Tag Archives: Jasmine Curtis-Smith

Best Performances Of The Decade So Far (Nos. 40-21)

  1. Jodi Sta. Maria, Third World Happy (2010)

40 Jodi 3rd World2

Character: Aylynn, a single mother left behind by her then-boyfriend who migrated to America to follow his dream

As evidenced by her hugely successful turn as Maya in TV soap Be Careful With My Heart, Sta. Maria is very effective in playing the underdog in a romantic pair. In Third World Happy, she embodies that friend we know who got the raw end of the deal in a relationship with a more attractive partner when he left her behind to pursue his dream/another woman.

“In a scene where Aylynn reunites with her runaway boyfriend, Sta.Maria conveys silent anxiety and understated volatile agitation in delicious emotive splendor.” – Cathy Peña

  1. Mylene Dizon, Aparisyon (2012)

39 Mylene Aparisyon

Character: Sister Remy, a young nun who begins to question her Order’s apathy in the face of growing social unrest

Dizon is in her element in headstrong, icy characters (e.g., 100, Mariquina) and she shows it here as a nun who admits culpability for the horror that befell a fellow nun. Her wordless apology scene with the equally brilliant Jodi Sta. Maria is one for the books.

“Si Mylene Dizon ay gamay na gamay ang kontrol sa hinihinging role mula sa kanya.” – Manuel Pangaruy

  1. Angel Locsin, One More Try (2012)

38 Angel One More Try

Character: Grace, a single mother forced to sleep with an ex-boyfriend to save their son

The preposterousness of the film’s premise does not at all diminish Locsin’s tour-de-force interpretation of a mother who would do anything to save the life of her sick son.

  1. Bing Pimentel, Mariquina (2014)

37 Bing Mariquina

Character: Tess, a shoemaker’s business associate who becomes a stepmother to his unappreciative daughter when his wife left

The resurgence of Pimentel’s acting career began in 2013’s Kabisera where she effectively played the conniving wife of a drug mogul, but it is here in Mariquina that she truly showed that the talents of her children (Sid Lucero and Max Eigenmann) are not only inherited from their father, the late Mark Gil. As Ricky Davao’s lover (and, eventually, domestic partner) Pimentel brings grace and class to a character that we otherwise would have despised.

“After seeing Pimentel in last year’s Kabisera, I was not sold. I thought that she was just OK in it. Nothing memorable. But after seeing her in Mariquina, I instantly became a fan. She brought a whole new take on being the mistress.” – Carl Joseph Papa

  1. Rustica Carpio, Ano Ang Kulay ng mga Nakalimutang Pangarap? (2013)

36 Rustica Ano ang Kulay

Character: Teresa, an elderly househelp who is about to become homeless after her employers decide to sell their ancestral house

Carpio does not really act in Joey Reyes’ domestic drama: every time she’s in the frame, we project all our empathy towards her character because she reminds us so much of our own grandmothers, and the thought of them being banished from their homes is just too unbearable. Still, Carpio lends the role with a quiet wisdom and dignity.

“Carpio’s quiet scenes and painful realizations tug at viewers’ heartstrings, even without gut-wrenching and declarative ululations of betrayal and grief.” – Rito Asilo

  1. Nicholas Varela, Aberya (2012)

35 Nicholas Aberya2

Character: Mike, a budding drug dealer experimenting with time travel

Varela’s incredibly realistic portrayal of a psychedelic-addled politician’s son makes one wish the four-part film just focused on his segment if only because it’s the most intriguing, and Varela has an arresting screen presence despite his everyman looks.

  1. Meryl Soriano, Donor (2010)

34 Meryl Donor

Character: Lizette, a hard-up young woman who is forced to marry a foreigner so she can sell him one of her kidneys

Soriano’s charismatic presence lends her portrayal of a poor but resourceful woman determined to make ends meet with a mix of resignation and hope.

