Anderson's work has stylized (some would say calcified) to the point where nonfans have thrown up their hands in despair, while more persistent viewers (fans, even) still flock to screenings, still attempt to suss out what's different in this installment and what Anderson seems up to at the moment.

So it goes with The Phoenician Scheme (2025) and surfacewise I'd argue it's easy to see the diff-- in The Grand Budapest Hotel the palette is decidedly based on different intensities of pink; in The Fantastic Mr. Fox it alternates between earthy brown and fur orange-- very autumnal colors; in Asteroid City it ranges from bright Granny Smith to deep lime; he dabbles in both live action and stop-motion, sometimes with extensive use of miniatures in the former; his tone will range from gratingly twee to deadpan black, and he usually turns a monomaniacal focus on well-off folk with an array of mostly self-inflicted issues.

Again the question, and of course a follow up folks might be interested in: is Anderson's latest different, and is it worth catching? Well let me tell you

Jurassic World: Rebirth (Gareth Edwards, 2025)

It's Alive VII: Island of the Alive

As if anything could actually kill the franchise-- comes Jurassic World: Rebirth, and this time it's all dressed up in basic retro: reuse, refurbish, reboot.

New characters, same strategy: bunch of people on island, well equipped well organized; things go pearshaped, and what used to be a mission (fact-finding, creature-hunting) is now an escape drama, the survivors doing best with what they got, mainly wits and guts ready to spill at moment's notice.

28 Years Later (Danny Boyle, 2025)

Dead on arrival

Charles Dickens got it right.

Some hundred and eighty years ago, he wrote a passage in Oliver Twist describing a haunting: 

He could trace its shadow in the gloom, supply the smallest item of the outline, and note how stiff and solemn it seemed to stalk along. He could hear its garments rustling in the leaves, and every breath of wind came laden with that last low cry. If he stopped it did the same. If he ran, it followed--not running too: that would have been a relief: but like a corpse endowed with the mere machinery of life, and borne on one slow melancholy wind that never rose or fell.

That sentence-- not running too: that would have been a relief-- is key. The undead are not in a hurry, they are never in a hurry; if they ever for once hurried that would break the tension. 

Materialists (Celine Song, 2025)

Surface tension

Celine Song's Materialists on the surface is about the business of matchmaking-- an industry on the rise with the difficulty of online dating and of life in general (New York in particular); prices are not mentioned but looking at the clothes the characters wear and the milieu they inhabit you can probably figure it's in the five to six figure range for an annual service.

So the movie looks good and the cast looks handsome and the conversation in the trailer sufficiently sparkled (not Billy Wilder league much less Ernst Lubitsch divine but bubbles popped)-- is the actual experience worth it?

Bona (Lino Brocka, 1980) 4K Restoration on the big screen

Close to you

This early shot in Bona (1980) I think says it all.

What's so remarkable about Nora Aunor's face here is just how unremarkable it looks in that sea of faces, standing in the brainfrying streets of Quiapo. The biggest star in all of Philippine cinema crammed in a crowd like sardines in a can, and she doesn't just look as if she doesn't stand out, she looks as if she belonged there, milling among the pious, the pickpockets, the prostitutes, all out in force on the Feast of the Black Nazarene. After all when you think about it: what's the point of appearing as the lead in a Filipino film if you don't look like a typical Filipino?

Mission Impossible 2 (John Woo, 2000), Rosetta (the Dardennes, 1999)

Midget Impossible

Movie begins with Cruise climbing an impossibly sheer cliff. He slips; he recovers; he hangs ten several thousand feet off the ground. This being a John Woo film, credibility is not a very big issue, but “cool” is--as it turns out, the entire elaborate rock-climbing sequence was staged just so Cruise can rendezvous with a pair of telecommunicating Ray-Bans, shot at him via rocket launcher from a hovering helicopter. The shades instruct Cruise on what he is to do for the next two hours…which, come to think of it, pretty much sums up how Cruise has handled his acting career to date.

Mission: Impossible - The Final Reckoning

Run, Ethan run!

Gotta hand it to Tom Cruise: he took a nifty little TV series about a group of low-key intelligence operatives that work together as a team to solve near-impossible problems and turned it into a gigantic one-man showcase where a star-producer reportedly risks his life again and again on bigger more elaborate stunt setpieces, in gargantuan productions that, y'know, celebrate the beauty of self-sacrifice and teamwork. 

