Tag Archives: Dee Emm Elms

THE DARK TAPES (2017) by Dee Emm Elms

[98 minutes. Not rated. Directors: Vincent J. Guastini, Michael McQuown]

As soon as I finished watching the horror film The Dark Tapes, I realized that I had a big problem as a movie reviewer. I wanted to immediately get the word out to encourage other people to find the movie and see it – but I also didn’t want to give much of anything about it away to anyone. I came into the movie almost completely cold, and that’s how I think everyone should see it. And, believe me, I think everyone should see it. Just watch it. It’s that good. But for those who need more convincing, I’m offering as much of a spoiler-free review here as I can. That’s how much I want you to see The Dark Tapes.

In telling you that this movie joins the ranks of The Blair Witch ProjectThe Poughkeepsie Tapes, and Alien Abduction, you can probably guess that The Dark Tapes is a found-footage movie. The title kind of gives it away. And let me add that before pressing “Play” on my remote control, I thought the title seemed uninspired and bland. After watching it, I realized that the title is perfect, and I wouldn’t want anyone to make a change. Its rather-generic name belies its contents, which is kind of a central theme to much of the movie – that what you see isn’t what you get, that conventions can and will be subverted in ways a viewer may not expect, and that sometimes it’s the most unassuming things that can hide the biggest and most sinister secrets.

So many found-footage movies try to compensate for a limited budget by being loud and shocking. They throw things at the camera over and over, or feature loud “stinger” sound effects or screams to hide the hollowness of their contents.  The people who made The Dark Tapes know this, and they play with the audience’s expectations of this in a variety of ways throughout the movie. I didn’t jump in my seat even once during The Dark Tapes, and if you think that’s a bad thing… well, I submit that you don’t know much about horror beyond its ability to provide the odd adrenal rush.

The Dark Tapes is about the horror of dawning realization. It’s about the horror of creeping dread. Right from the first segment, it draws your interest and makes you question what it is you’re seeing. It drops you right into its world. That could be a weakness for less-aware filmmakers, but I suspect it’s done here with definitive intent. Because from the first moment to the last, The Dark Tapes pulls off a trick that only the absolute best found-footage movies can manage: keeping you in that perfect horror movie moment where you’re in a state of perpetual dread, in that feeling you get when you hear the clickity-clack ride up the roller coaster… right before the big drop. Except that The Dark Tapes isn’t about the big drop. It’s about the ride climbing and climbing… and then coming to a sudden stop, and leaving you there – waiting for a more existential drop. With The Dark Tapes, you don’t get to release the tension the movie builds until after you finish the movie. This film leaves you halfway up the climb – perhaps suspended there, perhaps hanging upside-down, and waiting for a rescue that you know in the back of your mind just isn’t coming because that’s not how the world really works. In the world of The Dark Tapes, there’s something deeply wrong with the roller coaster we’re all on, and observing how and why – unspoiled – is one of the movie’s great pleasures.

Credit directors Vincent J. Guastini and Michael McQuown for making beautiful use of budgetary limitations. The Dark Tapes reportedly cost around $65,000 to make, but you wouldn’t know it from watching because this movie shows how creative people can overcome the shortcomings of any budget. So much work, craft, and care are evident, and special note should be made of McQuown’s clear expertise at editing that brings all these well-crafted elements together – they not only transcend typical found footage movies, but horror movies in general. In The Dark Tapes, you get a film that takes you on a journey from calm to chaos and back with the guiding hand of someone truly creative who knows what they’re doing and isn’t wasting a second of what you see onscreen. And, in a way, even that deft editing could be interpreted as something sinister. But I’ve said too much already.

Performances throughout The Dark Tapes are natural when they’re supposed to be, and unnatural when… well, let’s say when you’re dealing with the unnatural. Again, my desire to keep your experience undiluted prevents me from saying much else.

However, I do want to give praise to Cortney Palm as Nicole Fallek, and David Roundtree as Martin Callahan. Both play characters who are dealing with fear, panic, and realization – while also keeping their heads in bizarre circumstances. Like everything else about The Dark Tapes, their work displays a delicate balancing act that ramps up the tension while remaining believable. Future found-footage moviemakers could learn a lot by observing how these two performers play out their reactions to what they’re experiencing.

