#which somehow mostly doesn't show in the scores but that's another story entirely

[rookie-critic]

Cocaine Bear (2023, dir. Elizabeth Banks) - review by Rookie-Critic

What to say about Cocaine Bear? It is schlocky, it takes awhile before the film really kicks it into high gear, the CGI on the bear is goofy, and while some of the acting is very, very good, some of it isn't that good, and I loved it. This is a movie where everyone on set was clearly having a ball the entire time, and that fun spirit leaks over into what you see on screen. The jokes land, the gore is plentiful and nasty without being too gross-out or too real (again, the CGI work isn't exactly Avatar-quality stuff), and sure, the bear looks silly, but it should look silly. Anyone saying that they wish the bear looked better is either a) a liar, or b) someone who hates fun. The whole vibe of the film is that of a cartoon version of an 80's slasher B-movie and, for the most part, it really works.

The acting in the film, outside of a couple of the more minor characters' performances, is outstanding. Not only do you have the late, great Ray Liotta in his final film appearance, but you also have Keri Russell, Alden Ehrenreich, O'Shea Jackson Jr., and Margo Martindale all giving great performances. However, and I mean this as no disrespect to any of the amazing actors I just mentioned, but none of them even hold a candle to the scene-stealing ability of Christian Convery. That kid is, other than maybe, MAYBE the bear, the funniest thing in the film by a country mile. From the second he shows up, it seems like every line that comes out of his character's mouth is pure comedic gold, and that doesn't let up until the credits start to roll. I've been aware of Convery since his turn as the titular character in Netflix's Sweet Tooth, and I was aware that he was an incredible young actor from that alone, but I had no idea just how funny he could be. Another high point of the film is that it doesn't shy away from the ridiculousness of its premise, and leans into it in the best, goriest way that it can, à la Tucker & Dale vs. Evil. It really feels like a bad 80s slasher mixed with the cocaine equivalent of a stoner comedy, but the kind of bad 80s slasher that you secretly really enjoy because everything that's happening, especially the gory deaths, are creative and well executed (pun definitely intended). I won't go into details of any specific thing, because more than half the fun of the film is staring, jaw dropped and eyes wide, at the pure blissful horror that is unfolding in front of you.

It's not all sunshine and cocaine, though; the film wants to be a cult classic so bad that it still falls prey to some B-movie problems. Firstly, the story is a little too boilerplate and basic for how much time the film spends setting it all up, and it causes a majority of the first act to be very slow. It's not the worst thing in the world, it manages to keep you engaged and holds a couple of the film's funnier moments (one in which the two main children find one of the bricks of cocaine), but when compared to the insanity that kicks off in the film's second and third acts, it is pretty boring. Also, there are a few sequences that feel poorly edited, mostly in the film's final act. It seemed like there were last minute decisions made to cut scenes out of the film, and then last-last minute decisions were made to somehow cut them back into the film. There's one flashback scene in particular that felt incredibly out of place to me. So much so that it honestly reminded of something along the lines of a Family Guy cutaway. I also could have used a bit more of Isiah Whitlock Jr.'s character, but that's just because he's fantastic in everything he's in.

Cocaine Bear isn't perfect, I won't even venture to call it great, but it was a fantastically fun distraction. It revels in its stupidity, it revels in its gory moments, and it revels in the fun it knows everyone on screen and everyone in the audience is having. A purely fun, harmless, hilarious, coke-addled roller coaster ride.

Score: 7/10

Currently only in theaters.

[raininyourblackeyes]

Hello! May I take advantage of your judging knowledge and ask two questions about judging? 1. Are the judges informed of what the title / music of each programme is? Is this maybe in the judging system or are they given it printed out, perhaps? 2. I was sitting behind the technical panel at a competition once and it seemed like they had the planned programme content for each skater printed out and annotated. Do they prepare for each competition and make notes like "double-check the Lutz edge" or similar? Any insight would be very much appreciated!

Ah these are fun questions! Thank you for asking them!