  1. Jhong Hilario, Badil (2013)

33 Jhong Badil

Character: Lando, a son of a trusted politician’s aide who gets thrown into the dirty world of vote-buying when his father becomes incapacitated

“Lando, as portrayed by the excellently perceptive Hilario, grows before our very eyes from a hesitant fisherman and obedient son to someone who will fight for the loyalty earned by his father from the powers that be.” – SCL

  1. Anthony Falcon, Requieme (2012)

32 Anthony Requieme

Character: Joanna, a transgender woman who runs away from home to live a new life

“Falcon plays Buencamino’s transgender son with just the right mix of restraint and flair that left viewers asking ‘Who is this guy?’ Mainstream actors playing swishy gay guys should study what he did here because there’s not an ounce of caricature in his performance.” – SCL

  1. LJ Reyes, Intoy Syokoy ng Kalye Marino (2012)

31 LJ Intoy Syokoy

Character: Doray, a young woman living in a slum coastal village who sells her body for a living

The prostitute with a heart of gold is pretty much one of cinema’s most tired character clichés but it’s impossible for viewers to not get affected by Reyes’ heartrending turn here. She plays Doray with a certain pluckiness that conceals her crushed soul.

Intoy Syokoy ng Kalye Marino drowns in the suffocating squalor of poverty porn, but LJ Reyes, who plays JM de Guzman’s femme fatale, is a soothing presence—and a lovely revelation.” – Rito Asilo

  1. Krystle Valentino, Purok 7 (2013)

30 Krystle Purok 7

Character: Diana, a pubescent girl left to fend for herself and her little brother when their mother left to work abroad and their father remarried

“Carlo Obispo’s debut feature would have been impressive enough just on the strength of his lyrical, gentle depiction of rural childhood amidst a tragic backdrop, but he knows that for his film to work beautifully as it did, he had to get a young competent actor who will carry the film with aplomb, and the charming, natural Valentino more than lives up to the promise. As the 14 year-old big sister and de-facto mother to a young boy, she has to hold her fort and maintain a sense of normalcy in the face of an impending tragedy and her own burgeoning womanhood. In doing so, she delivers such an honest, winsome, heartbreaking performance.” – SCL

“The film proves that neither a marquee name nor a gorgeous face is crucial for the success of a movie—and every actor has to start somewhere.” – Rito Asilo

  1. Sid Lucero, Muli (2010)

29 Sid Muli

Character: Jun Bernabe, a Baguio hotel manager who enters into a decades-long affair with a married man

“Lucero magnificently plunges head-on into an array of emotions that play out naturally and sympathetically on screen. He is charming, affecting, believable and just astonishing, even in the scenes where he quietly cries.” – Cathy Peña

  1. Lilia Cuntapay, Six Degrees of Separation from Lilia Cuntapay (2011)

28 Lilia Six Degrees

Character: Herself, as a life-long bit player who finally gets nominated for an acting award

Contrary to popular opinion, playing oneself onscreen is not as easy as it sounds: the tendency of most actors is to exaggerate the qualities that audiences know they possess. Cuntapay avoids the trap by erasing all self-consciousness from her body and delivering a sincere, heartfelt portrait of an industry outsider finally given the recognition she deserves.

“If I were to base from her previous works, I would not expect that she is a great dramatic actress, and a terrific comedic actress. Playing herself in a mockumentary, she hits every jokes, and was devastatingly heartbreakingly real. It for me was the performance of the year, by any actor. I can only wish that she gets more roles deserving of her talents.” – Carl Joseph Papa

  1. Fe Hyde, Sheika (2010)

27 Fe Sheika

Character: Sheika, a woman whose two sons were killed by a vigilante group

The controversy behind the casting of Sheika is probably as well-known now as the film itself, and it’s evident why so much was at stake: Sheika is a star-making role, and Hyde’s tornado of a performance rightfully embarrassed the people who insisted that director Arnel Mardoquio cast an established actor instead. Hyde’s superb portrayal here is powerful argument that regional cinema needs regional actors.

“Hyde is fierce in Sheika. She goes from protective to vengeful mother in a bat of an eyelash. She is loving, broken, angst-ridden, and out of her mind.” – Fidel Antonio Medel

  1. Cherie Gil, Sonata (2013)

26 Cherie Sonata

Character: Regina Cadena, a washed-up opera singer recuperating in their family hacienda

“The sublime Cherie is superb as her character shuttles between a woman on the verge of a nervous breakdown and her weak grip on lucidity—but, her friendship with Jonjon and his teenage friend, Ping (the note-worthy Joshua Pineda), soon nurses her back to sanity! Their raw and riveting portrayals are the film’s antidote against its occasional melodramatic excesses.” – Rito Asilo

“She is larger than life (what diva isn’t?) yet fragile and vulnerable. When a veteran actor like Gil delights in finding the role of her life, we viewers are only too happy for her.” – SCL

  1. Barbie Forteza, Mariquina (2014)

25 Barbie Mariquina

Character: Imelda Guevara, a high-school student coping with her troubled mother’s sudden departure

Imelda Guevara is undoubtedly Forteza’s breakout role. In Mariquina, she personifies the amalgamation of elements that make up our collective high school experience, falling in love, shaping our emerging identities, rebelling against our overprotective parents. And, when one of her parents left, Forteza’s shattered spirit is our own.