I want to, mysteriously perhaps, levy praise on a pair of elements: the visible and audible in-movie work of Guastini, McQuown, and Ryan Allen Young that I simply can’t reveal further without spoiling. The things I’m talking about literally gave me goosebumps on five different occasions. You’ll know them when you see and hear them. And, if you’re like me, you’ll never forget them.

Likewise, I don’t think you’ll forget The Dark Tapes. It’s a movie made by legitimate talents that gets at the heart of what makes movies scary, and what makes horror movies both unnerving and delightful. When the film ended, I felt like I could watch five more movies set in the world of The Dark Tapes, each telling different stories. If more is to come, I’ll be waiting – with a blanket pulled over my head in that mix of anticipation and fear.

Because in the world of The Dark Tapes, the truth isn’t out there – it’s right behind you.

Crash Analysis Support Team:

Dee Emm Elms was born in 1972 in Glens Falls, New York. Dee writes about many subjects ranging from social justice issues to Lost In Space, and often mixes them together. Her favorite topic is horror, and horror movies in particular. Her novel Sidlings may be read at sidlings.com, and she would be pleased for you to check it out.  Dee may be contacted at her email sidlingsnovel@gmail.com, or her Twitter: @d_m_elms.

(Movie poster from Teaser Trailer. Dee Emm Elms photo via Dee Emm Elms.)

I AM NOT A SERIAL KILLER (2016) by Dee Emm Elms

[104 minutes. Not rated. Ireland/UK. Director: Billy O’Brien]

Understanding other people doesn’t just take skill. It takes effort. I should know: as an autistic person, I struggle mightily to understand other people. I can’t tell what someone is feeling from reading facial expressions or body language, the way most people can. But, at the same time, this puts me in a unique position to see what people do from an outsider’s perspective.

And I think that’s a part of why the film I Am Not A Serial Killer had such a profound impact on me.

Of course, we all bring elements from ourselves into the media we consume. But in this case, there’s more going on than that. The comparisons of what we are and what we consume and how the two things are linked together is a central theme in the movie.

I Am Not A Serial Killer centers primarily around telling us the story of a young man named John Wayne Cleaver (Max Records). The surname Cleaver immediately evokes the squeaky-clean white Americana of Beaver Cleaver, the central character of TV’s “Leave it to Beaver.” But it also evokes John Wayne Gacy, a real-life killer notorious for having been a would-be performing clown. But there’s less of a paradox at work than you might think because that contrast is central to who John Wayne Cleaver is: a young man who may be a sociopath – who not only recognizes that he has within him the capacity to be a serial killer, but is actively working not to be one.

That’s not a new premise. We’ve seen it in media for decades, up to and including recent television shows like “Dexter” and “Hannibal.” But these shows tend to treat serial murder like a drug-addiction, where a character’s thoughts tend to dwell on violent fantasies or the act of trying to resist giving in to what these stories present as some intensely-pleasurable urge the hero must keep secret. And it makes an unpleasant kind of sense for the writers to do this; it allows them the chance to engage in all the most lurid elements and excesses while still proclaiming that their heroes have a moral compass.

I Am Not A Serial Killer isn’t like that in a number of ways.

Even though the book (written by Dan Wells) on which the film is based is told in the first-person, film director Billy O’Brien wisely pulls back from hovering over Max’s shoulder in terms of storytelling. He instead gives us the broader perspective of an observer. Yes, we focus mostly on John, but we don’t get to hear what’s going on in John’s head. We don’t get the lurid details of John’s struggle. We must instead rely on the performances, and Max Records fulfills this with a blend of subdued delivery and sometimes-surprising non-verbal choices. There’s a deliberate nature to Max’s work as John that shows us just the faintest glimpses of the fight Max is waging to keep his good-natured heart.

But it isn’t just Max who carries the film. Karl Geary, as John’s therapist, Dr. Neblin, provides a welcome change from the inspirational advisor such a role usually entails. Geary smartly depicts Neblin as a thoughtful man trying to help his young patient figure out a path to success, but also as a man who isn’t afraid to confront the fact they’re learning and guessing and failing as they go along, together. Likewise, Laura Fraser’s portrayal of John’s mother, April, plays perfectly off of Max’s acting choices as we struggle to see into her conflict as her already-fragile faith in John’s willpower is put to the test. And Christopher Lloyd displays an agile balance between a wide variety of deep but subdued emotional states as John’s neighbor Crowley; Christopher and Max don’t actually share a great deal of screen-time together throughout the film’s runtime, but the moments when they are in the same place resonate with the skill of two actors who know how to hold back and still provide information to the audience. It’s these moments, when both of them are together that the film is at it’s most intense and impactful.

