Maria Rosa Vilma Tuazon Santos-Recto (born Maria Rosa Vilma Tuazon Santos November 3, 1953 in Bamban, Tarlac), commonly known as Vilma Santos-Recto or Ate Vi is a Filipino actress and box office queen for almost four decades. One of the original Philippine movie queens, she rose up to become the versatile actress that has been given the fitting title of “Star for All Seasons” because of her capacity to adapt to the changing mores and values of the Filipino woman, giving a face to their plight and struggles, albeit in success both critically and box-office wise in some of Philippine cinema’s classics such as Trudis Liit (1963), Lipad, Darna, Lipad (1973), Burlesk Queen (1977), Relasyon (1982), Sister Stella L. (1984), Alyas Baby Tsina (1984), Pahiram ng Isang Umaga (1989), Dahil Mahal Kita: The Dolzura Cortez Story (1993), Anak (2000) and Dekada ’70 (2002). She is currently the governor of Batangas, Philippines (2012)(Wikipedia).

For More Informations, Visit: Vilma Santos-Recto's Official Web-site

Wednesday, January 27, 2016

Everything About Her (2016)

Pag nagkakamali ba ang nanay, di mo na siya nanay? Pag binigo ka niya, nababawasan ba ang pagkananay niya? Nanay pa rin kami. Nanay niya pa rin ako.” - Vivian Rabaya

Di mo naman sinabing impakta ang potah!” - Jaica Domingo


Basic Information - Direction: Joyce Bernal; Screenplay: Irene Villamor; Story: Mia Concio; Cast: Vilma Santos, Angel Locsin, Xian Lim, Michael De Mesa, Nonie Buencamino, Khalil Ramos, Devon Seron, Alexa Ilacad, Jana Agoncillo, Vangie Labalan, Buboy Villar, Niña Dolino, Dante Ponce, Bart Guingona, Sharmaine Buencamino; Executive Producers: Malou N. Santos, Charo Santos-Concio; Production Company: Star Cinema; Official music video of the movie ‘Everything About Her’ titled ‘Something I Need,’ performed by Piolo Pascual and Morissette, Arranged by Paulo Zarate, Mixed and Mastered by Dante Tañedo; Original Song from band, One Republic; Music Production by Jonathan Manalo; Language: Tagalog, English; Release Date: 27 January 2016; Country: Philippines; Also Known As: All of My Life

Plot Description - Powerful but ill-stricken business woman, Vivian Rabaya (Vilma Santos) navigates her complicated relationship with her caregiver, Jaica Domingo (Angel Locsin) and her estranged son, Albert Mitra (Xian Lim) in this story about acceptance, love and forgiveness. - IMDB (READ MORE)

Film Achievement - The film earned ₱15 million on its first day of release; As of February 5, 2016 the film has earned ₱100 million; The film is graded A by the Cinema Evaluation Board (CEB) and is rated PG (Parental Guidance) by the Movie and Television Review and Classification Board (Wikipedia); All-Time U.S. and Canada Box Office - Weekend of Feb. 12, 2016 -Feb. 14, 2016 Weekend Gross #32 $245,000; Cumulative Gross for two weeks: $1,248,700 (59,474,956.65 Philippine Peso); # of Theaters: 50 (NY Times); Star Cinema's most heartwarming movie of the season, "Everything About Her," has already earned P208M worldwide since it opened in cinemas. Star Cinema Ad Prom director Roxy Liquigan posted the good news via his Twitter account last February 16. (Star Cinema ABS-CBN)