“It is such a tremendous performance. At the beginning I thought she would just be a passive character but the story provided her with so much that in lesser actresses would have become melodramatic. In the end Forteza gives her career-high performance at such a young age.” – Carl Joseph Papa

  1. Jasmine Curtis-Smith, Transit (2013)

24 Jasmine Transit

Character: Yael, a teenage daughter of a Filipino migrant worker in Israel

“Curtis-Smith imbues her character with both youthful warmth and mature countenance that viewers gravitate towards.” – SCL

  1. Gina Alajar, Mater Dolorosa (2013)

23 Gina Mater Dolorosa

Character: Lourdes Lagrimas, a single mother who inherits her late husband’s underground empire

“Alajar goes deep into the heart of Lourdes, covers it in metal casing, and goes through life without fearing anyone. Even so, she hasn’t lost her ferocious maternal instinct and when provoked, hell hath no fury indeed.” – SCL

“As matriarch of a crime family, Alajar means business.” – Fidel Antonio Medel

  1. Annicka Dolonius, Ang Nawawala (2012)

22 Annicka Nawawala

Character: Enid, a hipster who seduces a guy and helps him come out of his shell only to break his heart

“Dolonius is a breath of fresh air and is so natural on screen. Even if you root for Enid and Gibson’s romance, you will understand that her world-weary jadedness is not the perfect match to his pure innocence.” – SCL

“Dolonius gives a surprisingly spectacular performance.” – Carl Joseph Papa

“Dolonius is luminous.” – Manuel Pangaruy

“Dolonius is refreshing.” – Rito Asilo

  1. Ricky Davao, Mariquina (2014)

21 Ricky Mariquina

Character: Romeo Guevara, a shoemaker dealing with the consequences of his wife’s departure

Just when we thought that Ricky Davao has already exhausted his talents as an actor, he ups and surprises us with his quietly devastating turn in Milo Sogueco’s melodrama of regret and reconciliation.

“Davao is a Cinemalaya regular. But I have never seen him in such great form before. And of all the performances that I have seen from him, this might be his best, to date.” – Carl Joseph Papa


PART 1: Nos. 100 to 81

PART 2: Nos. 80 to 61

PART 3: Nos. 60 to 41

PART 5: Nos. 20 to 11

PART 6: Nos. 10 to 1



dementia-posterVerdict: Value for Money

Pinoy Rebyu Score: 3.25 (18 ratings)

Genre: Suspense, Drama

Director: Percival Intalan

Writers: Renei Dimla, Jun Lana

Cast: Nora Aunor, Jasmine Curtis-Smith, Bing Loyzaga, Chynna Ortaleza, Yul Servo, Althea Vega, Jeric Gonzales, Lou Veloso, Lui Manansala

Synopsis: Rachel (Jasmine Curtis-Smith) and her parents Elaine and Rommel (Bing Loyzaga and Yul Servo) move back to the Philippines from the US to help take care of her aunt Mara (Nora Aunor), who is suffering from Dementia. They bring her to their old family home in Batanes, hoping that the familiar surroundings will help with her ailment. And living in the house does unearth a few old memories, but they bring with them strange apparitions and terrible consequences for Mara and her family. (Click the City)

MTRCB rating: PG

Running time: 100 mins



4.0         Arvin Mendoza (Philippine Daily Inquirer)

Dementia is heart-wrenching poetry in picture. Its visual verses beguile the senses to absorb the character’s prosaic state, rhymed with its aural rhythms lulling the terror that looms ahead.” (Read full review)

4.0         Eric Cabahug (InterAksyon)

Dementia is that rare Filipino horror drama that packs a solid emotional wallop. You won’t forget it soon after leaving the theater. A lot of it has to do with debuting filmmaker Perci Intalan’s mostly firm grip on his material and his relatively sophisticated approach in presenting it.” (Read full review)

4.0         Lyndon Maburaot (Table Stretcher)

“Perci Intalan is precise down to the dot, his achievement here are his pacing and control of the material, so unbelievable for a first-time helmer. His sensibility is obviously mainstream, giving in to the demands of the genre: banshee, jump scare, dolls. But it is during his quieter scenes that he shows ability, the deftness is in the way he blocks a scene and how he positions the camera with regards to the characters.” (Read full review)

