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atienzageoffrey-123 · 2 years

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Ang Eraserheads ay isa sa mga tanyag na Pinoy alternative rock na banda sa Pilipinas noong kasikatan ng alternative rock noong unang bahagi ng dekada 1990. Tinuturing ang Eraserheads bilang ang banda na nagbukas ng pintuan upang magtagumpay ang ibang bandang Pilipino katulad ng Rivermaya, Parokya ni Edgar, at Yano. Tinatawag sila kadalasan ng kanilang mga tagahanga bilang "E-heads."Naglabas din ang banda ng ilang awitin ("singles"), album at EP na umabot sa numero uno. Mas hayag ito sa paglabas ng ikatlo nilang istudyo album, ang Cutterpillow, na umabot sa estadong platinum ng makailang ulit. Ang Eraserheads ang isa sa pinakamatagumpay na musikero sa kasaysayan ng Pilipinas na nagbunsod sa kanila sa pandaigdigang entablado. Dahil dito, iginawad sa kanila ang Taong Buwan (Moon Man) sa MTV Video Music Awards.Matagumpay ang pagbenta ng kanilang unang album sa isang pangunahing record label, ang Ultraelectromagneticpop, inilabas noong 1993 ng BMG Records. Inihatid ng album na ito ang underground "college rock" scene sa pampublikong kamalayan.Hinggil sa malaking impluwensiya at ambag nila sa musikang Pilipino ngayon, kadalasang tinatawag silang "The Beatles ng Pilipinas."Noong 1997, nanalo sila sa 1997 MTV Video Music Awards sa Lungsod ng New York, Estados Unidos at nagkamit ang awiting "Ang Huling El Bimbo" ng parangal bilang Asian Viewer's Choice Award noong nakaraang taon.

Ang Parokya ni Edgar ay isang banda mula sa Pilipinas na nabuo noong 1993 ng isang grupo ng mag-aaral na galing sa Mataas na Paaralang Ateneo de Manila. Nakilala ang banda kanilang mga orihinal na musikang rock novelty at kadalasang paglalapat ng kanta na hinango sa sikat na mga kanta.Ang banda ay kilala at ginugunita para sa kanilang orihinal na bato bagong bagay o karanasan awit at madalas mga katawa-tawang mga pabalat ng album. Ang banda ay gumagamit ng iba't ibang estilo mula sa isang kanta sa ibang - alternative rock sa pop rock, kalungkutan sa rapcore, at iba pa - habang nagbibigay ng katawa-tawa kaluwagan sa kanilang mga tagapakinig. Sa kabila ng pagkakaroon ng "Edgar" sa pangalan ng band, wala ng mga miyembro pumunta sa pamamagitan ng ito.

Ang Rivermaya ay isang maimpluwensiyang bandang Pinoy alternative rock na nabuo noong 1993. Ito ay binubuo ni Mark Escueta, Mike Elgar, Japs Sergio, Jayson Fernandez, Ryan Peralta, at Norby David. Ang kanilang musika ay nagbago mula ordinaryong rock, hard rock, pop, progressive at iba pa. Sila ang ikalabing tatlong pinakamabentang musiko sa Pilipinas.Ang mga unang myembro ay binuo nina Jesse Gonzales bilang mang-aawit, Kenneth Ilagan sa gitara, Nathan Azarcon sa bass na gitara, Rome Velayo sa tambol, at Rico Blanco sa keyboards at ikalawang mang-aawit. Si Lizza Nakpil ang kanilang tagapamahala at si Chito Rono ang director na gusto silang gawin isang rock show band. Xaga ang tawag sa kanilang banda noon.Sa proseso ng lubos na pag-eensayo, si Ilagan ay napalitan ni Perfecto “Perf” de Castro, kababata ni Azarcon; si Mark Escueta naman aypumalit kay Velayo; at si Francisco “Bamboo” Manalac ay pumalit kay Gonzales. Nung si Bamboo na ang pangunahing bokalista ng banda,napagdesisyunan ng mga myembro na palitan ang Xaga at gawing Rivermaya ang opisyal na pangalan ng banda. Sinimulan nila ang paggawa ng orihinal na kanta tulad ng “Ulan”, “214”, at “Awit ng Kabataan” (karamihan ay sinulat ni Rico Blanco) upang makahatak ng atensiyon sa mga recording companies.

Nabuo noong 2001, sinimulan ng Silent Sanctuary ang kanilang rebolusyon upang pahupain ang sakit ng mga binigo at sinugatang puso. Sa pamumuno nina Norman Dellosa (bokalista, gitarista), Paolo Legaspi (baho, bokalista), at Allen Calixto (tambol), pinasikat ng banda ang iba’t ibang hugot love songs na kinahumalingan ng masa. Isa sa mga pumukaw ng atensyon ng mga OPM enthusiasts ang masayang tunog ng Summer Song mula sa album na Monodramatic noong 2007. Makikitaan ng bahid ng kasaysayan ang kanta sa mga aspeto nito ng tunog, istorya ng kanta, at sa paggamit o porma ng akda.Maiba sa natural na tunog ng Silent Sanctuary, mararamdaman sa Summer Song ang mas magaang emosyonal na pasanin, na ipinarinig nang mabilis at maligayang musika. Kung ikukumpara sa mga naunang awitin ng Silent Sanctuary, binigyang tugon ng naturang kanta ang pagbabago sa mga usong musika. Kung ating mamasapatin ang OPM sa mga huling buwan ng dekada 1970 hanggang maagang dekada 2000, maririnig sa mga awitin ng mga bandang tulad ng Apo Hiking Society, at mga mang-aawit tulad nina Rey Valera at Ogie Alcasid ang malumanay na pagpapahayag ng kanilang mga emosyon.

