Disney Wizard A top-drawer script can be ruined by a poor director but no amount of top-drawer direction can improve a rotten script - I want my one-hundred-and-ten minutes back from this schmutz used to cover the porn hidden under the socks. This epic-fail is almost better than I could create in a weekend with some teenagers, an outline and a handy-cam with broken steady-shot because if it were well trimmed and tightly cut there would only be enough story to fill a quarter-hour. The plot is… is a decorated rogue cop who…, who…, oh yeah, there's no plot. The open-caption narrative subtitling in English throughout distracts even native Tagalog viewers, because the subtitling delivers the lines better than the actors. Schizophrenic hallucination transference (I must assume,) and the supernatural aren't enough undelivered explanation to fill the Kaybiang Tunnel sized plot-holes in this intentionally confusing yawner best screened in a theater for an air-conditioned nap. It's too easy to fall asleep trying to watch this pablum schlok, but there is no plot to miss should you do, it put the focus-puller to sleep over and over again. Low budget is no excuse for not employing a competent continuity script-girl, but apparently the fuzzy forms which vanish and re-appear among scene cuts and frame edges is. A tip to the viewer resulting from four frustrated attempts at genuinely trying to stay awake and stick with it - I was finally able watch it through to the credits, in fast forward. In FF you'll miss no story because the dialog is built into the open-captions, you'll not miss the easily forgettable laboriously long-drawn-out score and much of the film will return to normal speed. Here's a tip for Yam Laranas - Minutes do not manufacture mystery. Creeping a film along does not a creepy film make. If you're stuck with a thin script of kiddie-pool-shallow characters which is stretched several minutes between lines by vacuously empty repetitive images, don't liberally sprinkle your all-filler/no-killer film with over-crank and slow-motion to substitute for genuine tension or thrilling excitement. We want the killer, not the filler!

ebossert This film by Yam Laranas ("The Echo") is divided into three segments. The first story concerns three young teenagers who drive down a desolate road at night, not knowing that it is haunted. This is a very cool, lengthy sequence with some nasty looking ghouls. The atmosphere is dense and the scare tactics are nicely crafted. The next two stories are flashbacks that show the historical acts of violence that are connected to the hauntings. The style here feels like a modern French horror film. It's very professional, with great photography, very eerie scoring, and solid performances. No humor or stupid one-liners to be found here. The deliberate pacing and gloomy mood will likely wear viewers down, which is a trait that I find to be a very positive thing. I strongly recommend this.On a side note, I find it somewhat annoying that this film has such a low IMDb rating and such negative reviews. In a day and age where crap like "The House of the Devil" (2009) and "Insidious" (2010) are praised and hyped as new genre classics, I guess I shouldn't be surprised when a genuinely strong horror film like "The Road" (2011) is derided and criticized for being "too slow." Perhaps a few dozen cheap jump scares or some graphic violence would have sufficed to keep our attention deficient audiences awake. For goodness sakes, "Rob Zombie's Halloween" is currently rated higher than "The Road." Yeah . . . okay.

moviewizguy "The Road" starts off very strong. The first segment scared the hell out of me, something that almost rarely happens to me. Sure, the film doesn't have a high budget, and it probably would have benefited if they could manage to pull off the effects they were trying to achieve, but the small budget is sufficient enough. However, after the first segment, the film gets noticeably less exciting as we're given more backstory and information to solve the whole mystery surrounding the story. It would have helped if they tighten up the pace a bit, keep things going rather than slow everything down. Still, there is a satisfying payoff by the end as everything falls into place as well as unexpected emotional pathos rarely seen in horror films. Overall, the film reminds me of a Tarantino horror film. It's ambitious and may be a bit too convoluted for its own good, but it's above-average horror.

DICK STEEL I guess I have to point out something positive about the growing numbers of foreigners in our land, in that the numbers will justify cinema from their home country to be viable for big screen outings here. I get my fair share of the latest blockbuster movies from India given that it's one of the major cultural make up in Singapore already, then there's the Thai, Korean and Japanese flicks that not only cater to foreigners residing here, but to its legion of fans from time to time. And with films from ASEAN from The Raid to The Collector gaining prominence everywhere, it's only time to add Philippine Cinema to the list.It's true that indie or art-house films from the Philippines do make it to film festivals here, but for the mass market audience, The Road is perhaps one of the earliest to hit commercial cinemas here in a long while, as far as my memory serves. And what better way than for a horror film to try and open up the doors, one that features an ensemble cast of stars with idol looks to spark an interest, besides providing Filipinos here with something from home. But as with most horror films around the region, it's usually touch and go basis, and The Road, boasted for getting itself a US distribution, it's somewhat of a roller coaster ride with its fair share of creepy moments, ultimately done in via a runtime that artificially sustained a thin plot.Written and directed by Yam Laranas, The Road is actually made up of three story arcs each set in a different time line separated by a decade each, and linking them is the titular road along which something strange and macabre even that had happened in a dilapidated house found along it, together with an abandoned car. The opening shot, pardon the pun, set the stage for an epic mystery to be unravelled, with the stage set for a hot shot cop Luis (TJ Trinidad), decorated with a medal for his string of successful case closures, to prove himself in the series of events that follow.In the first arc, three friends go out for an illegal joyride, making a detour into The Road to avoid a police roadblock, and in what would be a case of bad luck, encounter ghouls that seem to be stuck in groundhog day fashion, repetitive hauntings of the trio. Things don't really happen with much logic here, and the strength of friendship amongst the trio got rather telling when it becomes every man (and woman) for him/herself. So much for solidarity when the poop hits the fan. This arc was more teenage drama before the effects and make up crew shifted gears and made it their own toward the end.The second arc tried to become a mini outing along the torture porn genre, but unfortunately with the more violent offering in practically every film in the genre, this arc turned out to be rather tame, with a man inexplicably hammering his victims, two sisters, away without remorse or reason, making it a battle for survival against complete madness. It's also responsible for some interest to wane, as the story here proved to be one of the weakest, and overstayed its welcome through a series of scenes that dragged out quite unnecessarily. We know who's alive and who's not from the earlier arc, and the narrative really took its time to get there.But thankfully, the redeeming factor came from the third act. While it didn't offer anything we don't know about nor new in the narrative sense with similar themes being explored before in other films, and tosses up some more questions than answers, it is the actors here delivering better performances from the rest, and a story that's set against a dysfunctional family, that showed of Laranas' strength in storytelling. The narrative got creepier as it went along, with practical effects enhancing moments within that will make your hair genuinely stand on ends. By now you'd realize that Laranas rarely dips into the oft used box of the same old techniques used to scare audiences with quick jump cuts and edits, preferring to let the camera take its time in revealing presence that's spot on in creating both suspense, and eerie atmosphere.The Road plays on the gimmick of having a horror film told from three expanded story arcs with common characters linking them all together, and in essence scores in its effort. However, horror film fans with a penchant for the same old boo scare tactics dished out by filmmakers may find this a little bit sterile. and not offering that adrenaline rush each time a scare comes on. For those who wish to explore what horror and their films mean to friends from the region.