Yes, Tribeca really can be a launching pad. Ron Morales’ dark thriller came in second in the voting for the Audience Award at last year’s festival—but probably should have won. Now it is back for its theatrical run, almost a year to the date.
While the Filipino community came out to support the film last year, the country’s tourism bureau might not have been overly thrilled with its portrayal of a crooked congressman. He is used to handing out the traditional sort of bribes, but when his daughter is kidnapped, he also has to give a little financial consideration to get the cops to do their job. Unfortunately, they are determined to hassle his former driver, whose daughter was also abducted. To save her, he will have to navigate Manila’s seediest back alleys without the help of the openly antagonistic police in Morales’ Graceland (trailer here), which opens tomorrow in New York.
Though ostensibly a driver, one of Marlon Villar’s primary duties is to clean up after his boss Rep. Chango’s predatory indulgences with underage girls—or at least it was. Given the soul-deadening acts Villar witnessed, he is shocked when the congressman summarily fires him. The timing is particularly bad, considering his hospitalized wife desperately needs a transplant. That is also why suspicion immediately falls on him after the kidnapping. In what was to be his final task for his former employer, he picks up his daughter Evie and her best friend Sophia Chango from school, only to be waylaid by armed thugs.
Unfortunately, complications arise during the kidnapping that put Villar in a particularly tight spot. In a way, it is like a dark twist on the botched kidnapping in Kurosawa’s High and Low, but unlike Toshirō Mifune’s upstanding Kingo Gondo, Chango cannot be relied on to do the right thing. In fact, it quickly becomes clear the case directly involves the politician’s bad karma.
Granted, Graceland is not at Kurosawa’s level, but it is an intense dark crime drama that totally pulls off some audacious hide-in-plain-sight twists. However, it decidedly for mature audiences, depicting unhygienic slums, where shocking vice is carried on with near impunity, thanks to widespread police corruption.
Of course, for a desperation-in-the-city noir, such a setting works perfectly, as does Arnold Reyes, the terrific lead. As Villar, he broods ferociously, but is no superman. In the complex role, he keeps viewers on the edge of their seats and fully vested in his fate. In memorable support, Menggie Cobarrubias radiates sleaze as the dishonorable congressman, while Dido de La Paz brings a feral cunning to the corrupt Det. Ramos.