Ang Kamikazee ay isang banda mang-aawit Filipino rock na nabuo noong 2000. Ang banda ay binubuo ng Jay Contreras (vocals), Jomal kiya ' ab at Humantong Tuyay sa (Lead at Rhythm Guitar), Puto Astete (Bass) at Bords ang bayan ng burdeos (Drums).Mga tagahanga at kritiko ay inilarawan ang mga banda ng musika bilang isang halo ng mga pop-punk at matapang na bato. Sa agosto 2015, ang banda ay pansamantalang reunited pagkatapos ng isang maikling pahinga inihayag mas maaga sa enero 2015 at sa 2016 ang band opisyal na ipinasok sa isang walang taning na pahinga. Sila-play sa kanilang farewell concert sa disyembre 10 2015 sa Smart Araneta Coliseum.Ang banda ay binubuo nina Jay Contreras, Led Tuyay, Jomal Linao, Puto Astete at Bords Burdeos. Sumikat ang grupo sa kanilang mga awiting “Narda”, “Chiksilog”, “Martyr Nyebera” at “Huling Sayaw".Noong 2002, inilabas ng banda ang kanilang unang album na “Kamikazee”. Noong 2005, inilabas nila ang awiting “Chiksilog” na bahagi ng compilation album na “Rok On!”. Noong 2006, inilabas nila ang kanilang ikalawang album, ang “Maharot”, kung saan kabilang ang awitin na “Narda”. Sumikat ng husto ang banda dahil sa awiting ito at ginamit rin bilang soundtrack ng teleseryeng “Darna” sa GMA 7.

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bewooo · 2 years

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Rivermaya

Ang Rivermaya ay isang maimpluwensiyang bandang Pinoy alternative rock na nabuo noong 1993. Ito ay binubuo ni Mark Escueta, Mike Elgar, Japs Sergio, Jayson Fernandez, Ryan Peralta, at Norby David. Ang kanilang musika ay nagbago mula ordinaryong rock, hard rock, pop, progressive at iba pa. Sila ang ikalabing tatlong pinakamabentang musiko sa Pilipinas.Ang mga unang myembro ay binuo nina Jesse Gonzales bilang mang-aawit, Kenneth Ilagan sa gitara, Nathan Azarcon sa bass na gitara, Rome Velayo sa tambol, at Rico Blanco sa keyboards at ikalawang mang-aawit. Si Lizza Nakpil ang kanilang tagapamahala at si Chito Rono ang director na gusto silang gawin isang rock show band. Xaga ang tawag sa kanilang banda noon. Sa proseso ng lubos na pag-eensayo, si Ilagan ay napalitan ni Perfecto “Perf” de Castro, kababata ni Azarcon; si Mark Escueta naman ay pumalit kay Velayo; at si Francisco “Bamboo” Manalac ay pumalit kay Gonzales. Nung si Bamboo na ang pangunahing bokalista ng banda, napagdesisyunan ng mga myembro na palitan ang Xaga at gawing Rivermaya ang opisyal na pangalan ng banda. Sinimulan nila ang paggawa ng orihinal na kanta tulad ng “Ulan”, “214”, at “Awit ng Kabataan” (karamihan ay sinulat ni Rico Blanco) upang makahatak ng atensiyon sa mga recording companies.

#OPM

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danayadiane · 2 years

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RiverMaya

Ang Rivermaya ay isang maimpluwensiyang bandang Pinoy alternative rock na nabuo noong 1993. Ito ay binubuo ni Mark Escueta, Mike Elgar, Japs Sergio, Jayson Fernandez, Ryan Peralta, at Norby David. Ang kanilang musika ay nagbago mula ordinaryong rock, hard rock, pop, progressive at iba pa. Sila ang ikalabing tatlong pinakamabentang musiko sa Pilipinas.Ang mga unang myembro ay binuo nina Jesse Gonzales bilang mang-aawit, Kenneth Ilagan sa gitara, Nathan Azarcon sa bass na gitara, Rome Velayo sa tambol, at Rico Blanco sa keyboards at ikalawang mang-aawit. Si Lizza Nakpil ang kanilang tagapamahala at si Chito Rono ang director na gusto silang gawin isang rock show band. Xaga ang tawag sa kanilang banda noon. Ang kanilang album, na pinangalanang “You’ll Be Safe Here” ay pinamahagi sa mga bansang Singapore, Thailand, Malaysia at Indonesia. Ang Rivermaya ay nagkaroon ng sunud-sunod na Asian tours, kasama na ang Thailand’s Pattaya Music Fest (2008, 2009), Singapore’s Mosaic Festival, Bangkok’s Fat Fest, at Indonesia’s MTV Stayng Alive show. Sa Pilipinas, ang The Rivermaya Greatest Hits 2006 album sa Viva Records ay nasundan ng isang pang album na inaalay nila para sa mga bayani ng musikang Pilipino na pinamagatang Isang Ugat, Isang Dugo.

Mga kanta

You’ll Be Safe Here

Rivermaya (1994)

Trip (1996)

Atomic Bomb (1997)

It's Not Easy Being Green (1999)

Free (2000)

Tuloy ang Ligaya (2001)

Between the Stars and Waves (2003)

Isang Ugat, Isang Dugo (2006)

Buhay (2008)

Closest Thing to Heaven (2009)

#OPM

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ayanailgn · 2 years

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5 OPM band:

1. Eraserheads

- Ito ay nabuo noong 1989. Ang membro ay binubuo nina Ely Buendia (lead vocal), Buddy Zabala (bass guitar), Marcus Adoro (lead guitar), Raimund Marasigan (drums and percussion). Ang Eraserhead ay isa sa mga pinaka successful na banda sa bansa. Sila ay tinatawag minsan na "The Beatles of the Philippines." Sila ay naging sikat dahil sa mga kantang naikanta nila na "Ang Huling el Bimbo," "With a Smile," and "Spoliarium." Albums: Ultraelectromagneticpop (1993), Circus (1994), Cutterpillow (1995), Fruitcake (1996), Sticker Happy (1997), Natin99 (1999), Carbon Stereoxide (2001).Ang Eraserheads ay isa sa mga tanyag na Pinoy alternative rock na banda sa Pilipinas noong kasikatan ng alternative rock noong unang bahagi ng dekada 1990. Tinuturing ang Eraserheads bilang ang banda na nagbukas ng pintuan upang magtagumpay ang ibang bandang Pilipino katulad ng Rivermaya, Parokya ni Edgar, at Yano. Tinatawag sila kadalasan ng kanilang mga tagahanga bilang "E-heads."Naglabas din ang banda ng ilang awitin ("singles"), album at EP na umabot sa numero uno. Mas hayag ito sa paglabas ng ikatlo nilang istudyo album, ang Cutterpillow, na umabot sa estadong platinum ng makailang ulit. Ang Eraserheads ang isa sa pinakamatagumpay na musikero sa kasaysayan ng Pilipinas na nagbunsod sa kanila sa pandaigdigang entablado. Dahil dito, iginawad sa kanila ang Taong Buwan (Moon Man) sa MTV Video Music Awards. Noong 1997, nanalo sila sa 1997 MTV Video Music Awards sa Lungsod ng New York, Estados Unidos at nagkamit ang awiting "Ang Huling El Bimbo" ng parangal bilang Asian Viewer's Choice Award noong nakaraang taon. Ang Genres nila ay Alternative Rock, Pop, Experimental, Original Pinoy Music (OPM).

