Jo Ker

I have become Dance, destroyer of worlds. | ser this is a shitposting account 💖

[Jo Ker @chollibee]

When Nikki knows Bear had multiple chances to release her, and didn't, what then? When Bear realizes he is indeed horrible, what then? That's more terrifying.

If you can't be abstract as fuck (my personal preference for horror), be viscerally confrontational in social reality.

[Jo Ker @chollibee]

Obsession (2026): The mob says 'elevated horror' is back, but the horror snob in me shouts at the pulpit, "There's no such thing as elevated horror!" Because for one, we always have this discussion whenever a horror film becomes trendy.

[Jo Ker @chollibee]

I guess what I was looking for was for the film to surface more of its subtext as text and play with it. The juicy stuff always happen in the last few seconds with films like these. Right before the screen turns black and we ponder. Because when the blood has settled, what then?

[Jo Ker @chollibee]

Honestly though, fairness is elusive when it comes to biopics. It's either glossy marketing from the estate or hit pieces from third parties.

[Jo Ker @chollibee]

Michael (2026): We all know how music biopics go by now – sanitized, celebratory, and in service to its subject's mythology. While the film is mostly a slideshow of Michael Jackson's career from the 60s to the 80s, I for one appreciates its focus.

[Jo Ker @chollibee]

If there ever will be a sequel, I'd want it to be a stark juxtaposition to this one – an interrogation of his later life that haunts the myth to this day. Because the only way to escape controversy is to address it head on. But I doubt that'll happen.

[Jo Ker @chollibee]

but the choice not to thread on the inevitable is the film's biggest strength.

Still, to award this film the best of 2025 in comparison to its competition is a tough sell. I may even say it's a reactionary choice.

[Jo Ker @chollibee]

Only We Know (2025): I'm really a fan of Irene Villamor. Ask me what's the most underrated romance of the 2010s and I'll answer "Ulan." Evolving from the romantic tradition of Bernal and Jadaone, Villamor's films actively veer away from the usual idea of what's romantic.

[Jo Ker @chollibee]

Dingdong Dantes and Charo Santos-Concio act as real people. Their talents are not surprising considering their body of work. The plot doesn't have a conclusion but an acceptance of what's to come. The film resorted to some tropes all throughout it's runtime,

[Jo Ker @chollibee]

Action and drama is goofy and corny as hell. Elijah Canlas and Richard Gomez do decent acting but they stick like sore thumbs over eveything else. Still, I can see this being a guilty pleasure. Mon Confiado rules as a comic always.

[Jo Ker @chollibee]

Salvageland (2025): The premise, the performances, the sets, even the way scenes are lit are shot tell how "Salvageland" is just a few levels away from being a Vivamax film. It may have been pulled from the same material pool.

[Jo Ker @chollibee]

Yeah, this was the inferior "Seven Sundays" when it could've easily been way better. Fun fact: both has Ryan Bang for a cameo at the end. The guy's a pet peeve, however.

[Jo Ker @chollibee]

Meet, Greet & Bye (2025): A hot take is that I prefer Cathy Garcia-Sampana's "Seven Sundays" over "Four Sisters and A Wedding" by miles and "Meet, Greet & Bye" does work like a rehash of it 8 years later.

[Jo Ker @chollibee]

The only highlight for me was Joshua Garcia, who I believe should be today's number one leading man, and his monologue. I like them all as actors but the material was such a disservice.