Ranking All 10 Entries of the 50th MMFF

CEBU, Philippines — The ten entries of the 50th Metro Manila Film Festival (MMFF) remind moviegoers that cinema is not just about entertainment, it’s about telling stories that reflect the pressing issues of our times -- a fitting takeaway from the festival’s golden anniversary.

From the struggles of a soldier grappling with PTSD, an OFW discovering her family’s misuse of her hard-earned remittances, and the tensions between two families over their patriarch, to the bold reimagination of a Philippines untouched by colonization, these films serve as cultural time capsules that capture the essence of what the Philippines was thinking in 2024.

While all these entries have cinematic value and strong relevance, some stand out more than others based on the execution of their concepts. Here’s our ranking of all ten MMFF films from least to best:

10. Topakk

PTSD is a central theme in “Topakk”, as Arjo Atayde’s character, a former soldier confronting his trauma, helps Julia Montes flee a brutal drug cartel. Unfortunately, the thinly written script squanders the potential to make its characters engaging on the big screen.

The ensemble cast, led by Atayde, Montes, and Sid Lucero, shows clear dedication to their meticulously executed action choreography. However, this effort is undermined by distant camerawork that fails to engage with the intensity of the gritty action.

While “Topakk” is a welcome revival of the Philippine action genre, its lack of engaging characters and questionably shot action scenes leaves it as a missed opportunity of what could’ve been a compelling story of mental health in an action backdrop. Two stars out of five.

9. Hold Me Close

Processing trauma and learning that avoiding pain does more harm than good is what makes the chemistry between Julia Barretto and Carlo Aquino shine in “Hold Me Close”, an odd yet intriguing tale of larger-than-life Filipinos in Japan.

The unusual plot, which has Barretto’s character Lynlyn able to feel if someone can bring them joy or harm by touch, may alienate some viewers, and a lack of precise explanation of why the leads are in Japan leaves questions unanswered.

But the film’s thoughtful exploration of its themes makes it worth the watch for patient viewers who want something lighthearted. Three stars out of five.

8. Espantaho

Two feuding families, bound by the legacy of a late patriarch with a looming supernatural entity on the loose, form the core of “Espantaho”, which would have fared better as a family drama with paranormal elements rather than a straight-up horror.

While the scares fall flat, the compelling performances of Judy Ann Santos, Lorna Tolentino, and Chanda Romero stand out, as do the themes of family conflict and land disputes, making this a quintessential MMFF entry. Just don’t expect to be spooked as its jump scares barely make an impact. Three and a half stars out of five.

7. My Future You

“My Future You” surprises with its substance, weaving real-life tragedies like a 1990s boat-sinking accident and Typhoon Ondoy into its narrative. These events shape the characters played by Francine Diaz and Seth Fedelin, who portray star-crossed lovers separated by a 15-year time gap as they learn that these events happen for a reason.

The infectious chemistry of FranSeth makes this a strong film debut for the love team, enhancing the story's charm and quirks. However, the significant age gap between the characters risks venturing into uncomfortable territory. Despite this, the film’s heartfelt moments make it an endearing watch. Three and a half stars out of five.

6. Strange Frequencies: Taiwan Killer Hospital

The found footage genre may feel oversaturated, but “Strange Frequencies: Taiwan Killier Hospital” revitalizes its appeal, in ways that “The Blair Witch Project” once showcased by delivering a genuinely chilling experience.

With realistic performances from Jane De Leon, Alexa Miro, and Enrique Gil, the film is elevated by its timely critique of the dangers of “clout-chasing” for social media engagement. This underrated MMFF gem effectively combines horror with sharp social commentary, leaving viewers on edge in Black Mirror-like fashion. Three and a half stars out of five.

5. Isang Himala

“Isang Himala” could have benefited from a tighter pace in its second act, but its character-driven journey of a regular woman-turned-messianic figure in a poor town captivates with operatic musical numbers that expose the emotional truths of each character.

Featuring live-recorded performances by an ensemble cast led by Aicelle Santos, the film modernizes the timeless 1982 classic starring Nora Aunor that powerfully reminds viewers that miracles come from within us, and that blind faith and cult-like deviation have consequences. Three and a half stars out of five.

4. Uninvited

Drawing inspiration from a 1990s rape-torture-murder case of two college students where a former mayor was found guilty as the mastermind, “Uninvited” offers a scathing critique of the unchecked power of the elite and their crimes.

Out of the star-studded cast, which doubles down the film’s opulent appeal, three performances shine the brightest: Aga Muhlach delivers a chilling turn as the evil billionaire Gilly; Vilma Santos offers a humanistic portrayal of Eva, a grieving mother consumed by revenge; and Gabby Padilla adds emotional depth as her late daughter, whose tragic fate anchors the narrative.

While the film could’ve developed its concept further, “Uninvited” still delivers a satisfying revenge narrative of a mother taking justice into her own hands Four stars out of five.

3. The Kingdom

“The Kingdom” delivers on its ambitious premise, imagining an alternate Philippines called Kalayaan which was never colonized.

Vic Sotto stars as the nation’s monarch, Lakan Makisig, alongside his children Dayang Matimyas (Christine Reyes), Dayang Lualhati (Sue Ramirez), and Magat Bagwis (Sid Lucero) — all vying as potential heirs to the throne.

Far from a utopia, Kalayaan mirrors the real-life Philippines’ struggles with poverty and corruption. These societal issues are explored through the lens of Piolo Pascual’s character, Sulo, whose perspective challenges Lualhati to broaden her worldview.

With detailed world-building and insightful execution of its political landscape, “The Kingdom” captivates as an epic that has the potential to expand as a franchise. Four stars out of five.

2. And the Breadwinner Is…

“And the Breadwinner Is…” is Vice Ganda’s most grounded and mature work to date. While it retains the comedian’s signature comedic flair from past films, it also leans heavily into heartfelt drama reminiscent of 2016’s “Die Beautiful”, also helmed by Jun Lana.

Vice portrays Bambi with empathy and care, creating a character that resonates as a breadwinner often taken for granted by family. The script skillfully portrays the family’s flaws without fully demonizing them, presenting a realistic dynamic of a Filipino family.

It’s refreshing to see Vice's acting range which is amplified by Lana’s character-driven direction. Most characters feel authentic, and their situations are relatable, reflecting challenges many viewers might face in real life.

“Breadwinner” shows potential for future collaborations between Vice and Lana, echoing Vice’s earlier projects with the late Wenn V. Deramas. Four stars out of five.

1. Green Bones

“Green Bones” challenges viewers to move beyond preconceived notions and see the humanity in others through its poignant story of a prisoner and a guard.

Dennis Trillo and Ruru Madrid deliver award-winning performances as Domingo and Xavier respectively, bringing depth and emotional nuance to their roles that enriches the narrative.

This film feels particularly relevant in today’s social climate, where people are often quick to judge without considering the backstories that shape who they are today.

Under Zig Dulay’s empathetic direction and with a heartfelt script by Ricky Lee and Anj Antienza, “Green Bones” deservedly won Best Picture at the MMFF Gabi ng Parangal. It may well set a standard for future Filipino dramas on how to capture audiences with a compelling, meaningful story. Four stars out of five. — (FREEMAN)