And what is that theme, exactly? Well, I contend that what the movie’s story tells us is that we sometimes need someone from the outside to tell us when things aren’t what they appear to be. That we need unusual perspectives to keep the world together. To keep us safe. To keep us alive.

We need someone who can recognize that there can be menace behind a smile. That sometimes love can look ferocious or angry or desperate. That a killer can be the man at the back of the church ceremony. That love can lead us to do terrible things, just as much as the supposed absence of love. That just because our own feelings don’t match what other people tell us those feelings are supposed to be like doesn’t mean that what we’re feeling is wrong or irrelevant. But most of all, sometimes the people who seem to act in strange or peculiar ways are the good guys, and sometimes the most pleasant people are the bad guys … while also simultaneously telling us that it’s not so easy as good guys and bad guys.

The theme of complicated heroism and villainy isn’t new either – but making it sincere and emotional is very uncommon. Usually, stories that depict “shades of grey” come off as cynical or hamfisted. Worse, they often paint the world as a place where caring or decency are “old-fashioned” ideals. That it’s somehow unevolved of us as human beings to believe in idealism.

I Am Not A Serial Killer isn’t like that.

Instead, it takes an oddly old-fashioned approach to its morality. It says that there are good people, and monsters, and that there’s a difference. The victories and defeats it depicts are rooted in the idea of people making moral choices – in a way that earns the last name Cleaver as more than a horror-movie/sitcom mash-up pun. This is a film that isn’t afraid to teach moral lessons in an up-front out-loud way. And I love it for being more than, say, the cynically-hateful moral flatline of works like Mark Millar’s Wanted or Kick-Ass – examples of films that deal with similar issues but come to “whatever, it’s all on you” non-conclusions.

I Am Not A Serial Killer makes statements about looking deeply into other people to find what matters in them.  And no matter who we are or how we think, that’s something we all need to do a lot more of in life.

Crash Analysis Support Team:

Dee Emm Elms was born in 1972 in Glens Falls, New York. Dee writes about many subjects ranging from social justice issues to Lost In Space, and often mixes them together. Her favorite topic is horror, and horror movies in particular. Her novel Sidlings may be read at sidlings.com, and she would be pleased for you to check it out.  Dee may be contacted at her email sidlingsnovel@gmail.com, or her Twitter: @d_m_elms.

(Movie still from Uncrate. Dee Emm Elms photo via Dee Emm Elms.)

Ouija: It’s Only A Game by Dee Emm Elms

 

ouija_07-1024x575Perception isn’t reality.

I know that. You know that. Everyone knows that.

And, yet, we give in to treating our perceptions like reality all the time. It’s almost like it’s a self-indulgent game the vast majority of people play near-constantly with the Universe.

It’s so pervasive, in fact, that some people make careers that depend on making particular perceptions seem like a specific reality. We even ask them to do it! Examples: actors, singers, magicians, “spiritual mediums” … and writers. These are people who rely on convincing the rest of us to look over there and not over here. Talented performers in those fields play that game with other people’s perceptions. They convince the entire world to watch the jangling keys, that the hands behind their backs aren’t up to anything, and that what’s happening in front of our eyes is real – or feels real, at least – even if it’s obviously impossible.

And, a lot of the time, we go along with this. Happily, in fact. We’re willing to play along and take part in the game because these are pleasant fictions. We enjoy them – even when we play games pretending to talk to the dead, to use the example of spirit-mediums. Take the Ouija board. We put our hands on its planchette, and we play at talking to the dead despite all that this could entail. Despite the amazing possibilities of what it might really mean to commune with the dead. Do we think of talking to the great minds lost to time? No. We ask about ourselves. We let the lie of magical thinking overtake us and we play along, and we insist “it’s only a game.”  We’re not going to admit that we’re the ones moving the planchette. It’s that person over there, across from us.

But what if it was real? Who wants to entertain that thought? Almost no one. If it were real, there might be implications. Consequences. We want the real world to be magical, but we don’t want to admit how terrifying a magical world would actually be.

