Nostalgia is a funny thing. It can be comforting, like an old cassette tape that still plays despite the hiss…
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.
There’s something insidious about the way “Stranger Eyes” draws you in. Not with shocks or whiplash reveals, but with a…
“The Naked Gun” is stupid. Stupid, stupid, stupid. It’s a film so dedicated to tripping over its own shoelaces that…
2:17 AM. One by one, in some mysterious fugue state, seventeen schoolchildren quietly exit their homes, run with arms open…
For the longest time, Philippine cinema has danced around certain subjects; tiptoeing past them, softening their impact, or ignoring them…
I’ve seen every Fantastic Four film ever made. Yes, even the unreleased 1994 one that looked like it was filmed…
There are few things that pull me in faster than films that engage, head-on, with culture, history, and the ways…
July 2010. I took an emergency leave from work to catch “Inception” in theaters, then on the tail end of…
In the past five years, only a handful of movies have really earned the label “blockbuster” in spirit, not just…
You don’t need to know the exact dimensions of someone’s grief to feel the shape it leaves behind. In “The…