2. Parokya ni Edgar

-Ang Parokya ni Edgar[1] ay isang banda mula sa Pilipinas na nabuo noong 1993 ng isang grupo ng mag-aaral na galing sa Mataas na Paaralang Ateneo de Manila. Nakilala ang banda kanilang mga orihinal na musikang rock novelty at kadalasang paglalapat ng kanta na hinango sa sikat na mga kanta. Ang banda ay kilala at ginugunita para sa kanilang orihinal na bato bagong bagay o karanasan awit at madalas mga katawa-tawang mga pabalat ng album. Ang banda ay gumagamit ng iba't ibang estilo mula sa isang kanta sa ibang - alternative rock sa pop rock, kalungkutan sa rapcore, at iba pa - habang nagbibigay ng katawa-tawa kaluwagan sa kanilang mga tagapakinig. Sa kabila ng pagkakaroon ng "Edgar" sa pangalan ng band, wala ng mga miyembro pumunta sa pamamagitan ng ito. Sila ay nakilala dahil sa kanilang original pop, rock, at novelty songs.

Ang miyembro ay binubuo nina

Alfonso "Chito" Miranda, Jr (humantong vocals)

Francis Vincent "Vinci" Montaner (backup vocals]] / monologo / nakakatawa kaluwagan)

Buhawi "Buwi" Meneses (bass gitara)

Darius Gerard "Dar" Semaña (humantong gitara)

Gabriel Ignatius "satsat" Chee Kee (ritmo gitara / vocals)

Ferdinand "Dindin" Moreno (dram kit | drums)

Ang mga kantang naisulat nila ay Khangkhungkhernitz (1996), Buruguduystunstugudunstuy (1997), Gulong Itlog Gulong (1999), Edgar, Edgar Musikahan (2002), Bigotilyo (2003), Halina Sa Parokya (2005), Solid (2007), Middle-Aged Juvenile Novelty Pop Rockers (2010), Pogi Years Old (2016).

3. Rivermaya

- Ang Rivermaya ay isang maimpluwensiyang bandang Pinoy alternative rock na nabuo noong 1993. Ito ay binubuo ni Mark Escueta, Mike Elgar, Japs Sergio, Jayson Fernandez, Ryan Peralta, at Norby David. Ang kanilang musika ay nagbago mula ordinaryong rock, hard rock, pop, progressive at iba pa. Sila ang ikalabing tatlong pinakamabentang musiko sa Pilipinas. Ang mga unang myembro ay binuo nina Jesse Gonzales bilang mang-aawit, Kenneth Ilagan sa gitara, Nathan Azarcon sa bass na gitara, Rome Velayo sa tambol, at Rico Blanco sa keyboards at ikalawang mang-aawit. Si Lizza Nakpil ang kanilang tagapamahala at si Chito Rono ang director na gusto silang gawin isang rock show band. Xaga ang tawag sa kanilang banda noon. Sa proseso ng lubos na pag-eensayo, si Ilagan ay napalitan ni Perfecto “Perf” de Castro, kababata ni Azarcon; si Mark Escueta naman ay pumalit kay Velayo; at si Francisco “Bamboo” Manalac ay pumalit kay Gonzales. Nung si Bamboo na ang pangunahing bokalista ng banda, napagdesisyunan ng mga myembro na palitan ang Xaga at gawing Rivermaya ang opisyal na pangalan ng banda. Sinimulan nila ang paggawa ng orihinal na kanta tulad ng “Ulan”, “214”, at “Awit ng Kabataan” (karamihan ay sinulat ni Rico Blanco) upang makahatak ng atensiyon sa mga recording companies. Ang mga miyembro ay sina Baguhin

Pangkasalukuyang myembro

Mark Escueta – tambol, mang-aawit, okasyonal sa perkusyon (1993–present); occasional gitara (2007–kasalukuyan)

Mike Elgar – gitara, mang-aawit (2001–kasalukuyan); keyboards (2007–2011)

Japs Sergio – bass na gitara, mang-aawit (2001-kasalukuyan); okasyonal gitara (2007–kasalukuyan)

Jayson Fernandez – pangunahing mang-aawit, gitara (2007–kasalukuyan); (kasalukuyang nasa hiatus)

Ryan Peralta – keyboards, percussions (2011–kasalukuyan)

Norby David – gitara, okasyonal sa bass na gitara, mang-aawit (2011–kasalukuyan)

Mga dating Miyembro Baguhin

Rico Blanco – pangunahing mang-aawit (1999–2007); gitara, keyboards (1993–2007)

Nathan Azarcon – bass na gitara, mang-aawit (1993–2001)

Francisco "Bamboo" Mañalac – pangunahing mang-aawit (1993–1999)

Perfecto "Perf" de Castro – gitara, mang-aawit (1993–1995)

Victor "Kakoi" Legaspi – gitara (2001–2004)

Mark Escueta - Tambol(1993–2001)

Mga kantang kanilang naisulat

Rivermaya (1994)

Trip (1996)

Atomic Bomb (1997)

It's Not Easy Being Green (1999)

Free (2000)

Tuloy ang Ligaya (2001)

Between the Stars and Waves (2003)

Isang Ugat, Isang Dugo (2006)

Buhay (2008)

Closest Thing to Heaven (2009)

4. Itchyworms

- Ito ay nabuo noong 1996. Nailagay nila ang pangalang itchyworms sa loob ng OPM noong 2006.

