Professional film critic, amateur semiotician, chronicler of Filipino Cinema.
Boy, it's fun to watch Pierce Brosnan be smugly confident. He perfectly embodies the film's thesis statement, every one of his actions displaying a condescension that is all at once impressive and infuriating. But I kept wanting this movie to push a little further, to maybe get truly unhinged. As clever as this movie often is, it feels like it stops short of going wild, of really embracing the possibilities of the genre and letting loose with its more outré elements.
The primaries don’t really meet until an hour into the movie. They bump into each other at the start, but they are at this location to be with other people. Fiona is celebrating her birthday with her aspiring filmmaker boyfriend. Raf is having dinner with his Type-A girlfriend. And on that night, their respective partners break up with them. These partings are depicted as murders, the emotional betrayal visualized as literal violence. Raf is stabbed in the restaurant, and Fiona…
This review may contain spoilers. I can handle the truth.
Update: Now in video form
There is a house on a hill, and there are people in it. And they're nice, but not really. There is a garden, and there they get a lot of sunlight. And it is nice, and they get to sleep there sometimes.
There is a house underground, and there are people in it. And they're the first to tell you that they're not very nice: they're con-men, grifters, forgers and imposters. They sit among stink…
Yeah, this is really cute. But also: it latches on to something profoundly human. This is a little cartoon about feeling inadequate, about the anxiety one feels when first striking out on one's own. And it's about how it's usually okay to ask for help. It can be difficult to ask for help sometimes, because that means showing people that you don't know how to do something. But hey, that's okay: we're all just fumbling around in one way or another.
Just lovely all around.