Terror can be giddy, and magic is fun. There’s an immediate motivational reward in playing along – and rewards can be that pervasive. We wave our hands. We specifically dismiss our doubts in order to get the reward. We want to be entertained. We want good movies, or a memorable show, or a sense of calm that our long-lost aunt is tending to her begonias in a benevolent afterlife, instead of rotting in the ground in a nullified state.

Over a lifetime, we train ourselves to indulge these pleasant fictions, and to seek out those rewards to the point that we learn it’s easier to get that reward if we don’t care about looking behind the curtain.

But that’s the precise moment when things really start to get dangerous.

Because you know who else relies on making perception seem like reality? Politicians. Con artists. Murderers. And when they succeed at pulling off their big tricks, it’s far from harmless. It ends up with folks manipulated, bankrupted, or dead.

And, yet, our desire to be entertained pushes through our common sense even then. We keep voting for the same kinds of politicians. We turn con artists into celebrities – once they’ve retired, of course, so we know they won’t get us. And we turn murderers into folk heroes.

That’s how much we want to be entertained. We can put up with anything if you give it a soundtrack and some flashy lights. And that scares me. A lot. Because there are smart people out there, right now, relying on our lack of critical thinking skills to do the world a lot of damage.

Everyone should know that. You should know that. I should know that.

Which is why it’s important for stories to have a point that connects to reality in some way. That stories should never exist in the vacuum of being “just stories.” Stories have to tie in to something real for us to enjoy them, even if it’s on a rudimentary level. Even if it’s basic and fundamental. Because that’s the tether that links us back to the real world, no matter how entertained we are.

Some people dismiss this kind of storytelling as “having an agenda.” But my favorite stories always have agendas.

Oliver Twist is a classically entertaining period novel, but it also exposes the horrors of child labor and the toll of bureaucracy on young lives. And To Kill a Mockingbird isn’t just a gripping courtroom thriller; it has much to say about society and the divisions we force upon each other.

And then there’s Cujo, my favorite book of all time.

Cujo is about a woman and a child trying to survive a series of terrifying attacks on them by a diseased dog. But that’s just a metaphor. When I first read Cujo, I got about a third of the way in … and then, suddenly, I realized something important: the story in front of me wasn’t the whole story. Sure, the reader gets the usual Stephen King creep-and-crawl hijinks. But when I looked deeper and really thought about it, I found a much bigger and much more intimate story beneath that surface: A family breaking down and disintegrating. And the theme to that disintegration was vicious, unrelenting abuse. The woman and child weren’t just incidentally “woman” and “child” here; they represented the man-woman-child dynamic of a “typical American family.” The woman and child were being victimized by the enormous, muscled, sick, and vengeful Cujo as a symbol of someone who is part of the family getting sick – outright diseased – and turning on people American culture symbolically identifies as unable to defend themselves. Almost everything in Cujo can be seen as some kind of metaphor. Conflating Tad’s fear of the dark with his anxiety over his often-absent parents; the anti-monster incantation is an IOU as much as anything else. Consider, too, that no matter how hard Donna fights, Tad is dying in that car anyway – because she’s fighting an abstract battle beyond the literal one on the page. Cujo isn’t really the enemy. Time and heat and dehydration are. it’s destruction in slow-motion, by degrees. And consider, too, how the book is obsessed with blending elements of horror and the banal: children’s breakfast cereals that wind up terrifying parents, the monstrous eyes in Tad’s closet that foreshadow his dark fate. They all tie back to undercurrents of evil lurking beneath a placid and pastoral exterior, an American way of life that’s dying in King’s book and our real world as well. It isn’t a rabid dog that’s poisoning the world of the story. It’s us. It’s the way we don’t deal with the fears and anxieties these metaphors represent.

And horror, especially, always needs these metaphors. Because horror, whether as a craft or as an art form, absolutely requires a core of real emotion to work since it’s rooted in real human emotions: dread, unease, and fear. Sure, you can force someone’s instincts to kick in with a loud noise or a transient visual surprise, but that isn’t horror. If it were, we’d call it horror whenever someone dropped a plate at your favorite restaurant. I mean – you jumped, right? But that’s just electricity in your brain. We know that there’s more to horror than just the surprise of unexpected data.

Metaphors are the difference.