Mga tatak

Viva/Neo Records

Universal Records Philippines

Sony Music Philippines

Mga miyembro

Jazz Nicolas

Kelvin Yu

Chino Singson

Jugs Jugueta

Mga dating miyembro

Hadrian Cruz

Discograpiya

Mga Album

Little Monsters Under Your Bed (Viva/Neo Records, 2001)

And The Worm Jumped Over The Moon (Independently released, 2003)

Noontime Show (Universal Records, 2005)

Repackaged Noontime Show (with Commercial Break bonus AVCD, Universal Records, 2006)

Self-Titled (Sony BMG Philippines, 2008)

Tinipong Album

Songs from NU107 In The Raw (Sony Music, 1998)

Pulp Freakshow (Viva/Neo Records, 2001)

Gimik Nation (Viva/Neo Records, 2002)

Kami nAPO Muna (Universal Records, 2006)

Close-Up Season of Smiles Christmas CD (Universal Records, 2006)

Astig...The Biggest Band Hits (Universal Records, 2006)

AYUZ! Pinoy Alternative's Power Cuts (Viva/Neo Records, 2006)

SUPER - The Biggest Opm Hits Of The Year (Universal Records, 2007)

Kami nAPO Muna Ulit (Universal Records, 2007)

Musika Sa Bahay Ni Kuya: The Best Of Pinoy Big Brother Hits (Star Records, 2008)

Gusto Ko Ng Rock (Sony Music, 2009)

5. Apo hiking Society

-Apo Hiking Society o payak na Apo lamang, ay isang grupong mang-aawit sa Pilipinas na unang binuo noong kalagitnaan ng dekada 1970. Nagsimula ang grupo noong 1969 sa Ateneo de Manila, na may 15 miyembro; John Paul Micayabas, Lito de Joya, Sonny Santiago, Gus Cosio, Renato Garcia, Chito Kintanar, Kenny Barton, Bruce Brown, Butch Dans, Kinjo Sawada, Ric Segreto Macaraeg, Goff Macaraeg, Doden Besa, Jim Paredes, and Boboy Garovillo.

Sa pagsulong ng mga estudyante sa kolehiyo, sumali si Danny Javier sa grupo. Pagkatapos ng graduation, umalis ang karamihan sa mga miyembro nito upang ituloy ang mga indibidwal na karera, na may tatlong miyembro na lang ang natitira, na binubuo nina Jim Paredes, Boboy Garovillo at Danny Javier.

Unang nagkamit ng pagkilala ang Apo Hiking Society noong 1973 nang magbigay sila ng farewell concert sa Meralco Theater sa Pasig, Metro Manila, Philippines. Kakatapos pa lamang ng kolehiyo, naging usap-usapan ng Ateneo de Manila University at mga karatig campus ang grupo para sa kanilang musika. Sa ngayon, ang grupo ay naglabas ng 27 album sa apat na dekada ng karera nito. Dalawang napakalaking matagumpay na tribute album ang ginawa noong 2006 at 2007 ng management group nito. Nakakuha rin ang Apo Hiking Society ng maraming parangal dahil sa kanilang pagiging napakahusay.

Ang ilan sa mga sumikat nilang kanta ay; Ewan, Goodtime, Panalangin, When I met you, Batang Bata ka pa, at Mahirap magmahal ng syota ng iba.

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migelaws-blog7 · 2 years

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Pagkabuo at unang mga taon

Ang mga unang myembro ay binuo nina Jesse Gonzales bilang mang-aawit, Kenneth Ilagan sa gitara, Nathan Azarcon sa bass na gitara, Rome Velayo sa tambol, at Rico Blanco sa keyboards at ikalawang mang-aawit. Si Lizza Nakpil ang kanilang tagapamahala at si Chito Rono ang director …

Orihinal na tauhan at tagumpay sa pangunahing kalakarang pangmusika

Sa proseso ng lubos na pag-eensayo, si Ilagan ay napalitan ni Perfecto “Perf” de Castro, kababata ni Azarcon; si Mark Escueta naman ay pumalit kay Velayo; at si Francisco “Bamboo” Manalac ay pumalit kay Gonzales. Nung si Bamboo na ang pangunahing bokalista ng banda, napagdesisyun…

Ang pag-alis ni Bamboo at ang ikalawang line-up

Nagkaroon ng mga tours sa Estados Unidos at Canada. Dito nila nakuha si Raymund Marasigan (mula sa Rapcore group “G-spot at sesyonista ng “Slapshock”) bilang isang sesyonista. Dito napagdesisyunan ni Bamboo Manalac na manatili sa Estados Unidos. Nung 2003, gumawa sya …

#OPM

#Spotify

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healthycoffeeguy · 3 years

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Chito S. Rono (Director)

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sowhatisthisfor · 7 years

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Movies 2018

List of films I watched in 2018 from best to worst.

Updated soon after I’ve seen them.

A Ghost Story [David Lowery, 2017, United States] No film has made me feel this melancholic ever. This is a film so profound, it examines existence in the simplest yet most esoteric way possible. It surely goes straight to the top of my all-time favourite list. 10/10

Burning (Boening) [Chang-dong Lee, 2018, South Korea] Shows the interrelation of hunger and class, the truths and the unknowns. Of how desires could either free you or cage you in unhappiness and despair. A mystery of misery that parallels its political viewpoint. 10/10

Roma [Alfonso Cuaron, 2018, Mexico] Its technical expertise in every element of every frame and composition is overwhelming. It's a movie about contrasts and how each opposite gives life balance, told with such authenticity, it's luxurious cinematic experience. 10/10

Women of the Weeping River [Dayoc, 2016, Philippines] A film about a generational blood feud, and also a metaphoric portrayal of the unending armed conflicts in Mindanao where the vulnerable is the most at risk, and the strong isn’t really unbreakable. 10/10

Kung Paano Hinihintay Ang Dapithapon [Carlo Catu, 2018, Philippines] a small film that tackles layers after layers of things too close to heart. Sincere and profound, definitely my favourite. 10/10

Loveless (Nelyubov) [Andrey Zvyagintsev, 2018, Russia] cold and chilling in all aspect from start to end. It has such great observation of the recognizable societal apathy. 10/10

