“In the Mood for Love” in the Shadows of Postwar Saigon. It’s a title I offer with full awareness of…
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.
We don’t talk enough about the women who spend their lives holding families together from afar—working in strangers’ homes, raising…
“Show me the money!” It’s funny—that line has been memed, parodied, stitched into pop culture so tightly that it’s easy…
Nostalgia is a funny thing. It can be comforting, like an old cassette tape that still plays despite the hiss…
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…