Horror uses the most primal symbols of our subconscious language to get at places we don’t visit in conscious awareness. Those plates dropping – that’s the surface.  Adrenaline – that’s just a chemical reaction. The thing we call horror, the thing we love, is so much more than these elements.

Horror as a genre is about our real-life concerns and anxieties, pulled from our own collective subconscious and made manifest by artisans and craftspeople for all to see and to cope with. And that’s key. Horror isn’t just about the unknown being there, or horror would be a dark room and nothing more. Horror is about creating representations of ourselves as we venture into that dark room, and find or lose the courage to turn on the light and see what’s actually in there. It’s about exploring. Coming out on the other side and being okay.

That’s also why my favorite medium in which to experience horror is through film, because that journey can be actively shared by so many people at the same time.

There is nothing like going into a dark theater with other people – a packed house, ideally – and seeing a new horror movie. Not a jaded legion of critics, but an audience who’s there to really experience the horror. To explore those anxieties together in a safe environment. Horror movies are at heart participatory experiences. In most good films, the audience is often relatively quiet. In a good horror movie, in those moments right before the big reveal of what’s lurking on the other side of the curtain, the audience is silent.

But then comes screaming, or laughing, or both. Gasps. Exhalations. And, at the movies, we do it together – and we come out fine on the other side. This is essential to horror because the genre is self-reflective even as it most often addresses the unseen.

Go back to the Ouija board and consider the tropes. Despite the aunt with the begonias, that’s not really what most people are asking Ouija boards. They’re asking about themselves. They’re asking for secrets and truths. “Where’s the family money hidden?” or “Did you love me?” or “Was I responsible for your death?” We care about ourselves more than the dead. We use the board to wake the dead, and check up on them or to ask them for clarity. Consider that. If the Ouija board were real, it would be a tool with which we would ostensibly be using to draw the dead from the commonly-presumed peace of some afterlife to answer questions as we demand that the spirit move a little planchette across a game board.

Now, reverse the pleasant fiction and really consider this from the other side. Could any good come from that? Would we really want to bother people we care about if the board and planchette really had that power? If the pleasant fiction were actually real?

It is this conflict between the pleasant fiction and the horrifying implications of that fiction that’s at the heart of one of my favorite horror movies: Ouija. It takes the paradoxical nature of talking to the dead with a children’s board game, and tells a story that plays out the conflict inherent in those disparate elements by using metaphor in ways that lets the audience question human nature.

Ouija was written by husband-and-wife duo Juliet Snowden and Stiles White, with the latter directing. It tells the story of Laine Morris (Olivia Cooke), a young woman who suffers a terrible loss that drives her to use a Ouija board. Part of what I love about Ouija is that you have to pay attention to really see into the lives of the characters, and I don’t want to take all that away from anyone who hasn’t seen the movie. It’s not about twists and turns and shocks. It’s about the way events impact the characters and the audience, too. There are surprises, but sharing the learning experience with the characters as they delve deeper into the film’s mysteries is more important.

So don’t expect this film to reinvent the wheel. In fact, the film was sharply criticized for being derivative and unoriginal. But many of those critics missed vital material of Ouija that not only make it unique, but something to celebrate in the horror genre.

It’s worth noting that Ouija made $100 million dollars. Now, popularity isn’t an indicator of quality, but there’s something else going on with the movie that helps explain the disconnect between critic and audience, and what many critics missed or didn’t bother to investigate, which contributed to the film’s success, while also tying into the shared experience of horror.

Ouija is principally about observation. About seeing the surface versus seeing the truth. It’s about the fight we all struggle with about accepting those easy answers versus being critical, aware, and attentive in the moment. It’s about the way, when someone kills themselves, we tsk and say, “But she seemed so happy.” It’s about the way we judge by appearance: where beautiful means nice and ugly means horrible. It’s about how we view innocence versus guilt. It’s about where and how we assign blame. It’s about loss and grief.

Grief, especially, factors in as a big part of the story of Ouija in ways we don’t typically see in horror.

Example: in the Nightmare on Elm Street series we see funerals for characters who have died at the hands of Freddy Krueger. These are usually brief vignettes, often serving the purpose of finding the hero character struggling to explain what caused that character’s death so that the adult contingent of the story can express exasperated disbelief.