Beats Per Minute (BPM) [Robin Campillo, 2017, France] Goosebumps. This is a film clear of its objective, it is exhilarating and exhausting in the good kind of way. 10/10

Cold War (Zimna Wojna) [Pawel Pawlikowski, 2018, Poland] Makes something despairing so beautiful with its artful composition, rightly-paced narrative transition, and cold but affecting character treatment. 10/10

Faces Places [JR, Agnès Varda, 2018, France] Wow. This is the film to watch when your soul is dying for art. Tears, I can't help them from falling. 10/10

Sid & Aya [Irene Villamor, 2018, Philippines] It’s too beautiful, I’m crying halfway through the film for how beautiful it is. You can watch this film without audio and understand it by its lighting, it’s that amazing. 10/10

Arrhythmia (Aritmiya) [Boris Khlebnikov, 2017, Russia] For a movie with characters of increasingly tenuous emotional bond, this is teeming with sensitivity and sensibility. It has so much love, neutrality, and longing, yet so cold and fleeting. Definitely, an emotional rollercoaster of my liking. 10/10

Shoplifters [Hirokazu Kore-eda, 2018, Japan] a film that questions if blood is thicker than the ties that bind us. Here’s Kore-eda capturing our hearts again with his gently-observed humanism. 10/10

Gusto Kita With All My Hypothalamus [Dwein Baltazar, 2018, Philippines] a genius anti-romance that plays along the lines of loving the thought of being in love and making yourself believe in your own ethereality. I love it. 10/10

Balangiga: Howling Wilderness [Khavn, 2017, Philippines] Disheartening and provocative in all its hypnagogia. 10/10

A Star is Born [Bardley Cooper, 2018, United States] If only for its music and its astounding performances, I'm already sold. 10/10

Oda sa Wala [Dwein Baltazar, 2018, Philippines] Is an ode to nothing, to the unseen, to the nobody, to the dead that's more alive than the living and to the living that's more dead than those who died. Baltazar has this gilt-edged technique that leaves its audience wretched yet buoyant. 10/10

The Shape of Water [Guillermo del Toro, 2017, United States] Elegant in its visuals, storytelling, and performances. It is del Toro’s best yet. 10/10

The Guilty (Den Skyldige) [Gustav Möller, 2018, Denmark] Is clever in its minimalism. A fast-paced action thriller and a psychological suspense, all shot entirely between four walls. 9.5/10

Hereditary [Ari Aster, 2018, United States] Unsettling down to the core with a convincing cast and a powerful storytelling. 9.5/10

Batch 81 [Mike de Leon, 1982, Philippines] In its subversiveness and its sardonic undertone is a remarkable spectacle of expertise, bravery, esoterica, and dynamism. 9.5/10

Dogman [Matteo Garrone, 2018, Italy] Examines a man's need to be recognized as a chihuahua in a shepherd's world. 9.5/10

BuyBust [Erik Matti, 2018, Philippines] a spectacular display of astounding filmmaking where every element is designed and choreographed fittingly well. Entertaining yet harrowing from start to finish, it's the kind of film that stays. 9.5/10

God’s Own Country [Francis Lee, 2017, United Kingdom] Features a kind of romance with such carefully-observed realism. It was very well portrayed. Very well. 9/10

Sunday's Illness (La Enfermedad del Doming) [Ramon Salazar, 2018, Spain] Scene after scene of mesmerizing mystery and such powerful attention to detail. 9/10

Annihilation [Alex Garland, 2018, United States] Though at times flawed, it ended with such thought-provoking, ambitious, and lasting impact. 9/10

Captain America: Civil War [Joe Russo, Anthony Russo, 2016, United States] it’s hard to point out which part of the film I didn’t like, that’s if I hated anything. 9/10

The Florida Project [Sean Baker, 2017, United States] Kids, no matter the social class, are still just kids in search for adventure, friendship, and love. This movie doesn't feel like a movie at all, it's brilliant. 9/10

Signal Rock [Chito Rono, 2018, Philippines] Very raw and phenomenal. Each character formidably plays an important role in characterizing a small town of heartwarming spirit. If not for its distracting bad CGI which I think is unnecessary, I’d give it a perfect 10. 9/10

Beti [P. Sheshadri, 2017, India] manages to oppose patriarchy in Indian culture in such an innocent yet intelligible perspective. 9/10

Train to Busan [Yeon Sang-ho, 2016, South Korea] When everyone's becoming a monster, humanity is the way to survive. Fast-paced. Thrilling. Heartfelt. I honestly feel like Train to Busan lacks a stronger female character, but it's interestingly very human that I'm completely captured by it. 9/10

ML [Benedict Mique, 2018, Philippines] teeming with ingenuity and masteful filmmaking, it’s a suspense too relevant for anyone to miss. 9/10

Liway [Kip Oebanda, 2018, Philippines] Is at most powerful when it exposes the correlation of facts and fiction. Doesn’t hit you right away but when it does, it hits hard. It hits still. 9/10

Sicilian Ghost Story [Fabio Grassadonia, Antonio Piazza, 2017, Italy, France, Switzerland] Cinematic and poetic. Beautiful in all its mythological symbolism. 9/10

Get Out [Jordan Peele, 2017, United States] a satire of utmost significance, it lives. 9/10

Si Chedeng at Si Apple [Rae Red, Fatrick Tabada, 2017, Philippines] Hilarious with punchlines, intelligent with comebacks. This is comedy with brain, soul, and heart. 9/10

Happy as Lazzaro (Lazzaro Felice) [Alice Rohrwacher, 2018, Italy] a charming small film with a subtext of such vivid social allegory. 9/10

I am Not a Witch [Rungano Nyoni, 2018, United Kingdom] For a debut film, this is quite a remarkable take on exploitation, abuse, and misogyny. 9/10

A Quiet Place [John Krasinski, 2018, United States] For a film that’s supposed to be silent, I find it quite overscored. Still a good watch though. 9/10

Ang Panahon ng Halimaw [Lav Diaz, 2018, Philippines] Sarcasm at its best. Quite fun. 9/10

L'amant Double [Francois Ozon, 2018, France] Wild and mindblowing, a film of endless curiosity. 9/10

