DEATH OF TRADITIONAL CINEMA

Vilma Santos in her long and illustrious career in cinema has her playing a stripper (BURLESK QUEEN), a dying woman (DAHIL MAHAL KITA, PAHIRAM NG ISANG UMAGA), the other woman (RELASYON), a superhero (DARNA), a freedom fighter (SISTER STELLA L), countless mothers (ANAK, BATA BATA PAANO KA GINAWA, DEKADA '70, IN MY LIFE) and sometimes even a tormentor (SINASAMBA KITA) yet what EKSTRA, her new indie film offers is something we have never seen Vilma do- underacting. The role demands it, and Vilma more than handsomely gives her finest performance as a bit player. The screenplay, penned by Jeffrey Jeturian (TUHOG, KUBRADOR), Antoinette Jadaone (SIX DEGREES OF SEPARATION FROM LILIA CUNTAPAY), and Zig Dulay (HULING HALIK) is peppered with countless dashes of humor, that even non-workers in the entertainment industry will find funny. For those who work or have worked in the entertainment industry/similar media, the laughs will be relentless. The one-liners and the sarcasm explode

We love Johnny Depp in almost all the films he's in, and Armie Hammer shows us he's an actor of a serious caliber via J. EDGAR, THE SOCIAL NETWORK, and this movie. So it is hard to hate a movie which is escapist enough and yet lands sour with the critics.  For those of us young enough not to have been familiar with the TV series, we'd have to rely on the quality of the story of Disney's big budget reboot, and Depp and Hammer's chemistry as partners.  As the Comanche Tonto, Johnny Depp fashions his signature quirkiness and oddity to add flavor to his otherwise mute character- and the role is really tailor fitted for Depp. Meanwhile, Hammer gives his best as THE LONE RANGER, and it is amusing to see his character struggle to be self-righteous amidst unfair circumstances.  Helena Bonham Carter, whose presence in a Johnny Depp movie is always welcome adds color as Red Harrington, a brothel madam who helps the duo ward claim justice.  She never has to ex

Jesse and Celine are characters that have become dear to us throughout the years, up to the point that we know them so intimately as if they are our personal friends, and we welcome them with open arms to a sumptuous lunch (or dinner) after nine long years of absence.   This is the effect of BEFORE MIDNIGHT, Richard Linklater's conclusion (or is it?) to his romantic trilogy that captivated audiences worldwide, and redefined the romantic genre forever. As the film opens, we see Jesse bading goodbye to his son (from a previous marriage) at the airport, and afterwards, he drives to the sprawling Greek countryside with Celine in the passenger seat, and two beautiful young girls sleeping in the back (whom we learn are Jesse and Celine's twins). A lengthy conversation ensues during the drive, that somewhat culminates in Celine saying "this is how relationships end," foreshadowing later events in the film. They attend a sumptuous dinner hosted by their artist fr