WINNERS: QCinema Int’l Film Festival 2015

QCinema International Film Festival 2015 has announced its winners tonight during the awards ceremony held at the QC Interactive Museum.

The following are the winners of QCinema International Film Festival 2015:

Best Director: Mario Cornejo for Apocalypse Child

Best Screenplay: Lilit Reyes for Water Lemon

Best Artistic Achievement Award – Editing: Lawrence Ang for Apocalypse Child

Best Film (Circle Competition): Apocalypse Child

NETPAC Jury Best Film: Sleepless

NETPAC Best Documentary: Crescent Rising

Best Actor: Dominic Roco for Sleepless

Best Actress: Tessie Tomas – Water Lemon

Best Supporting Actress: Annicka Dolonius for Apocalypse Child

Best Supporting Actor: Lou Veloso for Water Lemon

Audience Choice Award: Patintero: Ang Alamat ni Meng Patalo

Gender Sensitivity Award: Patintero: Ang Alamat ni Meng Patalo

WATCH: New clips from ‘Scouts Guide to the Zombie Apocalypse’

As the Philippine opening of Paramount Pictures’s Scouts Guide to the Zombie Apocalypse looms, the studio has now released two new clips from the teen-oriented horror comedy for fans to enjoy.

Packed with blood-soaked gags and inappropriate humor, “Scouts Guide” is said to be equal parts gory horror and raunchy comedy, pulling no punches on both grounds.

Watch the clip titled “How to Build a Campfire” here:

The movie stars Tye Sheridan, David Koechner, Cloris Leachman, Halston Sage, Logan Miller, Joey Morgan and Sarah Dumont.

In “Scouts Guide to the Zombie Apocalypse”, three scouts and lifelong friends join forces with one badass cocktail waitress to become the world’s most unlikely team of heroes. When their peaceful town is ravaged by a zombie invasion, they’ll fight for the badge of a lifetime and put their scouting skills to the test to save mankind from the undead.

Opening across the Philippines on November 11, 2015, Scouts Guide to the Zombie Apocalypse is distributed by United International Pictures through Columbia Pictures.

‘American Ultra’ mashes up comedy with violence, romance

L.A. Weekly describes it as “A bloody valentine attached to a bomb. It’s violent, brash, inventive and horrific, and perhaps the most romantic film of the year.”

Boston Globe calls its stars Jesse Eisenberg and Kristen Stewart, “Tender, forgiving, and sexy, they’re the hottest couple on screen at the moment.”

They’re talking about Buena Vista International’s new dark comedy “American Ultra,” the trippy story of Mike (Eisenberg), a convenience store clerk and his girlfriend, Phoebe (Stewart) whose sleepy, small-town existence is disrupted when his past comes back to haunt him in the form of a government operation set to wipe him out.

“The script is funny and scary and violent and sweet,” producer Anthony Bregman says. “It makes you swing in so many directions emotionally, which makes for a great movie experience. [Screenwriter] Max Landis knows the action genre well, which allows him to make fun of it while living up to the conventions and expectations.”

A large part of the humor comes from the fact that the filmmakers never lose sight of the idea that reclaiming his hardcore combat skills doesn’t change who Mike is. “Mike is a bit of a dreamer and he never loses that quality,” says producer David Alpert. “It’s just that now people are trying to kill him. We always tried to maintain a connection to what it would really be like if the stoner guy in your town got these abilities.”

Director Nima Nourizadeh, whose first film “Project X” has established him as an innovative new talent in Hollywood, impressed the producers with his ideas for maximizing both the action and the humor in the script. “Nima is a startling visionary in terms of how he sees a scene,” says Landis. “He didn’t change the script much, but the things he added made it even better. He structured the rhythms and beats in a way that is genuinely funny and fun to watch.”
Nourizadeh brought a sharp sense of humor, as well as an authentic sense of danger and visual excitement to the script, according to Bregman. “He is better than anyone I can think of at establishing a really calm, stable atmosphere on screen that eventually explodes into a state of complete choreographed chaos. It’s really fun to watch that build and ignite.”

The writer and director first met in April 2013 to exchange ideas about future projects. Landis told Nourizadeh about “American Ultra,” a spec script no one outside of his team had read yet. “The script really exceeded my expectations,” says the director. “Max is an intriguing storyteller. He feeds you information a little bit at a time until you are suddenly somewhere unexpected and completely crazy. His writing is always entertaining, but what separates this from other action comedies I’d read was that he nailed down the relationships between the main characters. It was the perfect second project for me.”

Producers Bregman and Alpert agreed. “The combination of Max and Nima was irresistible,” Bregman says. “Max’s first feature script, `Chronicle,’ is a favorite of mine. It was made on a modest budget with really interesting visuals that made it seem much bigger than it was. Nima’s `Project X’ was, in my opinion, one of the best movies of the last few years. It’s another small film with a really big reach. Both were fun and entertaining and innovative, and at the same time dealt with big issues in a subtle way. It’s exactly the sort of movie I want to see.”