About the program music, it's not in the system as in they get them on the screen before the skater starts with their program the way audience does on the TV and streams. However, judges will usually have it printed out together with the planned content. Quite often knowing what kind of program to expect can be helpfull. I can't speak for everyone obviously, but it's common for the judges to also watch performances from previus competitions (unless it's the skater's first comp of the season ofc) as it gives the idea of what to maybe expect in terms of PCS. But it's not something that ISU will force them to know, it's pretty much a method that differs from judge to judge. The technical pannel on the other side doesn't have to know anything about the music choice as their only job is to call levels and mistakes such as downgrades or extended lifts etc. Which brings us to part two:

The tech panel must have planned program content as that is the base for all their further work. Pretty sure that 99% of the judges have them, too. They may annotate it beforehand, at the meeting before the competition when the referee gives out some pointers, or if they are a really experienced judge who has developed their own system during the actual performance, or not at all. The second last option is the most difficult since everything happens in a blur and they don't have to just watch for the entry-element-exit but also the program overall for the PCS. The judges that are able to do it are always extremely prepared for the post competition meetings when the scores are discussed between the panel and the referee. The annotations for the tech panel are probably exactly double-check the Lutz (I am not a technical controller); for the judges, due to differences in what replays we get compared to tech panel, that same Lutz note would be more like pay attention to the entry or something. For me, I usually have an entire notebook with me which is my "general study on the IJS". I know a number of judges, too, have those. Often, the rulebooks are carried around. I'd say it's a matter of experience overall. Someoen who has been judging for 10 years will find the process much easier than the judges who just passed the international examinations and those younger judges will do more background research before the competitions.

[nikkifilm]

Batch '81 (1982) & Kakabakaba Ka Ba? (1980), dir. Mike de Leon

In just the first part of the film of Batch '81, it's no doubt that it is best categorized under the cheated expectation, but certainly not in a bad way. From the title itself, the scoring, down to its first sequence, it suggests to be more light and a bit dramatic, probably revolving around a story of a student who flunks in his class, thus being the black sheep, yet somehow makes a stand that school isn't about getting high grades in every class but learning outside the campus — that's how I thought it would go. Apparently, it turned out to be about joining a fraternity. Little did anyone, or at least I, know that the alternative title “AKO” didn't mean oneself, but rather an acronym for a fraternity called Alpha Kappa Omega. That's how all my expectations for this film drastically changed. Although the main character, Sid Lucero, had a very masculine build and a “bad boy” impression, it never occurred to me that he was going to join a fraternity. At first, I denied that it was going to be the main plot of the movie. I couldn't accept the fact that my expectations weren't met and that it was all heading towards a different direction, but as I kept watching, I forgot about everything I was trying to expect out of the plot and just continued watching. I happen to grow more genuinely hooked and intrigued of the movie by the conventions showed in it.

In Kakabakaba Ka Ba, it tackles more on the dark side of Japan (and China), how they use the Philippines to import and sell off drugs. It's something that is sensitive nowadays, but it discusses more of that in this film. The characters are normal people in the Philippines, typical of those group of friends that hang out and have fun in life, but little did they know, they got themselves involved into something big, which is about the cassette tape containing drugs. It's where the story pretty much start and begin to gradually unfold as they move.

In terms of technicality or the stylistic form of Batch '81, there's honestly not much to commend since cinema have improved and expanded now compared to the generation it's from, but objectively speaking, the way the entire film was shot and edited gives you that dark and hopeless feeling about it, especially since for the most part, especially during the initiation scenes, it really comes off as terrifying and at the same time, realistic. You'd feel as if you're part of the film, that you feel every situation the characters are in, and how the scenes that show violence really do seem realistic and somehow, you feel that too. Whenever a scene is painful, you have tendencies to flinch as well. That's how realistic it is. Narrative wise, Batch '81 definitely excels as the message behind the film really speaks to the people, and it sparks discussions about how other people interpret what the film wants to address. These small qualities and impact from the film says a lot about how it was narratively commendable.

As for Kakabakaba Ka Ba, it's more of a stylistic than narrative film as it had more effects and different color grading. Of all the classical films I have watched, this one is by far the most visually appealing film that is not only limited to editing, but also with their settings and props. It was such a creative and genuinely beautiful masterpiece and you've got to love the film for it. I really love the editing as well, especially on the part where they portrayed them being high on drugs. It was really surreal and dream-like, and I was pretty impressed by that and actually got me wondering how they were able to achieve that. The musical scenes are what gets me, it's my first time to be able to watch a musical-comedy, not to mention a local one, and I've got to admit that I had low expectations from it but this one really exceeded that much more. I was shocked but at the same time impressed and fascinated that they were able to achieve such a great performance. It was full-on, from the scoring, props, performance, and transitions. Everything was great and all so entertaining to watch. I genuinely liked it and would really watch it again. Narratively, it's great but more on cliche as it revolved around a chase type of story and it all clashes down in the end. It's quite common, which is why I find it a bit dull, but the thrill is still there and makes you root for what will happen next.