Seklusyon [Erik Matti, 2016, Philippines] a thought-provoking jewel on the corruption of divinity and an examination of people’s inner evils. 9/10

BlackKKansman [Spike Lee, 2018, United States] Although satirically exaggerated, this film is teeming with entertainment and importance. 8.5/10

In This Corner of the World [Sunao Katabuchi, 2017, Japan] It stays. Films like this, they always do. 8.5/10

Euthanizer (Armomurhaaja} [Teemu Nikki, 2018, Finland] An examination of how suffering is commensurate with cruelty. For something so bleak, it is surprisingly a good exemplification of moral values. 8/10

Padman [R. Balki, 2018, India] Speaks volumes in a humorous way. Something enlightening and empowering, I love it. 8/10

Gutland [Govinda Van Maele, 2017, Luxembourg] For a debut feature, Van Maele is a master of slow-burn tension. 8/10

The Square [Ruben Ostland, 2017, Sweden, Denmark] An ironic and satiric take on elitism, privilege, and humanity. 8/10

A Prayer Before Dawn [Jean-Stéphane Sauvaire, 2018, France, Thailand] For something that feels hesitant in showing violence, this is already quite a tough watch. 8/10

We Need to Talk About Kevin [Lynn Ramsey, 2012, United States]

A Taxi Driver [Hun Jang, 2017, South Korea] an entertaining yet affecting tribute to nameless heroes. 8/10

Memoir of War (La Douleur) [Emmanuel Finkiel, 2017, France] Sadly, its visual choices, experimental scoring, and drawn out structure don't match Marguerite Duras's poetic writing. 8/10

The Wound (Inxeba) [John Trengove, 2017, South Africa] More than the physical wound from a boy's transition to manhood, this movie tackles a deeper kind of pain, the kind that scars forever. 8/10

Pan de Salawal [Che Espiritu, 2018, Philippines] a hard-hitting reminder that the most painful challenges people overcome are also the most rewarding. Don’t be afraid to feel them all. 8/10

The Great Buddha+ [Hsin-yao Huang, 2018, Taiwan] Not sure if saying "this is my kind of humour" is something I should be proud of but damn this film is hilarious! Oh and really clever too. 8/10

Leave No Trace [Debra Ganik, 2018, United States] a small film of massive authenticity and warm touch. It will leave a trace. 8/10

Manila by Night [Ishmael Bernal, 1980, Philippines] a classic representation of the realities of how Manila is a witness to the city's moral lethargy. 8/10

Coco [Lee Unkrich, 2017, United States] Understands what La La Land doesn’t – relationships shouldn’t suffer when achieving our dreams. 8/10

Don’t Breathe [Fede Alvarez, 2016, United States] Alvarez has some serious skills to make this suspenseful with only a blind villain inside a small house. 8/10

The Other Side of the Wind [Orson Welles, 2018, United States] Not for a Welles beginner but is surely a completist's delight. 7.5/10

Felicite [Alain Gomis, 2017, Senegal, Congo, France] With such lyrical tone, its narrative was thinly sketched that some of its elements don't match. 7.5/10

Malila: The Farewell Flower [Anucha Boonyawatana, 2018, Thailand] A beguiling narration of existentialism, redemption, and the philosophy of Buddhism. All told in such calming gaze, it's actually hypnotic. 7.5/10

Revenge [Coralie Fargeat, 2018, France] Caution: explicit cursing while watching and cheering to this. 7.5/10

Aria [Carlo Catu, 2018, Philippines] Could have gone deeper and darker to make a more harrowing but lasting impact. It borders on the safe side, but still able to tell something important. 7.5/10

Billie & Emma [Samantha Lee, 2018, Philippines] There's magic in its production design and an amusing chemistry that would remind you of what it's like to fall in love the first time. It is everyone's teenage romance, the kind that buries heteronormativity. 7.5/10

Of Love & Law [Hikaru Toda, 2017, Japan] Questions the intricacies of Japanese culture through a collection of simple yet meaningful moments. 7.5/10

Jurassic World: Fallen Kingdom [JA Bayona, 2018, United States]

Saving Sally [Avid Liongoren, 2016, Philippines] Is the freshest and has the most creative visual style I’ve seen in a long long time. I want more of it. 7,5/10

One Week Friends [Masanori Murakami, 2017, Japan] There’s a good reason for my sunken eyes right now, right? 7.5/10

Room 8 [James Griffiths, 2013, United States] Unique and smart. Too amazed, I had to share it with everyone. 7.5/10

Isle of Dogs [Wes Anderson, 2018, United States] A quirky imagination of a simple narrative, told in a hyper-stylized artistry. 7.5/10

Black Panther [Ryan Coogler, 2018, United States]

Hintayan ng Langit [Villegas, 2018] I'm not completely sold on a couple of its elements but boy, Gina Pareño is a gem. A sparkling one. 7.5/10

Avengers: Infinity War [Anthony and Joe Russo, 2018, United States]

The Invitation [Karyn Kusama, 2016, United States] I know a psychological thriller like this is effective when I find myself so uncomfortable, wanting to leave, cautious of being brainwashed. 7.5/10

Ready Player One [Steven Spielberg, 2018, United States] Too amusing to the point of apathy. Still entertaining though. 7.5/10

Disobedience [Sebastian Lelio, 2018, Ireland] Depicts the beauty of internal turmoils and hidden desires, it’s gripping. 7.5/10

Apostasy [Daniel Kokotajlo, 2017, United Kingdom] the more it rolls, the more I loathe religion. 7.5/10

Wonder Woman [Patty Jenkins, 2017, United States] More than it being a feminist is it being human and that I think is more important. 7.5/10

Meet Me in St Gallen [Irene Villamor, 2018, Philippines]

Never Not Love You [Antoinette Jadaone, 2018, Philippines] Beautifully and realistically written. It’s just really hard for me to like Reid’s character. 7/10

Eight Grade [Bo Burnham, 2018, United States] One of the most important and most natural teen movies of the year. 7/10

Cam [Daniel Goldhaber, 2018, United States] Pushing its flaws aside, this is actually quite an accomplished thriller of a possible near future. It didn't end with an impactful resolution though. 7/10