In Ouija, virtually the entire first half of the film deals with Laine’s grief. And that grief comes back, again and again, and we still experience this through Laine by the time the movie has ended. That’s not just unusual for a horror movie – it’s virtually unheard-of, save The Sixth Sense, Paperhouse, The Orphanage, and The Reflecting Skin.

But that’s not the norm. In horror movies, people die, and the story moves on. As with the aforementioned Nightmare on Elm Street series, you might get a few scenes of tears, but for the most part you just don’t get to follow characters along as they come to grips with loss. And if you do, there’s usually some gut-wrenching twist where we find out the protagonist caused the loss or was the killer all along or some other such out-of-left-field nonsense.

After all, grief is a difficult emotion. It’s tough to experience, and can be almost as tough to write – let alone write well. But it’s the emotional core of Ouija, the idea of how we cope with loss, and the lengths we’ll go when we want – need – the pain of grief to stop, even if just for a little while.

Since Ouija was written to have this powerful emotional core at the heart of the story, that is why so many critics missed the point of the film. The emotions at play flew past them.

And a big reason for this is that the vast majority of critics are men.

Because here’s the other amazing thing about Ouija – it’s about women.

And I mean ALL about women. Women talking to women. Women engaging with other women. Women fighting other women. This movie owns the Bechdel Test and the Sexy Lamp Test and owns them both well.

There are men in Ouija, yes, but they are not at the core or heart of the film. It’s not their story.  It’s Laine’s and Debbie’s and Liz’s and Sarah’s and Doris’ and Paulina’s – and that’s a big deal. Heck, even Laine’s absent mother, who isn’t even in the movie, figures significantly into the overall meaning of the story.

And, yes, women have been an important part of the horror genre for a long time, which has been written about extensively. In fact, if you’re unfamiliar with this topic, I urge you to Google “horror and feminism” and read all about it.

Ouija isn’t alone in its focus on women, but it is unique in just how strong and important that focus is to the story, with Laine at the center. I praise the cast across the board, but I do want to emphasize that Olivia Cooke gives a reserved performance that never fails to make clear Laine’s feelings for the different women in her life.

I love Ouija for taking the time to do that as well, and that we get to see the film explore concepts of sisterhood, motherhood, women’s friendships, and more. We get to see a wide variety of relationships, from connections to conflicts, between this small cast of characters that matter to women.

But Ouija was scoffed at by critics, like Brian Viner who called the film “… like High School Musical, only with screaming”. Jonathan Romney remarked that “The bumps and thumps are mechanical, the young stars insipid and the otherworldly entity the kids contact is called Doris.” And finally, Alonso Duralde said it was “a bloodless kiddie horror show.”

These critics miss the point. They watched Ouija, but they only saw the surface and it didn’t compute because they didn’t look through their metaphorical planchette. Instead, they saw ghosts, but they didn’t see what the ghosts meant. They saw simple scares, but didn’t think about the emotions behind them. In other words, they only saw the creep-and-crawl. They saw the building blocks, but missed the art and craft of what the blocks had built.

And I think it’s because the movie centers on women. We’re increasingly seeing male critics attack movies centered on women simply because of that fact, and often before the films even come out. Like when a noted Men’s Rights advocate demanded a boycott of Mad Max: Fury Road because he felt the film was “feminist propaganda.” Or the innumerable critics who attacked the new Ghostbusters without having seen it simply because women made up the lead roles.

But stories with agendas will keep being made because social commentary is part of storytelling and always has been. It’s why fictional stories get told in the first place. And if you don’t watch horror movies like Ouija with attentive eyes, you’re going to miss out like the critics when they didn’t notice what’s right in front of them.

It’s a shame when you miss out like this because that’s the point of horror: to dare to explore things more deeply than those surface elements. To hold the planchette up to your eye and see what you’re told can’t be seen.

Go ahead. Take a look. What are you afraid of?

It’s only a game – isn’t it?

Crash Analysis Support Team:

Dee Emm Elms was born in 1972 in Glens Falls, New York. Dee writes about many subjects ranging from social justice issues to Lost In Space, and often mixes them together. Her favorite topic is horror, and horror movies in particular. Her novel Sidlings may be read at sidlings.com, and she would be pleased for you to check it out.  Dee may be contacted at her email sidlingsnovel@gmail.com, or her Twitter: @d_m_elms.

(Movie still from Movie Pinas.)