Thunderbolts* (Jake Schreier, 2025)

The B-Team*

*(Not the real Avengers)

So about that asterisk in the title-- (skip this one paragraph if you haven't seen the picture!) turns out it's exactly what it signifies, a mark meant to refer to a footnote or omitted matter, in this case the movie's real name The New Avengers, suggesting several things: 1) this is about the level of humor we're getting here on out, more meta and complicated and not that much funnier, and 2) this movie and the characters in it are placeholders for when the real thing arrives. 

Which is both unfair and totally appropriate. Thunderbolts* takes the classic premise of misfits so misbegotten they can't possibly work together and somehow contrive that they not only do so but also win the day: think the original The Avengers (2012), or (off the top of my head) Stripes (1981), or before that and without superpowers (or even military hardware) The Bad News Bears (1976); think all the way back to one of the earliest misfit teams ever assembled for impossible missions, Akira Kurosawa's 1954 Seven Samurai, with Florence Pugh in the Kambei Shimada role of putative leader and David Harbour in the Kikuchiyo role of big-hearted comic relief. 

Tuhog (Larger Than Life, Jeffrey Jeturian, 2001)

Skewered

Jeffrey Jeturian and Armando Lao’s Tuhog (Larger Than Life, 2001) is, simply put, a film about screwing-- about a mother being screwed, about her daughter being screwed, about their life's story being screwed over on the way to the big screen by an unscrupulous pair of softcore filmmakers

Sinners (Ryan Coogler, 2025)

The Devil Blues

The first forty minutes of Ryan Coogler's Sinners may be one of the best films of 2025. The rest? Not so much. 

'Merika (Gil Portes, 1984)

Alienated

Gil Portes' 'Merika (1984) opens the same way any ordinary life will usually open--in the morning, in bed. But Mila (Nora Aunor) can't seem to get out of bed; she can't seem to bring herself to touch the icy floor with her feet, or brave the chill air beyond her room. She has to sit there, shivering, her comforter wrapped around her like protective coating.

Bulaklak sa City Jail (Flowers of the City Jail, Mario O'Hara, 1984) - restored version

The caged bird sings

(The film is available with English subtitles on the ABS CBN Star Cinema YouTube Channel, and on Apple TV)

If I remember right I saw Mario O'Hara's Bulaklak sa City Jail (Flowers of the City Jail) on its opening run back in 1984 and thrilled to the story of Angela Aguilar (Nora Aunor), a hapless woman jailed for 'frustrated murder.' Based on Lualhati Bautista's novel of the same name, sequences stayed in memory-- Angela's first night reception (where her cellmates practically raped her); the attempted escape through an old mansion's garden statuary; her pursuit by police through Manila Zoo. I remember the lurid red of the nightclub where Angela sings, the bleak glow of cellblock lights, the deep shadows of the zoo. 

And I remember how in screenings and various Betamax and VHS recordings since how those colors have faded, the image blurred, been accompanied by questionable translations (Caged Blossoms?), how watching the film in a special screening at the Hong Kong Film Festival felt like looking through a muddied window-- and this was the only surviving 35 mm print! 

Thanks then to ABS CBN's digital restoration for bringing those colors back-- the lurid reds, the bleak glow, the deep shadows.

Nora Aunor (1953 - 2025)

Philippine cinema's dark beauty

Nora Aunor is arguably Philippine cinema's greatest actress.

Black Bag (Steven Soderbergh, 2025)

Lies like us

Steven Soderbergh's Black Bag-- his second feature released in the first three months of 2025-- is arguably his best in years: a stylish, sexy thriller that of all things celebrates the bond of marriage, a relationship espionage writer John Le Carre might have once characterized as a significant weakness in an intelligence officer.

Pulp Fiction (Quentin Tarantino, 1994)

"Ulp!" fiction

Movie opens with Tim Roth sitting in a diner telling Amanda Plummer the story of a man who walked into a bank. Hands a cellphone to a bank teller; voice tells teller man's daughter is held hostage and will die unless teller gives up money. Roth and Plummer then exchange endearments, pull out guns to announce a stickup. Blackout: guitar on soundtrack while titles in bright red and yellow crawl up the screen.

Welcome to the world of Pulp Fiction, one of the more memorable American films of 1994. Five were nominated for Best Picture Oscars last year: Four Weddings and a Funeral (lightweight); The Shawshank Redemption (pretentious); Quiz Show (plodding); Forrest Gump (simpleminded). Of the five Pulp stands out for being Not Nice, an aggressive, in-your-face ride through the fairly tangled mind of one Quentin Tarantino.