Film Reviews - "...Please note that there may be other services under each category that you may be aware of. We recommend that this list be a starting off point to a more comprehensive search for services. The Housing Help Resource Tool Kit’s Housing Stability section has been updated to include these news resources as well. The story is simply told thus giving it a natural flow. The direction makes the film appealing for both millennials and non-millennials alike. You are almost tempted to wish and hope the film would end ala-Ishmael Bernal or ala-Lino Brocka. But Direk Bernal is into her own generation and knows her present audiences at the palm of her hand. Some dramatic scenes actually ended up funny but the actors were so versatile you end up laughing and in tears at the same time. Indeed, the performances of both lead actors and supporting cast were so compelling you felt almost everyone in the cast deserved an acting award. The surprise actor in the cast was Xian Lim who delivered not just a focused performance but a highly stirring one. His hospital scene with Vilma Santos was a stand-out one could hear people quietly sobbing behind me. Angel Locsin has no match as a supporting actress, the part of Nonie Buencamino (as the padre de familia) has all the hallmark of a good actor and the part of Shamaine Centenera Buencamino and Vangie Labalan (no matter how brief) registered with layers of pathos. Most of all, this could be Vilma Santos’ best performance to date. The transition of her character from corporate mogul to repentant mother revealed the true artist in her. The musical scoring blended with the story but my favorite part is the household scenes with the character of Vilma Santos noting the significance of the chandelier in the living room with a movement from Mozart’s Symphony No. 25 in the background. The grandness of the music matched the leading character’s grand ambition. It is also gratifying to find classical music find its way in a family drama..." - Pablo A. Tariman, Arts News Service, 6 February 2016 (READ MORE)

"...Given that she plays a character that teeters towards caricature, Santos is tasked to humanize Vivian, which she does with astounding ease. She manifests a quiet understanding of the character, depicting the role of an uncomplicated woman without the histrionics that one often sees from comediennes who are required to portray dramatic roles and the discomfort that one often observes from serious thespians who are forced to be uncharacteristically comical. Locsin provides Santos more than ample support. She is charismatic and amiable but not to the point of patronizing a character that is written to champion the diligence of the working class, or in this film’s case, the members of the nursing profession. Their scenes together are mostly golden, with the two actresses effortlessly earning chuckles or tears from their innate understanding of their characters ludicrous situations. Lim plays the angst-ridden man-child well enough. The role only requires him to brood and be emotionally impenetrable. Unfortunately, when the story requires him to be softer, he persists to play the stoic son, squandering the opportunity to maximize a role that explores various spectrums of an adult who is still haunted by his childhood. Lim is simply unable to grant his character depth beyond calculated gestures, welling eyes and fumbled lines...It is a film that does not necessarily earn its fairy tale conclusion, but its efforts in allowing its audience to bask in feel-good escapism is not completely wrong. In the end, it deserves its rainbow, even though the rains that precede it is blanketed in all the conveniences formula affords. Bernal has the sense to treat all the tropes with levity, inflicting comedy when necessary, and then toning everything down when the story steers towards seriousness. This balancing act is commendable, as it results in a film that is initially silly and whimsical, but essentially heartfelt where it counts..." - Oggs Cruz, Rappler, 29 January 2016 (READ MORE)

Larger-Than-Life Portrayals - "...Vilma Santos’ latest starrer, “Everything About Her,” is a worthy addition to her pantheon of exceptional screen portrayals. Right from the get-go, she affirms her versatility by playing a “new” character for her, a powerful and abrasive property magnate who reduces her victims to quivering masses of protoplasm....the production’s thespic crown firmly rests on Vilma’s head, due to her daringly strong character choice and ability to come up with a suitable larger-than-life portrayal, despite her slight and light physical frame. Even more compellingly, Vilma is able to dig really deep and summon up the especially strong emotions needed to make her inordinately powerful character believable—while still being able to shift naturally and depict her at her most vulnerable. Finally, “Everything About Her” is a revelatory change of pace and tone for its director, Joyce Bernal, who’s usually identified with more light-hearted and “cheeky” film fare. Her adeptness at humor leavens this film’s tragic scenes, while not diluting them—a tough directorial feat to pull off! It’s a testament to Bernal’s maturing skills that she’s able to do it—and, in the process, show us a bracingly new facet and prism to her directorial scope and oeuvre..." - Nestor U. Torre, Philippine Daily Inquirer, 13 February 2016 (READ MORE)

