Set during the first quarter storm in the 1970s, policemen Homer, Conrad, and Billy are consumed by the murder case of troublemaking teenagers in the slums.
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| (C) MQuest |
When we think of big moments in history or epics, jaw-dropping events and memorable conversations or speeches easily come to mind. Oftentimes, we tend to overlook the buildup to those moments, but honestly, it can be just as compelling as the big battles. Manila’s Finest is unabashedly a prelude to descent.
Writers Michiko Yamamoto, Moira Lang, and Sherad Anthony Sanchez have created something hauntingly grim, as the film looms over an impending decision. While it has rewarding moments surrounding the mystery, the film isn’t particularly interested in uncovering the truth—it’s already implied. Instead, we watch characters slowly realize that things are slipping out of their control as pieces fall into place behind them. We see them grow conflicted in their actions. Director and cinematographer Raymond Red correctly sets up an atmosphere powered by Digo Ricio’s impressive production design. The film also strikes the right balance in portraying these cops within this world. It’s not an easy watch.
But oh boy, does the cast deliver. Given the film’s structure, Piolo Pascual and Ashtine Olviga really needed to anchor the film, and both succeed. Their pivotal scenes define the movie. The rest of the cast offers either colorful or grounded performances. It’s an ensemble to die for.
Interestingly, despite not being an easy watch, the film needed more time. There are various moments that would have landed more effectively had they been allowed to play out longer. Perhaps there was a mandate to cut it down to a tight two-hour version, or maybe it was a purely creative decision, but a deeper immersion into this world would have further hammered home its central message. Some scenes also felt a little too stage-like, suggesting a need to revisit this genre more often.
Manila’s Finest presents itself as a nightmare that hasn’t yet peaked—one you can’t quite wake up from. But for us, it also implies that this nightmare has already happened before. Maybe it’s a prelude to waking up, too. 4/5.