Tatlong Ina, Isang Anak

Three godmothers

Saw Mario O'Hara's Tatlong Ina, Isang Anak (Three Mothers, One Child, 1987) starring Nora Aunor years ago in a bootleg but the video was muddy and you could barely see what's going on. Cinema One put up a reasonably clear copy on YouTube-- in a few days ABS CBN will be unveiling a digitally enhanced version on theater screens-- and judging from what can be seen at the YouTube it's one of the loveliest, moodiest, most stylishly shot and lit Filipino comedies I'd ever seen. 

Mickey 17 (Bong Joon-ho, 2025)

Hidden Mickey

Bong Joon-ho's latest film Mickey 17 is out and disappointing some folks-- in part because it isn't making the boxoffice they're hoping from the director of Parasite ($262 million worldwide from an $11 million budget), in part because it doesn't have the sharp edge of Parasite with its literal upstairs-downstairs allegory or bloody melancholic finale. Basically the complaint I'm hearing is that it isn't Parasite, which won a goldplated Oscar doorstop for Best Picture, and that he should just do more of the same only better for the rest of his career. 

And for the rest of us? Well lemme tell you... 

Stargate (Roland Emmerich, 1994)

Gatekeeping

Stargate is a whole mix of movies blendered and rendered into a soupy paste. You suck it through a straw, because the producers of the film believe you have no teeth to work with, just gums to massage the occasional tasty tidbit.

Cinema Regained: Noel Vera (Rotterdam Film Festival 2006)

In tribute to Gertjan Zuilhof (1955 - 2025) who made this program possible

Critic in Rotterdam

Some months ago, Gertjan Zuilhof of the Rotterdam Film Festival asked me right out of the blue to program films I'd written about in my book Critic After Dark. I originally had over ten choices, narrowed down to seven features and a collection of shorts, made a few compromises along the way but otherwise felt happy about what I'd been able to bring to festival audiences last January 2006.

The Royal Tenenbaums (Wes Anderson, 2001)

(In tribute to Gene Hackman, 1930 - 2025)

Kin dread

Wes Anderson’s The Royal Tenenbaums is richly layered as a wedding cake-- level after level of confectionery subtly sweetened and deftly whipped follow one after another, with baroque curlicues of icing ornamenting the edges. Not to everyone’s taste and I don’t quite like it as much as his previous Rushmore-- you felt as if you could actually have known the people in that movie. But for those who enjoy lightly sugared nonsense leavened with tart wit (as opposed to the thick syrup that passes for romantic comedy nowadays) and imagination, this is a feast.

Toy Story (John Lasseter, 1995)

Toying

Toy Story is a witty, precisely paced picture, a flawless entertainment. It has all your favorite toys packed in one movie. It has the voice of Tom Hanks and Tim Allen, two proven actors with a pair of Oscars and several hundred million in boxoffice between them. It has wall-to-wall, state-of-the-art, computer-graphic effects designed to pop your eyes out, if you’re not careful. It has the multimedia might of the Walt Disney conglomerate behind it, for heavy marketing muscle. It’s going to be the biggest hit of the year.

The Brutalist (Brady Corbet, 2024)

The fountainhead

Brady Corbet's The Brutalist is his three-and-a-half hour Vistavision biopic on a Hungarian-born Jewish architect who emigrates to the United States for a fresh start on life-- use the word 'biopic' loosely because Laszlo Toth is nominally based on Hungarian architect Marcel Breuer only Breuer wasn't a Holocaust survivor, didn't scrabble too hard for his living, and didn't fanatically insist on having every detail of his plans exactly carried out; Corbet needed spicier material to work on, hence the changes.

The film is about capitalism, anti-Semitism, racism (kind of), and the immigrant experience in America; it's big in almost every sense of the word, down to the expansive 70 mm frame-- an extraordinary achievement considering this was shot for a slim $9 million. 

Interview with the Vampire (Neil Jordan, 1994)

A Bloody Mess

(WARNING: Plot twists and story discussed in explicit detail)

When I saw Interview With The Vampire I was floored, I couldn't get the movie out of my mind. Said to myself: have to read the book. The very next day I hooked myself a copy and read it. I couldn't believe it, I was devastated; the book if anything was worse than the movie.