Generous to Co-stars - "...Vilma Santos diehards will not be disappointed as Ate Vi handles her role with much understanding. At first, the character is almost caricaturish, with people she interviews shown breaking down or throwing up after talking to her. But Ate Vi knows how to humanize her Vivian with little knowing nuances here and there. Even in her heaviest dramatic scenes, she shows an intrinsic understanding of Vivian by not resorting to histrionics. Hindi na niya dinadrama pa ang mga dramang eksena, even in that scene where Angel is expecting to be fired and she just says quietly: ‘Kunin mo ang putanginang gamot ko.’ And she is so generous to her co-stars in their scenes together, allowing them to shine on their own, especially to Xian Lim in that hospital scene where he delivers a long aria of how much he hates his mother. Honestly, we were feeling uncomfortable for Xian on how he’d handle that scene of a son haunted by an unhappy childhood, but in all fairness to him, he manages to acquit himself quite well. Since this is a production of Star Cinema, you can expect a feel good happy ending. There is the obligatory fairy tale romance between the caregiver and her boss’ son. In photos, they’re even shown being wed and having a baby. Needless, as far as we’re concerned but, hey, the movie has to be very family friendly. So give escapism a chance. We’re sure Director Joyce Bernal was told to treat it all with levity. And that’s exactly what she did. If you want a more serious film about a dying woman, watch Ate Vi’s similarly themed classic film directed by the other Bernal..." - Mario Escobar Bautista, Journal, 12 February 2016 (READ MORE)

Credit to Make-up Artists - "...That is where I found out from E.R. Tagle that the movie “Everything About Her” was showing at a nearby cinema house. He was all praises for it, so I told him that any movie starring Ms Vilma Santos was worth watching. I am happy to catch a few on TV. The following day, I had to drag myself out of bed, fearlessly cross our busy street, risking life and limb to see the movie. It wasn’t the last full show; it was only 12:15 noontime, and the movie was just starting. But already we had to rise for the Philippine National Anthem. I told our “street facilitators” from the Department of Social Welfare and Development (“The joy of being useful,” Opinion, 1/29/16) that anyone who can sing our national anthem and not choke up with emotions rising from their breasts and leaving a lump in their throats do not love their country enough. They agreed with me, but I have my doubts about the last sentence—about dying for my country. Well, if push comes to shove, maybe. As expected, the movie was excellent despite a few things, but the main thing was I enjoyed the movie, was fully entertained even if more than half of it had tears rolling down my cheeks and, to top it all, I didn’t have any tissues with me. I must say, the cinematography was something to rave about; the acting was superb, the leading man was handsome as he should be, and the two leading ladies’ acting skills were flawless. Some credit must go to the makeup artist whose skilled hands transformed Ms Vilma’s character into a tough and uncompromising business person. I regretted it had to end, and I stayed for the credits to find out who performed the theme song and to give a chance for the crowd in the ladies’ room to clear..." - Shirley Wilson de las Alas, Philippine Daily Inquirer, 16 February 2016 (READ MORE)

Pinakamahusay na aktres ng bansa sa kasalukuyang panahon - "...Mahusay si Vilma Santos sa kanyang papel bilang pangunahing tauhan ng pelikula. Sino pa bang kukuwestiyon sa kanyang husay bilang aktres? Wala na. Maituturing mo siya talagang pinakamahusay na aktres ng bansa lalo na sa kasalukuyang panahon. Every inch, every scene napakahusay. Dahil sa husay ng kanyang performance, mahirap malimutan ang pelikula at maaaring siya na uli ang best actress ng 2016. Makatuturan ang pagbabalik ni Vilma sa napakatalino niyang desisyong piling-pili ang uri ng ginagawa niyang pelikula. Mas effective sa akin si Xian Lim. Mahusay! Nauunawaan niya ang role niya. Sumabay talaga siya kay Vilma Santos na generously ay sinuportahan siya. Sa lahat ng eksena nila, nilalamon ni xian si Angel ng buung-buo. Napakasinsero umarte dito ni Xian na kita mong bawat bitiw niya ng emosyon ay galing sa puso...Sa kabuuan, typical Star Cinema pa rin ang pelikula. Maganda na sana pero dahil kailangang bigyan ng resolusyon lahat sa ending, pilit na pilit; very unrealistic; pumangit lang tuloy ang dulo. Ganda na sanang sa party na nag-end ang movie habang nagsasalita si Vivian (Vilma) at may hope na tatagal pa ang buhay niya. Bakit kailangan pang ipakita thru collage photos na kinasal at naging mag-asawa sina angel at xian?! Yuck! Ok na sana kahit wala silang romantic angle tatayo ang pelikula. To beginwith, mukhang tiyahing tibo ni Xian si Angel. Pero dahil Star Cinema nga ito, kailangang babuyin ng ganun ang ending ng pelikula na sinasabi nilang pang masa, na sa tutuo lang, iniinsulto nila di lang ang masa kundi ang mga manonood na nasa matinong pag-iisip..." - Ronaldo C. Carballo, Facebook, 08 February 2016 (READ MORE)

