Disyembre 24, 2016
DIRECTOR: Perci M, Intalan, DonDon N, SAntos
WRITER: Rody Vera,Zig Marasigan
PRODUCTION CO: Regal Films
RELEASED: 2014
GENRES: Horror
Stars: Erich Gonzales, JC de Vera, Ariel Rivera, John Lapuz, Lou Veloso, Alice Dixon
SHAKE RATTLE ROLL XV is a staggeringly crappy and confused three-section scarefest that has everything cash can purchase, yet an excessive number of scenes are thought up to the point of vacancy, the performers appear to do a school play and 3 separate scripts can't stand much examination (or shaking, rolling and rattling). The main scene, AHAS, coordinated by Dondon Santos, is a sham (digging on the genuine myth around a lady with a twin snake, them two scions of an acclaimed supermall). Alice Dixson acknowledges the difficultly concise mother part who brings forth the twins, all things considered, bits of gossip flourished at one time that Ms Dixson was a close casualty of the snake-man of the said shopping center. Ariel Rivera plays Ms Dixson's better half, JC De Veyra plays the adoration interest who is really looking for retribution for the unexplained vanishing of then-sweetheart Solenn Heussaff, Lou Veloso plays a startled janitor, Mosang a saleslady who shrewdly draws individuals into the mystery cellar where the snake-human lives, and Melai Cantiveros and Jason Francisco, apparently a bundle bargain, play a hapless shoplifter-turned casualty and a dumbfounded security monitor, separately. In the main part is Erich Gonzales, one of the shrillest performing artists in Philippine silver screen. Replicating improperly the snake-lady CG (Medusa) from the Hollywood blockbuster WRATH OF THE TITANS (2010), this scene has Gonzales playing pouty twins, one a human once more from abroad who doesn't have any acquaintance with her twin sister is alive, the other, a murderous animal who eats up individuals and preferences inquiring as to whether she's excellent (before irately eating up them). John Lapus adds pizzazz to the procedures, overseeing the style appears. The second scene, ULAM, from Jerrold Tarog, plays like a taped play with a strange topic. Dennis Trillo and Carla Abellana play a couple who start distancing each other and their child as they exchange to the tribal place of Dennis' grandparents (hated via Carla). Chanda Romero plays maid Aling Lina while the tyke, Julie, is played by Kryshee Frencheska Grengria. I don't believe I'm ruining much when I say the dishes that are being set up for the couple are harmed and gradually transform them into insatiable beasts. Pundit Oggs Cruz appears to like this scene the most, promising viewers to watch the motion picture if just for this scene. Some may think that its stagy, odd and affected, yet underneath the dim plot lies a diamond of an execution from Ms Chanda Romero, who has reasons of her own for attempting to serve the sort of dishes she is serving. Trillo regularly experiences the paces, while Abellana frowns and sulks - leaving, trust it or not, the most sincere acting to be finished by tyke performing artist Grengria, as she observers with her honest personality the disentangling of a marriage (her folks'). Ms Perla Bautista is squandered in the part of the serious grandma, a token part in such thrillers as this. Once more, John Lapus amusingly appears again as Iggy Moda, Carla's companion. Tarrog coordinated the 2011 ASWANG with Lovi Poe, which I truly like, an alternate thought on the aswang mythos. With ULAM, he succeeds against two crummy scenes, particularly with Ms Romero. The third scene from Perci Intalan, FLIGHT 666, is the campiest of all; Intalan's equation is by all accounts, amass a varied cast of characters, put them on a plane, include a ruffian, additionally add a lady who brings forth a child fiend who needs to eat up everybody. Too bad, even the best laid arrangements of mice and men oft go off to some far away place, and Intalan confers his first mistake by his decision of performing artists. To mind: Lovi Poe and Nathalie Hart (who?) as flight specialists, Matteo Guidicelli as a specialist who had a past with Lovi, Daniel Matsunaga as a pilot, Khalil Ramos as a self-retained cutie who spurns the woeful advances of Kiray Celis, Yael Yuzon as a hero brimming with himself, IC Mendoza as Kiray's pouty gay companion, Sue Prado as a languid traveler, Betong Sumaya and Bentong as father-and-child travelers with an interesting twang. Amusingly added to the brawl is Joy Viado as a current Doña Victorina who secures herself up in the restroom, however robust sugar mother Arlene Muhlach is as of now in there with her hunky sweetheart (John Spainhour). Diverting to a few, irritating to others is Kim Atienza, essentially playing himself, a mobile reference book of trivia and truths. Intalan may have been served well by the supporting cast, however Lovi Poe (playing hesitant and quiet) and Matteo Guidicelli (playing shy and compliant) essentially don't lead a motion picture around a commandeered plane! Thankfully, Bernard Palanca is installed to threat the travelers yet some time or another Palanca will unquestionably ham it up, in the great Christopher de Leon way. We need to be grateful regardless he has the Armando Goyena touch, and assaults any parts well (Goyena is his genuine granddad). Most ludicrous of all is the infant fiend (with a backstory of the young lady getting impregnated by an "elemento"), and everything goes to hellfire from here on. Intalan's work is difficult to comprehend (Note his 2014 Nora Aunor motion picture, DEMENTIA, with viewers scratching their heads about the plot and Aunor's execution). The musical scoring (by Cesar Francis Concio for AHAS, by Jerrold Tarog for ULAM, and by Von de Guzman for FLIGHT 666), are one of the 3-section motion picture's small resources. Macky Galvez's cinematography renders numerous scenes frightful in ULAM. In any case, all on-screen characters need to pay their levy, and the on-screen characters here need to pay their contribution to Mother Lily, so I need to reason them for their hammy, crummy exhibitions. All things considered, I delighted in SCREAM and its three continuations (yet SCREAM is far better than this slim, uneven scarefest). As though to press a point (that, after this moronic motion picture, Intalan will in any case direct, or rather, each of the three executives will even now associate with), John Lapus has an astonishment finishing appearance, happy that he survived the three awfulness circumstances. Too bad, speedier that you can spell Daniel Matsunaga, there without a doubt will be a sixteenth motion picture.
