This is a remarkably unbalanced film from notorious schlock meister Carlo Caparas. A few of the ideas that went into making Willy Milan's Anak Ng Cabron were inspired or influenced in part by the movie.
The main problem with Caparas' film is its disjointed and haphazard quality. At times, the narrative flows at a steady pace while every once in a while, the story doesn't move forward at all. Caparas doesn't know how to use the dramatic momentum of a scene to propel the story towards a higher level. As a result, the film's plot is stuck in the first and second acts. Part of what ails the film is the needless insertion of unnecessary scenes such as redundant dialogue which drags the story's pacing. The script is also very wordy and could have benefitted by trimming and cutting down on the superfluous dialogue.
The film does have a few positive aspects such as Ace Vergel's solid acting. One scene in which his thespian skill proved effective is the wake sequence; another is his drunken monologue scene at the sari-sari store. Vergel revisits his role as a tough a-hole from 1982's Pieta and he would once again reprise this character in 1988's Anak Ng Cabron. In addition to Vergel's acting, a few of the action scenes are somewhat notable; the interior of a car sequence in which Jandro pulls out a grenade was obviously ripped off and plagiarized for Robin Padilla's movie Bad Boy though the scene was retooled and had a much more lasting impact than in Vergel's movie.
After its ho-hum first and middle sections, the movie finally picks up with an outrageous, absurdist and insane third act. Indeed, Caparas went all out with the campy factor in the final act of the film that one suspects he co-wrote this part of the script under the influence of various banned substances (most likely crack cocaine). While the wacky quality of the third act is an acquired taste, the shootout finale was grisly and bloody enough to satiate the hunger pangs of action fans who miss the blood and gore of old school action flicks.
To conclude, Caparas' film is a frustrating viewing experience because of its uneven nature. But it is somehow redeemed by the silly third act.
The main problem with Caparas' film is its disjointed and haphazard quality. At times, the narrative flows at a steady pace while every once in a while, the story doesn't move forward at all. Caparas doesn't know how to use the dramatic momentum of a scene to propel the story towards a higher level. As a result, the film's plot is stuck in the first and second acts. Part of what ails the film is the needless insertion of unnecessary scenes such as redundant dialogue which drags the story's pacing. The script is also very wordy and could have benefitted by trimming and cutting down on the superfluous dialogue.
The film does have a few positive aspects such as Ace Vergel's solid acting. One scene in which his thespian skill proved effective is the wake sequence; another is his drunken monologue scene at the sari-sari store. Vergel revisits his role as a tough a-hole from 1982's Pieta and he would once again reprise this character in 1988's Anak Ng Cabron. In addition to Vergel's acting, a few of the action scenes are somewhat notable; the interior of a car sequence in which Jandro pulls out a grenade was obviously ripped off and plagiarized for Robin Padilla's movie Bad Boy though the scene was retooled and had a much more lasting impact than in Vergel's movie.
After its ho-hum first and middle sections, the movie finally picks up with an outrageous, absurdist and insane third act. Indeed, Caparas went all out with the campy factor in the final act of the film that one suspects he co-wrote this part of the script under the influence of various banned substances (most likely crack cocaine). While the wacky quality of the third act is an acquired taste, the shootout finale was grisly and bloody enough to satiate the hunger pangs of action fans who miss the blood and gore of old school action flicks.
To conclude, Caparas' film is a frustrating viewing experience because of its uneven nature. But it is somehow redeemed by the silly third act.