Apocalypto's racism

Race to the bottom

Cultural anthropologist Liz Grandia's article* lays out far better than I ever could the kind of heedless ignorance Gibson likes to brandish in his movies (the kind of ignorance that chooses Anne Catherine Emmerich's texts (if they really are her texts-- there's doubt) over the Bible for a movie on Christ, or portrays Jews as demonic money-grubbing backstabbers who let the Romans do their dirty work for them).

Best of 2024

Best I Can Come Up With For The Year List

Too much life going on, had an extremely limited viewing selection this year, a more mainstream list than I’d like. In ascending order, the best of what I saw:

Nosferatu 2024, 1979, 1922 (Robert Eggers, Werner Herzog, FW Murnau)

The blood drinkers

(WARNING: story and plot twists discussed in explicit and gory detail)

FW Murnau did a low-budget unauthorized adaptation of Bram Stoker's Dracula titled Nosferatu (1922) which Stoker's widow pursued with a vengeance, demanding all prints and negatives be destroyed (despite which the film went on to achieve unholy immortality); Werner Herzog did a remake in 1979 employing ten thousand rats and his own inimitable filmmaking style; now Robert Eggers-- who professes admiration for the Murnau-- has crafted his own version, shifting emphasis from vampire to victim in his 2024 remake. 

And how does Eggers' compare? Well let me tell you.

Twin Peaks Season 3, Episode 8: "Got a light?"

Ignition

(WARNING story discussed in explicit detail--though how comprehensible details may be is a matter of debate, with both discussion and debate an exercise in futility)

The episode's putative title-- "Got a light?" sounds odd on first reading (online you see it under the episode's thumbnail pic) gains significance later on. 

Starts off plottily enough: Evil Mr. C (Kyle MacLachlan) and less evil Ray (George Griffith) have blackmailed their way out of prison, shaken away any electronic tracers*, turned off into a small side road (how can Lynch fill interminable shots of cars nosing down dirt roads with such dread?). They confront each other, demanding money demanding information, with C pointing the 'friend' he pulled from the glove compartment (a special request planted there by the prison warden) at Ray.

Only C's gun somehow fails to fire. Only Ray in a clever twist produces his own gun shooting C twice in the gut. Only when C drops the lights start flickering and shadowy figures emerge from the woods, dancing around C's body, pulling apart his belly, smearing his own gore on his face, squeezing out an egg sac larva with BOB visibly floating inside (Ray: "I saw something in Cooper. It might be the key to what this is all about.").

High and Low (Akira Kurosawa, 1963)

Heaven and hell

Akira Kurosawa's High and Low (1963) may not be on the level of Seven Samurai but it is a great crime thriller, perhaps one of the greatest.

The Kingdom (Michael Tuviera, 2024)

Freedomland

Michael Tuviera's The Kingdom is that rarity in Filipino films, a high-concept production that in this case answers the question: what if the Spaniards never landed? What if the Philippines-- here renamed Kalayaan (Freedom)-- remained Malay in culture and tradition?

Green Bones (Zig Dulay, 2024)

Presumed innocent

Zig Dulay's Green Bones from a script by Ricky Lee and Angeli Guidaya-Atienza (story by Joseph Conrad Rubio, Kristian Julao, Angeli Guidaya-Atienza, and Ricky Lee) turns on the premise that a convict judged and sentenced isn't always guilty, and truth is always more complicated.  

Having more than passing familiarity with correctional facilities I'd say the answer is: it depends. When you talk to a convict they're always innocent, but when you read their files or talk to someone familiar with their case they're always guilty.

Uninvited (Dan Villegas, 2024)

Gatecrasher

Dan Villegas' Uninvited (2024) with a script by Dodo Dayao is unashamed to flaunt its pulp-fiction credentials, everything from Tarantino's Kill Bill to Ferrara's Ms. 45 to Toshiya Fujita's Lady Snowblood (from which Tarantino stole much of Kill Bill) to Truffaut's The Bride Wore Black-- the Woman Seeking Revenge flick is a suitably disreputable genre that merits revisiting time and time again, if only to allow a director to get his rocks off exercising his filmmaking chops. 

Isang Himala (A Miracle, Pepe Diokno, 2024)

It's a miracle

Let's get the million-peso question out of the way: from my limited perspective Isang Himala does not measure up to Ishmael Bernal's 1982 classic film, not quite, but does easily stand out as the best of the four films I saw at the 2024 Metro Manila Film Festival. 

"But how can this be?!" you ask. Well let me tell you.