“Teaming Max and Nima up and then adding Jesse Eisenberg and Kristen Stewart to the mix feels like we’re looking at the next generation of great Hollywood filmmakers,” concludes Alpert.

American Ultra will be shown exclusively at Ayala Malls Cinemas nationwide starting October 28, 2015.

MOVIE REVIEW: Everyday I Love You (2015)

Everyday I Love You serves as the second time Liza Soberano and Enrique Gil are paired in a movie. ABS-CBN and Star Cinema very well know how to strike whilst the iron is hot but this one is just too soon given that its release is just a few months after two projects: their successful TV tandem in the evening teleserye Forevermore and their first movie Just the Way You Are.

In Mae Cruz-Alviar’s Everyday I Love You, not only is the grammar in the movie title taken for granted (a classic case of Every Day vs. Everyday–and let’s not forget about the missing comma), it seems that the entire movie has no regard to keeping things believable, let alone relatable. What it does best is to keep the audiences knowing what will happen next without giving the slightest chance for surprise or contemplation.

That just got to be your typical Star Cinema flick: pair up your best love team, throw in a superficial (and not to mention wholesome) plot, pepper it with supporting characters that are most of the time irrelevant, drench every scene with a love song that has a dedicated two-minute music video in the middle of the story, present a petty conflict, let the characters confront one another with loud voices and gallons of tears, and provide a happily-ever-after conclusion to an otherwise convenient love story.

And we have not even started with the flow of the story or how the story is superficial and immature! Or how it is barely possible for Gerald’s Tristan to speak clearly and that easily after having been comatose for more than six months and having undergone tracheostomy. Or how Liza’s Audrey is such a crybaby when she is supposed to be a strong girl. Or how Enrique’s Ethan is no different than his previous characters with his sticky stare and sugarcoated delivery of lines.

Aren’t we supposed to stop with make-believes that do not make sense?


‘The Good Dinosaur’ – A coming-of-age, “boy” and “dog” story

In a world where dinosaurs never became extinct and humans roam the wild, Disney-Pixar’s The Good Dinosaur features a simple, relatable story in which an Apatosaurus named Arlo makes an unlikely human friend.

“It’s the story of a boy and his dog—only in our story, the boy is a dinosaur and the dog is a boy,” says director Peter Sohn.

“It’s also a coming-of-age story,” adds Sohn. “Arlo is afraid everything. But his father, Poppa, is always there for him, encouraging Arlo to step out of his comfort zone, to confront his fears, to make his mark.”

“Arlo is young and vulnerable,” says character art director Matt Nolte. “He’s so unsure of himself and we wanted to capture that in his look. He’s smaller and thinner than his siblings.”

“Poppa is powerful and capable,” adds Nolte. “He has perfect posture and he walks in a straight line—he knows where he’s going—whereas Arlo actually zigzags.”

His siblings, sister Libby and brother Buck, are bigger than Arlo from the very beginning. Work and chores around the farm seem to come easily to them, which only shines a brighter light on Arlo’s inabilities. Arlo desperately wants to impress his family, but finds himself falling short time after time.

“Poppa gives Arlo a job—a mission to earn his mark,” says Sohn. “Arlo is tasked with catching a critter, a pest who’s eating the food they’ve stored for the winter. At last, Arlo has a chance to prove his worth. But in the end, he can’t do it. He can’t kill this creature he’s captured, and he sets it free, much to his father’s disappointment.”
Poppa’s subsequent tough-love lesson turns tragic, and Arlo has trouble coping. “He blames the critter for everything,” says Sohn.

Arlo‘s anger ultimately results in a major misstep that leaves him lost and far from home. His chances for survival are dubious until an unexpected ally shows up and lends a hand. The critter, later dubbed Spot, doesn’t venture far from Arlo—despite the dinosaur’s angry feelings about him. “Spot is really the opposite of Arlo,” says story supervisor Kelsey Mann. “He’s incredibly brave, tenacious and resourceful. He’s been out in the wilderness his entire life. So Arlo is forced to lean on Spot for support.”

The unlikely friends embark on an eventful journey through stunning but often unforgiving environments in an effort to get Arlo home. Along the way, they encounter an array of intriguing characters, including a family of T-Rexes. According to Mann, they’re the dinosaur version of cowboys. “They’re ranchers—quiet, intimidating, tough and massive. They play a big role in opening Arlo’s eyes to his fear.”

The T-Rexes were largely inspired by a family in the Pacific Northwest that some of the production team met. Filmmakers were captivated by their way of life after a research trip to their ranch, where they took part in moving cattle on horseback. Says Sohn, “It wasn’t even a about the cattle—though it was thrilling to see hundreds of them eyeballing us. But the way the members of this big family love each other and teach each other made such an impact.”

Opening across the Philippines on November 25, 2015, The Good Dinosaur is distributed by Walt Disney Studios Motion Pictures International through Columbia Pictures. Follow the official social media accounts of Disney in the Philippines, namely, (FB) WaltDisneyStudiosPH, (Twitter) @disneystudiosph and (Instagram) @waltdisneystudiosph and use the hashtag #GoodDinoPH.