Across the Universe is one big collaboration of very talented artists- filmmakers and actors, writers and musicians, dancers and other performing artists, painters, illustrators and other visual artists. And it shows.

A typical love story set in the 60s accompanied by a string of fine Beatles music is told in gorgeous music video-ish cinematography. While the story is the not the freshest off the wagon, the novelty of this beatlemaniac-al tale is so surprising, creative and impressive, it becomes too hard to say no to this charming creation.

9/10

Most of the time this dark prison comedy isn’t funny, and when it is, it’s usually so not original. We’ve heard what’s it like to be in prison. This film gets the vibe pretty much right, though there’s nothing too dark or gloomy for the purpose of general atmosphere of this supposedly laugh-inducing movie. Ugh, that was pretty long. But they poked fun at the tried and tested prison gags- toilet made wines, racist gangs, rambles and the obvious shower gags.

This film can bring at least some smiles in the first screening but it can’t be appreciated for its comedic genius on a second screening though. When everybody knows the drill, and everyone has measured the merits of the film as an artform at least, we are left with seemingly inappropriate and cliche dry humor. The type of crowd this movie’s target is probably ones who’d go for the Arrested Development type of humor. And it just failed miserably. It’s more Scary Movie or even Jerry Springer than Arrested Development. In fact, Let’s Go to Prison is everything A.D. isn’t- tiring, highly plot driven, predictable, just not excellent.

Still, it’s a good watch though, if you’re killing time, and are interested to know what to do to kill a promising premise and talent that can deliver with proper tools.

5.5/10

what a break! took me almost a year. and to be honest, i tried several times, but for a while i can't say anything about a particular film. it's either i like it or not but can't seem to point on any reason why i felt that way after seeing the film. so there. and i still can't by the way, but if not today, when? sorry pedro, it has to be this movie. haha. i thought it was the departed too as it deeply moved me to write about it afterwards. oh well, bad timing.

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This has to be one of the best Almodovar films ever and that means a lot because clearly, he's one of the more talented filmmakers from this era. Almodovar doesn't really have that much strange characters here- no queer princes, no pregnant nuns, no nymphomaniacs, not even an obsessed admirer which have been a staple in his character factory for a while now. Nothing extraordinary / weird happens- no accidental bukkakes, no convent rehabs, no mean clerics and deadly bullfighters. The story is pretty straightforward - a romance novel writer is hopelessly struggling to save her failed marriage and this consequently transformed her writing style into something much darker and more literary.

It's not an actual career problem if she isn't tied to the contract with her publishers who agreed to let her keep her anonymity. But that, and a plagiarism case, isn't actually much of an issue when her main concern is her military husband's seemingly non eagerness to save the sinking ship, or the burning house, or the endangered creature.

Without the wacky, the ingenious and the absurd, and only with minimal but appropriate music, we are left with the usually amusing script, the superb acting, the ever so colorful and gorgeous cinematography (it's actually a notch above the rest here). These all make the gloomy theme evident, and the film overall more effective.

And out of all of Mr. Almodovar's muses, he had chosen Marisa Paredes for the lead role. I don't think any other talented actress off his favorites could pin the miserable complexity of Leo and Amanda Gris. I don't speak their language, but with her voice alone I got it. Somebody this effective, in a very challenging role is already enough reason to love this film.

9.5/10

It would have been easier if Bomba Star is to be simply considered as one of the so many sexy flicks that flood the local film industry in the 70s and 80s. But that would dismiss a whole lot the elements that defined the film.

An aspiring star dreams big and her fairy godmother that turned out to be a rich closeted bisexual photographer sent her sexy pics to producers who are looking for a new actress to lead in yet another racy flick aptly titled Bomba Star. But there are some problems. The aspiring star's mother who was once an actress herself is strongly against the idea of her daughter facing the difficulties accompanying the pressure of celebrity. An aging silverscreen diva (who turns out to be the mother's then showbiz rival) would do anything to get the Bomba Star leading role because the material would give her career the boost she needs.

Sounds exciting? Wrong. Stripping the story down to the basics, it's merely the Cinderella story rural girl-to-(amost)porn star version. But the late Gosiengfiao, who was known for his unconventional wit and mastery of camp, knows how to turn such so-so plot to the extreme. Aside from the tacky dance number and the wild uh campy songs, Bomba Star comes with an outrageous rampage that ends the flick. He kills all the minor characters in a stampede on premiere night, including the cameo role of the late Inday Badiday.

To call Bomba Star weird would be an understatement. However, it is but one of the hidden gems of the pito-pito genre, the so-called proto-digital indie movement.

8/10

Joe Buck is a big dreamer. Instead of washing dishes in his small Texan town, he plans on conquering New York by banking on his cowboy charms and hustling in the streets, one rich horny lady at a time. Unfortunately for him, it's not as easy as it seems especially when he learns that not every carnal lady is willing to pay.

And then he met Ratso, a master trickster who took advantage of his naivete, sold him to a homosexual man, and opened up his eyes to the harsh realities of big city living, again and again.

That is basically everything there is in this then-controversial x-rated award winning film. In the beginning of the storytelling, everything seems very simple, much like Joe Buck's worldview. But as things progress, little by little the theme gets darker, the images become more powerful, the hero becomes more matured and the bonds of the paired outcasts become stronger. Joe is no longer the ever smiling cowboy with a portable radio and Ratso is finally permanently crippled by his persisting illness.

Midnight Cowboy is not only one of the better friendship stories ever told. It is highly artisitc, it is moving, it is discerning and significant.

9.5/10