![]() On the technical aspects of the film, the cinematography is pretty good everything looks crisp and sharp. In the latter scenes, Perez tries to summon his inner thespian by attempting to act out the behavior of a junkie, resulting in a somewhat decent performance. He is particularly commendable in the film's various fight and gunfight sequences, even lifting a car and using it to crush a goon (A modification of Dolph Lundgren's own stunt from Showdown In Little Tokyo). For his part, Perez accomplished the job of playing the eponymous hero with judicious and tasteful restraint, banking on his strengths as a performer and downplaying his acting limitations. Big Daddy on the other hand is a classic evil crime boss who has the hots for his stepdaughter played by Cristina Gonzales. Gordon is always missing important drug deals because of lengthy sexventures with his nympho f-ck buddy. Israel is especially in his element, revelling in his portrayal of Gordon, a sleazy henchman of top villain, Big Daddy (Bonnin). Bernard Bonnin and the late Dick Israel steal every scene and almost upstage the main star, Chuck Perez. Surprisingly, among the cast of characters, it is the bad guys who turn out to be the more interesting. As such, it avoids being dull and drab unlike other overly grim action drama films from this same period. Goldman's movie wins a few brownie points as it doesn't take itself too seriously and knows when to crank up the cheese meter. It's a dumb, fun and over the top project by b-movie auteur Jim Goldman who in this film goes by the pseudonym "Tedmund". Modeka Art also mentions that it is looking forward to “an open dialogue to discuss the matter more… to help better improve our gallery for everyone.This is one of those wild and unhinged releases from the Regal corn factory back in the early 90s. Again, we apologize for those who feel insulted and affected by such works.” “At the same time, the thing we could do is to fall victim to the pressure of censorship, no matter from which side it may come, and regardless of how controversial the works are. Whatever views expressed by an artist doesn’t necessarily translate our views and beliefs as a gallery,” the statement continues. “We feel as a cultural platform, it is our responsibility to be a safeplace for artists to express their ideas freely and openly. “We would like to reiterate that we are a neutral platform for expression we believe that all our previous exhibitions at Modeka Creative Space have given a voice to a wide spectrum of community representation and opinions.” For the ones who have been in contact in support, we would like to show our utmost appreciation for your messages,” it says. “It is never our intention to offend people with the things we do. In light of the situation, Modeka Art issued a statement expressing its apologies to those who have been offended, released on Aug. ” Local LGBTQIA+ community Bahaghari called them “dangerous.” Statements included in his works like “I’m so conyo amputa ,” “ Pag lumindol, post ko yan ,” and “ Lahat ng naka -Fortuner kupal,” poke fun at “elitism, vanity, and our self-obsessed social media culture.” What caught other people’s attention were his works presenting statements like “Pansexual, scientific name ng malandi “ and “ Hindi naghihirap ang babaeng may suso. Upon closer inspection and reading of the engraved texts, cheeky and biting satire presents itself, a classic comic relief device of Zaldivar.” “He inscribed sardonic witticisms onto marble slabs that mimic grave markers, which at first glance imply a degree of solemnity. “Chalk Zaldivar employs visual pun with the most final signifier of all: the gravestone,” a story by Modeka Art says. This time, he merges puns on Filipino colloquial phrases and trivial practices and presents these on tombstones. The exhibit plays on dark humor, one that’s always present in the artist’s repertoire by playing with pop culture, religious, and political images, and infusing his own comedic spin on them.
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