The Miseducation of Cameron Post [Desiree Akhavan, 2018, United States] Provocatively presents how emotionally abusing conversion therapy could be. 7/10

Crazy Rich Asians [Jon Chu, 2018, United States] Important and feel-good, but that's just it for me. 7/10

Distance [Perci Intalan, 2018, Philippines] a tender family drama with powerful performances of characters who choose to love no matter how wrong or right. 7/10

Showroom [Fernando Molnar, 2014, Argentina] is a showroom of how beautiful and luxurious an artificial world could be. 7/10

Contagion [Steven Soderbergh, 2011, United States] Believable but somehow lacking in its scare tactic. 7/10

Zodiac [David Fincher, 2007, United States] Intelligent drama, boring thriller. Not a fan. 7/10

The Greatest Showman [Michael Gracey, 2018, United States]

Smaller and Smaller Circles [Raya Martin, 2017, Philippines] Suspense done right but there's something about its exchanges that seems unnatural. 7/10

Pop Aye [Kirsten Tan, 2018, Thailand, Singapore] Is as slow but as heavy as its lead. 7/10

The Day After Valentine’s [Jason Paul Laxamana, 2018, Philippines] Brilliant in its canny use of language to illustrate people's tendency to miscommunicate emotions. 7/10

Thoroughbreds [Cory Finley, 2018, United States] The kind of film that doesn't lead to what you think. It's black comedy of my liking. 7/10

Nearest and Dearest [Kseniya Zueva, 2017, Russia] displays the weakening social and moral values in contemporary Russian society. 6.5/10

Hearts Beat Loud [Brett Haley, 2018, United States] Magical in its little ways. 6.5/10

Me Casé Con Un Boludo [Juan Taratuto, 2016, Argentina] Nothing much in here but laughter after laughter. 6.5/10

Delinquent [Kieran Valla, 2016, United States] a small-town thriller with a set location that breathes on its own. 6.5/10

Ang Babaeng Allergic sa Wifi [Jun Lana, 2018, Philippines] I thought it was just a cutesy take on appreciating moments and living life in the present, but heck no, prepare to find your tears falling. 6.5/10

Bakwit Boys [Jason Paul Laxamana, 2018, Philippines] a warm and light-hearted family drama with beautiful original songs to brag about. 6.5/10

Musmos Na Sumibol sa Gubat ng Digma [Iar Arondaing, 2018, Philippines] At times, it feels like it's trying too hard both to make a point and to sound subtle to a point that it feels a bit disconnected. 6.5 /10

What If It Works [Romi Trower, 2018, Australia] Delightfully charming amidst the chaos of mental disorders. Works quite well. 6.5 /10

Eternity Between Seconds [Jan Alec Figuracion, 2018, Philippines] There’s comfort somewhere between the discomforts of bad acting here. 6.5 /10

Love, Simon [Greg Berlanti. 2018, United States] It’s a very familiar coming-of-age romance, but that familiarity is what made it stand out. 6.5 /10

Blockers [Kay Cannon, 2018, United States] Definitely my kind of humour. The sarcastic wit is overflowing. 6.5 /10

Alex Strangelove [CraigJohnson, 2018, United States] Nothing too new but isn't short of likeable. 6.5/10

Lobster Cop [Li Xinyun, 2018, China] Hilarious. I’d like it to be more brutal with its action scenes but it’s already otherwise quite entertaining. 6.5/10

Ant-man and the Wasp [Peyton Reed, 2018, United States] Funny as always, but I'm in love with Paul Rudd so I must be biased. 6.5/10

Kuya Wes [James Mayo, 2018, Philippines] explores the fundamental need of being appreciated in a light yet stinging narrative. I don't like a number of things, but the soundtrack works well, it's satiating. 6.5/10

To All the Boys I've Loved Before [Susan Johnson, 2018, United States] There's substance in its shallowness, it's charming. 6.5/10

The Snow White Murder Case [Yoshihiro Nakamura, 2014, Japan] It’s a little too long to keep it entirely interesting. 6.5/10

Cardinals [Grayson Moore, Aidan Shipley, 2018, Canada] It was burning slowly until it was shot to the head. Could have been more painful if not for its loose ending. 6.5/10

Unli Life [Miko Livelo, 2018, Philippines] Not a fan of its comedic banters but I find its rare seriousness quite a gem. 6.5/10

The Cured [David Freyne, 2018, United Kingdom]

Sympathy for Mr Vengeance [Park Chan-wook, 2002, South Korea]

Berlin Syndrome [Cate Shortland, 2017, Australia, Germany] Cold and riveting with a third act that would push you to the edge. 6.5/10

Wonder [Stephen Chbosky, 2018, United States]

12 Strong [Nicolai Fuglsig, 2018, United States] All that technical expertise and still end up saying nothing. 6/10

Goodbye, Grandpa [Yukihiro Morigaki, 2017, Japan] depicts the kind of mourning we tend to overlook and is only intensified by the bonding of family. 6/10

Deadpool 2 [David Leitch, 2018, United States] Started off fun, ended up exhausting. 6/10

Bird Box [Susanne Bier, 2018, United States] a film with no emotional connection, no proper climax, and therefore no sensical resolution. 6/10

Madilim Ang Gabi [Adolf Alix, 2018, Philippines] seems like a show-off of stars after stars after stars playing bit roles to the point that it already feels unauthentic. 6/10

Call Her Ganda [PJ Raval, 2018, Canada, Philippines] I'm not convinced of its storytelling, still an important one to watch though. 6/10

A Million Happy Nows [Albert Alarr, 2017, United States] Despite the smallness of this film, it actually hits big. 6/10

Bomba [Ralston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 6/10

Oceans 8 [Gary Ross, 2018, United States] Slow and mediocre, quite a waste of powerhouse cast. 6/10

Koxa [Ekrem Engizek, 2018, Turkey, Germany] Uninteresting for the kind of fact it exposes. 6/10

2 Cool 2 be Forgotten [Petersen Vargas, 2017, Philippines]

Beastmode [Manuel Mesina III, 2018, Philippines] ingenious and inventive but it’s not the kind I enjoy. 6/10

Dedma Walking [Julius Alfonso, 2017, Philippines]

