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Review: Tiktik, the Aswang Chronicles



Tiktik, The Aswang Chronicles is marketed mainly for its advancement in special effects which made full use of green screen technology. It pretty much succeeded in offering exactly that. While realism is not exactly its peg, the artistic value of the digitized town and its creatures that were plucked out of Filipino folk lore set a new standard for the country and will hopefully pave the way for more internationally competitive movies in this genre. 

That said, the film worked best when the Aswang were made-up humans with minimal effects rather than the digitized creatures that were neither scary nor threatening. Rather than help the film, these creatures that came up towards the end of the movie just felt like somebody is showing off what else they can do with the technology and what other digital creatures they can come up with.

As soon as the Aswang characters turn digital, they also drop a few points off their collective IQ and this stretches the film and derails it from the fun, quick pace that the movie initially employed.

Beyond this, the film benefits from able performances by Dingdong Dantes, Joey Marquez, Ramon Bautista and Janice de Belen. de Belen in particular shines in the film and it makes you wonder why she wasn't given more acting projects by her previous home network when she simply is one of the best that local cinema has to offer. Lovi Poe, on the other hand, was drowned by the talent around her and was mostly forgettable.

Tiktik as a whole could have been improved with a little restraint from the filmmakers but this does not make it less of an achievement. GMA Films seems to be finding a niche in producing* quality horror movies. I hope that this rubs off to other trashy less able productions like the Panday/Agimat movies or the Kabisote franchise.

Rating: 3.5/5

*The film was co-produced by Reality Entertainment and Agosto Dos.

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Dale Bacar
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1 comment:

  1. ok sana kaso my halong comedy sana sineryoso para naman nakakatakot sya. :(

    ReplyDelete

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