Symbolism of the Chandelier - "...The cinematic devices and motifs the film employs to drive its narrative have given it much advantage. Particularly noteworthy is the symbolism of the chandelier that Vilma is shown to gaze at in one of the many heartfelt moments of quiet drama the film boasts of. The convulsion scene is carried out in a single take that only an actress of Vilma’s caliber could ever pull off with much aplomb. Vilma proves her comic mettle and efficacy in at least two scenes. One is the long shot of an open field with her voice heard clarifying with her staff the exact number of executive people she is about to have an exclusive meeting with. Another is the one upstairs at her residence as she confronts Angel’s character with the latter’s wrongly sent phone text referring to Vilma’s character as a creature from hell and a whore..." - Nonoy L. Lauzon, Young Critics Circle Film Desk, 08 February 2016 (READ MORE)

Mozart’s Symphony No. 25 - "...Indeed, the performances of both lead actors and supporting cast were so compelling you felt almost everyone in the cast deserved an acting award. The surprise actor in the cast was Xian Lim who delivered not just a focused performance but a highly stirring one. His hospital scene with Vilma Santos was a stand-out one could hear people quietly sobbing behind me. Angel Locsin has no match as a supporting actress, the part of Nonie Buencamino (as the padre de familia) has all the hallmark of a good actor and the part of Shamaine Centenera Buencamino and Vangie Labalan (no matter how brief) registered with layers of pathos. Most of all, this could be Vilma Santos’ best performance todate. The transition of her character from corporate mogul to repentant mother revealed the true artist in her. The musical scoring blended with the story but my favorite part is the household scenes with the character of Vilma Santos noting the significance of the chandelier in the living room with a movement from Mozart’s Symphony No. 25 in the background. The grandness of the music matched the leading character’s grand ambition. It is also gratifying to find classical music find its way in a family drama..." - Pablo A. Tariman, Arts News Service, 06 February 2016 (READ MORE)

Iconic Maternal Roles - "...Everything About Her has good and bad parts. This can probably be said about most Star Cinema movies — as the fulfillment of formula has made these qualities distinguishable, knowing where it goes well and where it nose-dives — but with Vilma Santos and Joyce Bernal, the desire to endorse it, and make a good case for it despite its inevitable shortcomings, is strong. It is convincing at first, from the start when the characters and conflicts are established and all the way through the piling up of challenges for both female characters. But in an effort to close it with something remarkable and leave the audience with warmth, it decides to be generic and resort to platitudes that dilute the inspired moments, in turn weakening what could have been a moving depiction of female (and maternal) strength. Ate Vi gets away with the many times she repeats herself (her approach and sentiment) from her previous movies, and this showcase of recognizable maternal roles makes her iconic in this regard. But Everything About Her does not find its soul in her but in Angel Locsin, delivering what could be one of the best Star Cinema characters in years..." - Richard Bolisay, Lilok Pelikula, 08 February 2016 (READ MORE)

