I was in the middle of watching Jerrold Tarog’s “Quezon” during its theatrical run when I had a strangely specific…
Author: Paul Emmanuel Enicola
Paul Emmanuel Enicola
Paul is a Tomatometer-approved film critic inspired by the biting sarcasm of Pauline Kael and levelheaded worldview of Roger Ebert. Nevertheless, his approach underscores a love for film criticism that got its jumpstart from reading Peter Travers and Richard Roeper’s accessible, reader-friendly reviews. As SEO Manager/Assistant Editor for the site, he also serves as a member of the International Federation of Film Critics (FIPRESCI) and the Society of Filipino Film Reviewers.
Sixteen years after “Avatar” became the highest-grossing film of all time, James Cameron’s return to Pandora continues to be less…
It took me longer than it should have to recognize how much Rob Reiner’s films shaped me. Not in the…
Lynne Ramsay doesn’t do explanations. She does textures, rhythms, the way light hits a window when your marriage is dissolving.…
Watching the film version of Maria Friedman’s Tony-winning revival of “Merrily We Roll Along” is a strange exercise in dual…
There’s a moment in “Hamnet” where Jessie Buckley’s Agnes Shakespeare screams. It isn’t the kind of scream you hear in…
The first time I saw “The Voice of Hind Rajab” it broke my heart. I found myself having to rewatch…
You don’t walk into a Kelly Reichardt picture expecting fast-paced action, so it’s one of the cleverest gambits in “The…
Today, Vittorio De Sica’s “The Bicycle Thieves” has retained its urgency because the film finds the human bone beneath a…
“A Place of Absence” opens with a voice that feels both steady and wounded. A woman reflects on having lived…