4.0         Fred Hawson (Fred Said)

Dementia does not have the garish and noisy shock effects that we see in most mainstream Filipino horror films. Instead, its unnerving quietness which effectively communicates a sense of danger, on top of the compelling lead performance of Ms. Nora Aunor, gives this film high marks of cinematic excellence.” (Read full review)

4.0         Macky Macarayan (The FilmSoc Report)

“Cinematographer Mackie Galvez (Sana Dati) captures the visual tone that complements the story’s demands, and levels with the acting caliber of Nora Aunor.” (Read full review)

4.0         A Moot Point

“A rarity in Pinoy horror genre, Dementia stays away from blood & hysterics, instead, it capitalizes on the gothic setting & tension. Nora Aunor blows us away with her mesmerizing non-verbal performances, that we pardon the average plot  – something that the usual nitpicking critic will tear apart if it wasn’t for Aunor’s superb acting and Intalan’s impressive direction.” (Read full review)

3.5         Oggs Cruz (Rappler)

Dementia has a lot of breathing space, a lot of protracted moments for thought and pondering. This is clearly a thinking man’s horror film.” (Read full review)

3.5         Rob San Miguel (Brun Philippines)

“Similar to Joel Lamangan’s Hustisya, Aunor is burdened by a thin script so she has to make do with trite lines spoken in between her quite moments. Fortunately, Intalan was smart enough to focus the camera on Aunor near the climax of the film.” (Read full review)

3.5         Armando dela Cruz (Film Police)

Dementia is a thing of curious alchemy…It is not a story strictly about the haunted, but of fractured psyches and corrupted moralities.” (Read full review)

3.5         Irvin Malcolm Contreras (A Girl and a Gun)

“It is essentially a pretty rote, standard horror film with all the familiar narrative beats. But this film benefits from the acting talent of one of the Philippines’ best actresses, Nora Aunor who gives the pulpy material its weight and substance. It is worth seeing for that alone (and for the travelogue-esque on-location cinematography).” (Read full review)

3.0         Philbert Dy (Click the City)

“The film is solid enough, with its handsome production work and talented cast keeping the film watchable through the narrative’s lack of cohesion. It’s just that there’s a nagging sense that there could have been more.” (Read full review)

3.0         Julia Allende (PEP)

“With its paper-thin storyline, the film relied mostly on surprises, on strategically placed apparitions to make the heart lurch and the ears reverberate with ghostly sound effects.” (Read full review)

3.0         Nood.ph

“Bilang manonood, hindi ka magsa-suffer sa panonood ng Dementia dahil ang haba nito ay akma sa takbo ng kwento. Malinis ang pagkakakwento ng mga pangyayari, hindi ka iiwang hanging sa kahit anong punto.” (Read full review)

3.0         John Tawasil (Present Confusion)

Dementia is an okay film that I recommend seeing more than once, just to see the nuances in Nora Aunor’s acting after the revelation at the end. As a horror film it is pretty run of the mill, but as a psychological film it is quite effective.” (Read full review)

2.5         Tito Genova Valiente (Business Mirror)

“Nora Aunor as Mara is not served at all by the cinematography. The long minutes of Mara in the isolation of the landscape fail to capture the delineation of an actor who is able to sublimate all kinds of theatricality to serve an intense recipe of homegrown guilt and hurt. The story is promising; could it have been the screenplay that neglected to honor the presence of a great actor?” (Read full review)

2.5         Renelson Morelos (Ramblings of a Film Urchin)

Dementia could have been better than it is. Intalan knows how to sway viewers into a ‘false’ belief by creating mood and tension in accordance with the horror genre. It’s in how the ‘trick’ is finally let out of the bag, something that is inappropriately downplayed rather than packed with a visceral whallop, that douses cold water over the previously fever-pitch proceedings.” (Read full review)

2.0         Urbantribe.ph

“If you’re looking for a ‘scary movie,’ it is a bit difficult to recommend Dementia. It has a strong cast, lovely cinematography, and notable sound design, but it just lacks the punch.” (Read full review)

1.5         Cathy Peña (Make Me Blush)

“Effective horror plays to our psyche, not bullyrag our auditory senses. And a story teller creates an atmosphere of impending doom. Lesser equipped film makers resort, on the other hand, to cheaper artifice, by creating ‘sudden noises’ – the ones that actually break eardrums!” (Read full review)