Considering the conventions showed in Batch '81, it really does make you feel something. There's that roller coaster ride of emotions that fluctuates throughout the entirety of the film which what at least I commend as yet another great film. It's hard to make people laugh when you're doing a comedy film, like how hard it is making people cry when doing a drama. But this film doesn't merely sticks to its genre or lets it determine how it should make you feel. It does not only achieve its goal by trying to evoke the wanted emotion from its audience but also exceeds it by making you feel all sorts of emotions — from horrified, disgusted, and angry, it just hits you a wave of sadness, despair, and even playful to some extent. Although these aren't as drastically changing emotions as they are mostly similar, they are different from each other that it varies from scene to scene. Usually, films that have students as main characters would focus more on the traditional way of showing a typical college student's life and all that. However, this film took a different turn by focusing on fraternities within universities. Although it does also tell that fraternities may have been popular during the 80's, it's still non-conventional in a way that they showed the reality behind the initiations held between fraternities. This came off as a message to the viewers, than just portraying what the general audience think of when we talk about fraternities. It makes you really feel for the characters in the film regardless if the viewer had actually experienced being initiated or part of a fraternity or if they just had a similar experience with abuse and humiliation. It gives the viewers a fresher perspective than what is always conceived traditionally. Typically, anyone who weren't able to relate to the characters or the film in general wouldn't spend time or even bother watching the whole film, but this was an exception to that barrier. It speaks to the audience, as humans, that it does affect us emotionally and mentally in a way that makes you think: it's possible that this might have or will have happened in real life. Which what always triggers that fear, intrigue, and contemplating among viewers.

For Kakabakaba Ka Ba, I didn't know what to expect as it seemed odd to me. How it's a comedy-musical film that has that title but having drugs as the main context of the film. It all doesn't add up to me at first that's why I didn't know what to expect. I was weirded out at first, but as I kept watching, it gradually faded away and became more hooked and pretty much had a good laugh and enjoyed the entire movie.

In the Auteur theory context, we see how both films had a certain impact to the viewers that would make us both feel for it in its respective genres. Like with Batch '81, you know how it's a violent and drama film, and yes it did feel that way. The violence seemed real and is affecting the viewers, same goes with the drama. When you see a person being hurt or tortured, you somewhat sympathize for that person and also feel for them. Same could be said of the other Mike de Leon film, Kakabakaba Ka Ba. You can see how it applies the same thing, how you are able to empathize with the characters and how it's as if you are part of the movie too. When the part where they're trying to hide from the Japanese and Chinese dealers makes you all thrilled and it's as if you're in it too. That's one common ground that both films have, and it goes to show how Mike de Leon wants to make his audience feel when they watch his films. It evokes the emotional aspect within people through his films to be able to spark that connection. I'd say it's pretty efficient as it does make you hooked and want to keep watching because you kind of root what happens next to the characters. For Batch '81, you root for their progress in the initiation like what will they do next, who gets eliminated, and what turn of events will happen in the end — if the main character get what he wants or if he had a change of heart. For Kakabakaba Ka Ba however, it makes you root for what mystery lies beneath this certain Japanese group of drug dealers and what's inside the cassette tape that they put in Johnny's coat that caused all that chaos. It's actually pretty comical if you come to think of it. It's something that you'd see in most animations too. It's a good way to have a story run along, it's pretty fun to watch, especially if you like watching for the purpose of having fun or just a good time. Perhaps that's what makes it a Mike de Leon film. It makes you think that maybe that is his goal, to make the audience not only watch a film, but also to be able to feel which is good. Because a good film not only relies on its technical or narrative surface, but also how emotionally attaching it is to the people and how it is relatable and understands. Some would probably say that it's shallow and doesn't really have a deeper meaning to it, but that's another thing that makes it a Mike de Leon film. You'd think that it has nothing to do with reality or anything that is happening in real life, but it does. It's not directly put, but it's there. It speaks about the recent social issues the country is facing that time, and what has been prominent back then in the early 80's was the Martial Law and Marcos. There are a few scenes that had portrayed it, how people were killed when they try to speak about Martial Law, and how people are put to jail without even further reasoning or explanation. It's all but subtle, but when you know it, it really makes you think and then it dwells on you. It's there until you finish the film. That's what makes yet another reason as to why it's a Mike de Leon film. It makes you feel and at the same time, think.