Uber-Bitch - "...Vilma Santos has fun with her role, and she looks terrific. We do take issue with the scenes in which her character telegraphs to the audience that she's not as bitchy as they think she is. As one who is extremely familiar with the species, a bitch does not care whether you like her or not. In fact an uber-bitch would prefer to be loathed so that she doesn't waste time pandering to the tender feelings of people she doesn't give a shit about. You know what words a bitch finds irritating? "You're nice naman pala." "Hugot" lines do nothing for us, but there is one line in the movie we especially like. In one scene, Vivian gets nauseous and starts to throw up on her bed. Jaica grabs Vivian's designer bag and dives across the bed to catch it. "Kunin mo na rin yung Balenciaga bag ko," Vivian says, deadpan, "Doon ko gustong sumuka uli." Bitch, that's a bitch..." - Jessica Zafra, Interaksyon, 05 February 2016 (READ MORE)

The Heart of the Story - "... Speaking of Albert, Xian Lim’s character was the central source of drama in the movie. The scenes of Vivian and Jaica were mostly comedic and amusing, but it was the introduction of Albert that brought more heart to the plot. Albert’s character is what drives the conflict - with Vivian struggling to re-establish ties with her son, and how Jaica’s job seemed to get more complicated with her feelings for Albert. Xian was definitely revelatory in this film, and my initial doubts of having him as the leading man faded with my impression that he’s only good for rom-coms. Surprisingly, he had great chemistry with Vilma Santos an Angel Locsin, and he was able to add more dimension to his otherwise uptight character by being emotional when needed. This and the fact that he had similarities with the features of Vilma Santos made it hard for me to think of anybody else more perfect for the role...Vilma Santos still has her charm and her performance was nothing short of remarkable. She was able to fuse the two sides of Vivian seamlessly together – one was this terror business magnate who’d go out of her way and ride a chopper to Tagaytay just so she could fire someone personally, and the other was this loving mother who longs for the forgiveness and embrace of her son. The role allowed her to once again showcase her versatility as an actress, and the heart and dedication that she gives out to every scene transcends effortlessly to the audience...Angel’s role was what brought comic relief and lightness to the story. She no doubt demonstrated her flexibility as an actress in the film however, there were several unnecessary comical moments from her character..." - Geoffrey Ledesma, GeoffReview, 03 February 2016 (READ MORE)

Biggest revelation - "...The iconic actress (Vilma Santos) embraces her character’s flaws and fortitude with affecting clarity in a superlative portrayal that is passionate but never coercive. Her meticulous insistence on honesty guarantees that no tear is unearned—and no emotion manipulated...Angel also comes up with a focused performance that, for the most part, benefits from the film’s propulsive dramatic proceedings...Xian may not have Angel’s earnestness or Vilma’s finely calibrated bravado, but he is the movie’s biggest revelation. He figures in some of the film’s most gripping dramatic sequences—and delivers his moving moments with aplomb. It doesn’t hurt that Xian is cast in a role that fits him to a T: Albert is distant, guarded and spiteful, and is armed with an emotional axe to grind! Bernal makes clever use of those elements to thrust the heretofore phlegmatic performer outside his self-limiting comfort zone. Result: Xian’s finest portrayal to date!..." - Rito P. Asilo, Philippine Daily Inquirer, 30 January 2016 (READ MORE)

Affectionate Charm - "...Whereas the film’s proceedings come across as yet another orchestration of a familiar film cliché, it strikes a chord by remaining adherent to a formula, that maybe too predictable at times, but nonetheless works because of its relatability. There is an affectionate charm in its humor and subtle comic attempts, and it massively works when injected on the film’s emotional moments. It is barely a surprise how Santos pulled off Vivian with undeniable credibility here. She delivers her character and its layers with profound depth, believability, and artistry that probaly only someone with her caliber, could do. On her character’s most heartbreaking moments, Santos delivers exactly what a woman faced with the wrath of death, while also struggling to reach out for a son she might probably don’t have enough time to spend together with, would feel and look like, an act she easily carried out with searing capacity. Locsin, on the other hand, has an equally impressive maneuver of Jaica, who on most occasions, is presented as the film’s comic effort, acting as one of the narrative’s heart and its very symbol of hope. The character is commendably pulled by Locsin with irresistible charm and affection, a capacity she maintains even on the character’s very own moments of breakdown. But the biggest commendation, perhaps, should go for Lim, who emerges here, with an unfamiliar but convincing versatility. This is probably the actor’s strongest performance yet, having gotten across with the necessary power required by his character, whose wounds and struggles are equally as deep and excruciating as his mother’s...Rating: 3.5 out of 4..." - LionhearTV, 27 January 2016 (READ MORE)