Can We Still Be Friends [Prime Cruz, 2017, Philippines]

The Belko Experiment [Greg McLean, 2017, United States] The experiment and the film are both pointless, but pointless sometimes is entertaining. 6/10

Hooked [Max Emerson, 2018, United States]

Sierra Burgess is a Loser [Ian Samuels, 2018, United States] I was enjoying it until its last act which felt rushed and unnatural. 5/10

Skyscraper [Rawson Marshall Thurber, 2018, United States] Plot after plot of action-packed impossibilities. 5/10

Glorious [Connie Macatuno, 2018, Philippines] Watching it is like riding a taxi cab with a clutch driver, it’s making me dizzy. 5/10

Rampage [Brad Peyton, 2018, United States] Feels like a bargain with nothing much to offer but cool CGI. 5/10

Je Ne Suis Pas Un Homme Facile [Eleonore Pourriat, 2018, France]

Mga Mister Ni Rosario [Alpha Habon, 2018, Philippines] Entertaining but also miserably problematic. 5/10

Carrie [Kimberly Peirce, 2014, United States] Is quite an urban myth version of a school shooting. 5/10

Rough Night [Lucia Aniello, 2017, United States] Watched it on a plane, not sure if it's as fun if landed. 5/10

Bomba [Rolston Jover, 2017, Philippines] is brave in its defiance, bold in its commentary but it somehow failed to deliver. 5/10

Avengers: Age of Ultron [Joss Whedon, 2015, United States] Boring with a capital B. 5/10

The Meg [Jon Turteltaub, 2018, United States] Mediocre. Very mediocre. 5/10

Final Score [Scott Mann, 2018, United States] It has potential but didn't quite scored a goal. 5/10

Uncle Drew [Charles Stone III, 2018, United States] I can't force myself to get comfortable watching this. 5/10

A Piece of Paradise [Patrick Alcedo, 2017, Canada, Philippines] It’s okay but there’s nothing much in there. 5/10

Happy Death Day [Christopher Landon, 2018, United States]

The Flu [Kim Sung-soo, 2013, South Korea] Stupid but fun. It's the kind of silly you enjoy. 5/10

Ali and Nino [Asif Kapadia, 2017, Azerbaijan, Georgia] Badly-acted, badly-designed production. Offers nothing much of excitement. 4/10

Unexpectedly Yours [Cathy Garcia-Molina, Philippines, 2017] Fun at times. Corny at most. 4/10

Forget About Nick [Margarethe von Trotta, 2017, Germany] is as if made as an example of movies that failed the Bechdel test from supposed to be feminist directors. 4/10

I Love You, Hater [Giselle Andres, 2018, Philippines] I find its main plot gender insensitive so it’s a nope nope for me. 4/10

The Mumbai Siege: 4 Days of Terror (One Less God) [Lliam Worthington, 2018, Australia, India] That’s an annoying take on a siege that marked world history. 4/10

Life is What You Make It [Jhett Tolentino, 2018, United States, Philippines] For some reasons, I’m not sold on how it tries to inspire. 4/10

We Will Not Die Tonight [Richard Somes, 2018, Philippines] If you're looking for brutal action and relentless stabbing where blood and sweat are like fireworks, go see it. If you're looking for sense or better fight choreographies, go somewhere else. 3/10

Bleeding Steel [Leo Zhang, 2018, Hong Kong] Feels like switching between channels. 3/10

Citizen Jake [Mike de Leon, 2018, Philippines] Is like a collection of everything de Leon wants to try. Not effective at that. 3/10

On Again Off Again [Arsalan Shirazi, 2017, Canada, India] Undesirable characters in undesirable performances. 3/10

Jigsaw [Spirieg brothers, 2017, United States]

Tomb Raider [Roar Uthaug, 2018, United States] Impossible but fun. 3/10

Insidious (The Last Key) [Adam Robitel, 2018, United States]

Pitch Perfect 3: Last Call Pitches [Trish Sie, 2018, United States] The worst of them all pitches. 3/10

When We First Met [Ari Sandel, 2018, United States]

Attack on Titan: Part 1 [Shinji Higuchi, 2015, Japan] Lacks character development, lacks plot continuity, it’s the movie adaptation disappointment of the decade. 3/10

Alright Now [Jamie Adams, 2018, United States] is said to be a feel-good movie but more like a feel-regretful for the time wasted watching this. 3/10

Hostel [Eli Roth, 2006, United States] Nothing here is pleasing. Not its concept, not its execution, and not even its gore. Down to the trash bin. 3/10

One More Chance [Cathy Garcia-Molina, 2007, Philippines] I’m sorry, I really can’t stand this movie. 3/10

Slumber [Jonathan Hopkins, 2018, United States] Is a snoozefest as simple as that. 3/10

In Un Giorno La Fine (The End?) [Daniele Misischia, 2018, Italy] Is funny in a bad way. 3/10

Peter Rabbit [Will Gluck, 2018, United States] RBF the entire freaking time. 3/10

You, Me and Him [ Daisy Aitkens, 2018, United Kingdom] Just one of those films that pass you by. 3/10

The Dawnseeker [Justin Price, 2018, United States] With that kind of premise, I honestly wanted it to be at least a decent watch. It isn’t. 2/10

Mara [Clive Tonge, 2018, United States] Generic. Mediocre. Forgettable. 2/10

Office Uprising [Lin Oeding, 2018, United States] Dumb. 2/10

School Service [Louie Ignacio, 2018, Phiippines] the intention is there but the concept isn’t concrete enough to be decently executed. 2/10

The Strangers: Prey at Night [Johannes Roberts, 2018, United States] What a freaking stupid family that was. I could go on and on and on with my disgust towards this movie, but the bacon is cooked and bacon is more important. 1/10

The Matchmaker's Playbook [Tosca Musk, 2018, United States] a misogynist piece of bullcrap. 1/10

The Do-Over [Steven Brill, 2016, United States] Wow. That was boring. 1/10

Aswang [Michael Laurin, 2018, United States] a film perfect for when you can’t sleep. 1/10

The Lookout [Afi Africa, 2018, Philippines] is a joke after joke after joke, so unfunny, it deserves a laugh. 1/10

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