Two particular and prominent social issues that can be seen in Batch '81 is the violence and abuse surrounding fraternities and the concept of toxic masculinity. It's a norm within universities in this certain period of time to have fraternities. What made it become a social issue is the violence that's supposed to make you disciplined that turn into abuse and questioning of morality. Another is that the concept of joining one means to get social gain and "protection" yet didn't turn out to be exactly like it. To me, it seemed obscure and pretty much shallow, but I suppose it does speak about how it used to be back then. Today, fraternities have become something that is not morally accepted and the society have prioritized the well-being and rights of a human being which contradicts what is being shown on the film. Although despite the differences in morals from said generations, the portrayal of this social issue is relevant, especially on the part where one of the members die during a conflict within the different fraternity. It's something that speaks even to up to this current generation. With regards to the concept of toxic masculinity, it is seen through the character of Sid Lucero, who wants to be tough and all to join a fraternity. He wants this social gain, because it's how men are supposed to be. The way they also have to endure everything they go through during the initiation rights is also what builds that toxicity, because it's implied that when you can't take it, you're not brave enough to be part of the fraternity. The concept of this brotherhood is what in general makes it toxic. For Kakabakaba Ka Ba, it's more of the drugs and how our country had become the market of drugs especially from other countries like Japan and China. There's nothing much deeper to tell about this than that. It all pretty much revolved on that which alone is alarming.

What I like about Batch '81 is how the characters care for each other genuinely, but except for Sid. How they step forward whenever someone is getting hurt overboard or when they are being too abused. They still have that sense of humanity and genuine care for the fellow members. For some reason it just speaks to me personally, maybe because it's something that I was rooting for with all the violence and verbal abuse that have been happening within the film. It gives off that sense of comfort that makes you think that human nature is still seen in that context. It gave a different perspective of how the fraternity works, and you'd see here how even though it is merely an initiation and you'd expect them to be selfish or mind their own goals so long as they get through what is required, you still see that side of them, that they still care for each other even if it means being against their masters. What I didn't like is how the main character didn't have a character development. What he is in the beginning is just the same him in the end. The only difference is that yes, he got what he wanted and he eventually became a master. Which is fulfilling because that is what he wanted after all, but I didn't see any changes within his character as compared to the supporting characters in the film. If I'm being honest, I liked the other characters more than the main because they had much more development in them than the main character did. All in all, there's really not much to point out anymore, but that's only a few of what I have noticed or spoke to me in this film.

On the other hand, Kakabakaba Ka Ba was a great film, considering it being a comedy-musical that tackles about a serious issue. I loved the film in general, and there wasn't much as to what I disliked about it. Besides the comedy factor in this film which I also genuinely love, II especially liked the musical part of the film. It was nothing but an excellent performance and a masterpiece if I may say. I never thought I'd like it based on my initial expectations before, but it all jot down to me liking it and there's certainly no regret on that. I wish to be able to have more productions like this in the Philippine cinema.

There aren't much to me that I wished the director did, I understand how the films are dated around years ago and there have been changes that happened in the society since then. Especially since these films are a product of the repression back then, particularly about martial law. I just wished, however, that they had given a more solid or deeper plot for both films. For Batch '81, although it is more serious and sensitive as compared to Kakabakaba Ka Ba, it lacked the bigger picture. Comedies and musicals like Kakabakaba Ka Ba however, obviously have little to none storyline but I do see how it had a progress in contrast with Batch '81. Besides the plots, I wished the characters, particular the main characters have more development within them or actually have a significance throughout the film. Nothing really against the director, but most of the time, the only memorable characters in the films are mostly the ones who aren't the main character. You'd only recognize them from their faces or physical attributes, but nothing much about their character or personality. I hope that it would've had more of that, because it kind of puts the film off.