Most Effective Actress - "...The film highlights the importance of family during hard times and how these obstacles bring forth understanding and forgiveness. I find myself crying at times and relate to scenarios that, we somehow deny or refuse to accept...Vilma Santos kept her promise and profile. She remains one of the most effective actress for all season. Her execution brought tears to every single scene. Bernal successfully defined her character at the beginning of the movie. They approach Vivian as a figure in a time-honored character template in which a convenient plot mechanism allows the bitch to revisit sad chapters in her life so that we can understand that it was quite a life, indeed. But she failed to understand motherhood that her son suffered from missed opportunities being with her because of her profession. It is a fundamental truth that the responsibilities of motherhood cannot be successfully delegated. No, not to day-care centers, not to schools, not to nurseries, not to babysitters...9/10..." - Rod Magaru, Rod Magaru Show, 28 January 2016 (READ MORE)

Familial Attachment - "...Innate to Bernal as a filmmaker is her unmistakable grasp in comedy. On crucial points where comic relief might not be necessary, her cast carries out effectively—not just to call for laughter but to keep the audience drawn to these characters, their motivations as well as their individual dilemmas. It is just nice to laugh it all off and see how these characters react and clash with one another. Aside from the kinky Balenciaga scene (“Kunin mo na rin ang Balenciaga bag ko. Do’n ko gustong sumuka ulit”), notable is that one where Jaica, after getting confused with the text message from the hospital head doctor, mistakenly sends a hate text message to Vivian. “Di mo naman sinabing impakta ang potah!” is such a winning line (or at least a memorable one at that)...In spite of the predictability of the story right from the very beginning, the entire ride is memorable, granted how the story is weaved without compromise—without fear that the audience would not stay put. As it wants to stir up sadness towards its ends, it controls itself by giving into the tested formula of the outlet. True enough, it works fine on that note. There is a stinging sensation at the end of the line but happy thoughts prevail and make use of its impact. Before the last frame, Vivian cries, “But in the end, even if we die alone, we need other people.” As we hold onto her last words, there is really much to relate to in her story as there is much to believe in ourselves. Familial attachment is everything about her. And we are more than familiar with that..." - J Bestillore, Cinemabravo, 27 January 2016 (READ MORE)

Final Title - "...Everything About Her ang final title ng pelikula nina Batangas Governor Vilma Santos at Angel Locsin. Hindi natuloy ang balak ng Star Cinema na lagyan ng salitang “life” ang pamagat ng pelikula dahil sa paniniwala na masuwerte kay Vilma ang mga project na may title na “life..." - Nitz Miralles, Pilipino Star Ngayon, 07 January 2016 (READ MORE)

Theme Song - "...Ayan, may playdate na ang All of My Life movie ni Batangas Gov. Vilma Santos sa Star Cinema at kung hindi magbabago, pang-opening salvo raw ng Star Cinema ang nasabing pelikula for 2016. Mula sa hit song ni Diana Ross ang All of My Life na ang theme song ay kakantahin ni Kyla. Teka, parang si Kyla na ang favorite ng Star Cinema at ABS-CBN na kumanta ng theme songs ng kanilang movies at teleserye. Anyway, marami na ang excited sa All of My Life dahil for the first time ay magkasama ang future magbiyenan na sina Gov. Vi at Angel Locsin. Wise decision ang pagba-backout ni Luis Manzano sa movie, iwas kontrobersya dahil tiyak na uusisain sila ni Angel sa kanilang relasyon..." - Nitz Miralles, Pilipino Star Ngayon, 21 October 2015 (READ MORE)





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