For Batch '81, I'd have to say that I was satisfied with the ending, although I wasn't really surprised. I hoped there have been more to it, because I knew there's really something more that can be put. It did have a great closure, yes. But it really felt lacking. Maybe because it was way too direct and way much more of a gratified ending, since Sid was able to be finally a member and eventually a master. Like I said, it didn't really have much of a solid plot to it. Despite the parts where it had made me feel terrified and disturbed, it subsided with the fulfilling ending which balances it and what makes me find it somewhat enjoyable to some extent. As for Kakabakaba Ka Ba, the ending was just as enjoyable as the first few scenes, and it's also quite fascinating how they broke the fourth wall. It's as if they really just want to have fun and it's effective. You wouldn't even feel like you're watching because you're just having fun. It's more on you're there with them than just watching them.

Overall, I'd say both Mike de Leon films have won the hearts of the viewers, particularly the Filipino. It's really commendable in a way that not only will you find yourself empathizing with the characters and be able to feel as if you're part of the film, you really genuinely enjoy it because you relate to it and understand it no matter what. You don't just relate to them literally, but more of you are able to see yourself or at least one particular moment of your life that had a similarity to what is shown in the film. You both get to enjoy and feel for it, and most importantly, it leaves you a food for thought that would make you realize things too.

[nikkifilm]

Batch '81, dir. Mike de Leon (1982)

In just the first part of the film, it's no doubt that it is best categorized under the cheated expectation, but certainly not in a bad way. From the title itself, the scoring, down to its first sequence, it suggests to be more light and a bit dramatic, probably revolving around a story of a student who flunks in his class, thus being the black sheep, yet somehow makes a stand that school isn't about getting high grades in every class but learning outside the campus — that's how I thought it would go. Apparently, it turned out to be about joining a fraternity. Little did anyone, or at least I, know that the alternative title “AKO” didn't mean oneself, but rather an acronym for a fraternity called Alpha Kappa Omega. That's how all my expectations for this film drastically changed. Although the main character, Sid Lucero, had a very masculine build and a “bad boy” impression, it never occurred to me that he was going to join a fraternity.

At first, I denied that it was going to be the main plot of the movie. I couldn't accept the fact that my expectations weren't met and that it was all heading towards a different direction, but as I kept watching, I forgot about everything I was trying to expect out of the plot and just continued watching. I happen to grow more genuinely hooked and intrigued of the movie by the conventions showed in it. Usually, films that have students as main characters would focus more on the traditional way of showing a typical college student's life and all that. However, this film took a different turn by focusing on fraternities within universities. Although it does also tell that fraternities may have been popular during the 80's, it's still non-conventional in a way that they showed the reality behind the initiations held between fraternities. This came off as a message to the viewers, than just portraying what the general audience think of when we talk about fraternities. It makes you really feel for the characters in the film regardless if the viewer had actually experienced being initiated or part of a fraternity or if they just had a similar experience with abuse and humiliation. It gives the viewers a fresher perspective than what is always conceived traditionally. Typically, anyone who weren't able to relate to the characters or the film in general wouldn't spend time or even bother watching the whole film, but this was an exception to that barrier. It speaks to the audience, as humans, that it does affect us emotionally and mentally in a way that makes you think: it's possible that this might have or will have happened in real life. Which what always triggers that fear, intrigue, and contemplating among viewers.

Considering the conventions showed in the film, it really does make you feel something. There's that roller coaster ride of emotions that fluctuates throughout the entirety of the film which what at least I commend as yet another great film. It's hard to make people laugh when you're doing a comedy film, like how hard it is making people cry when doing a drama. But this film doesn't merely sticks to its genre or lets it determine how it should make you feel. It does not only achieve its goal by trying to evoke the wanted emotion from its audience but also exceeds it by making you feel all sorts of emotions — from horrified, disgusted, and angry, it just hits you a wave of sadness, despair, and even playful to some extent. Although these aren't as drastically changing emotions as they are mostly similar, they are different from each other that it varies from scene to scene.

In terms of technicality or the stylistic form, there's honestly not much to commend since cinema have improved and expanded now compared to the generation it's from, but objectively speaking, the way the entire film was shot and edited gives you that dark and hopeless feeling about it, especially since for the most part, especially during the initiation scenes, it really comes off as terrifying and at the same time, realistic. Narrative wise, Batch '81 definitely excels as the message behind the film really speaks to the people, and it sparks discussions about how other people interpret what the film wants to address. These small qualities and impact from the film says a lot about how it was narratively commendable.

WRITTEN ON JULY 31, 2019; UPDATED ON AUGUST 7, 2019