Archive for the ‘News & Event’ Category


Posted on: July 19th, 2017 by Joan Astronomo

This AUGUST 16 to 22, 2017, the Philippines FILM INDUSTRY will be celebrating PISTA NG PELIKULANG PILIPINO with the following FILMS:


 100 TULA PARA KAY STELLA, written and directed by Paul Laxaman. Cast: Bela Padilla nd JC Santos


ANG MANANANGGAL SA UNIT 23B, written by Jenilee Chuansu and directed by Prime Cruz. Cast: Ryza Cenon & Martin del Rosario


AWOL, directed by Enzo Williams. Cast: Gerald Anderson & Dianne Medina


BAR BOYS, written and directed by Kip Oebanda. Cast: CArlo Aquino, Rocco Nacino. Enzo Pineda & Kean Cipriano


BIRDSHOT, written and directed by Mikhail Red. Cast: Mary Joy Apostol, Arnold Reyes, John Arcilla & Ku Aquino


HAMOG, written and directed by Ralston Jover. Cast: Zaijan Jaranilla, Teri Malvar & Sam Quintana


PAGLIPAY, written and directed by Zig Dulay. Cast: Garry Cabalic, Anna Luna, Joan de la Cruz & Marinella Sevidal


PATAY NA SI HESUS, written by Fatrick Tabada and directed by Victor Villanueva. Cast: Jaclyn Jose


PAUWI NA, written by Paolo Villaluna and Ellen Ramos, directed by Paolo Villaluna. CAst: Bembol Rocco and Cherry Pie Picache


SALVAGE, written and directed by Sherad Anthony Sanchez. Cast: Jessy Mediola and JC De Vera


STAR NA SI VAN DAMME STALLONE, written by Alpha Habon and directed by Randolph Longjas. Cast: Candy Pangilinan, Paolo Pingol and Jadford Dilanco


TRIPTIKO, written and directed by Miguel Franco Michelena. Cast: Kylie Padilla, Kean Cipriano, Albie Casiño & Joseph Marci


A BICHARA SILVERSCREENS will be accepting advanced bookings for these films from schools, organizations, agencies in support of our own LOCAL FILM WRITERS, DIRECTORS,PRODUCERS AND FILM MAKERS!
Tangkilikin ang SARILING ATIN! Maraming Salamat Po!
Call 480-4328 or call and text at 90189029899 for DETAILS!

The Hobby Shop

Posted on: March 14th, 2017 by Joan Astronomo

Looking for something to give your kids?
Bring them to The Hobby Shop… let them choose among wide arrays of assembler toys/ figures or something to last and hand downs to younger generations like die cast planes & hot wheels!!!
Visit the #theHobbyShop NOW!

Alfana Cafe

Posted on: November 21st, 2016 by Archie Binamira

Famished after a movie? Have a fill at ALFANA CAFE now serving snacks and meals that suits everyone’s palate. Located at the upper 3rd level of A BICHARA SILVERSCREENS just above Cinema 1 and right below Cinemas 2,3 & 4!



FREE MOVIE FOR LOLOS & LOLAS (60 years old and above) & PWD

Posted on: October 24th, 2016 by Archie Binamira

FREE MOVIE FOR LOLOS & LOLAS (60 years old and above) & PWD brothers & sisters on MONDAYS, TUESDAYS & THURSDAYS every FIRST SCREENING only starting OCTOBER 17, 2016!

Upcoming Movies for 2017

Posted on: September 14th, 2016 by Joan Astronomo

Avatar 2

Deadpool 2

Beetlejuice 2

Jumanji 2

Resident Evil: The Final Chapter

The Wolverine: One Last Time

Fast 8: New Roads Ahead

World War Z 2

Rakshasa Street

Avengers 3: Infinity War

Justice League

Guardians of the Galaxy 2

Toy Story 4

Final Destination 6

Despicable Me 3

Maze Runner : The Death Cure


Alien Covenant

Wonder Woman: The Amazon

The Hunger Games: The Dark Days

Thor: Ragnarok

Black Panther



Power Rangers

Beauty and the Beast

The Croods 2

Pirates of the Caribbean: Dead Men Tell No Tales

Pitch Perfect 3

Annabelle 2

Chucky 7

Transformers: Rise of Unicron

Zombieland 2

Iron Man 4

The Incredibles 2

Fifty Shades Darker

Source: Tapoos Networks

Very very well done! #LightsOut

Posted on: July 30th, 2016 by Archie Binamira

Both critics and fans can’t stop talking about#LightsOut. See it for yourself, in theaters now!

‘Jason Bourne’ Review: Matt Damon Is Back and Badass

Posted on: July 29th, 2016 by Archie Binamira

The star is back as a rogue-agent killing machine in the franchise’s glorious return to form.

Note to Hollywood: July 4th was weeks ago, so screw you for making us wait so long for the real-deal action-movie fireworks. They show up big time in Jason Bourne, that rare summer thrill ride that doesn’t sell out to stupid. After nine years, Matt Damon returns to the role of the amnesiac assassin that made him an icon in 2002’s The Bourne Identity,2004’s The Bourne Supremacy and 2007’s The Bourne Ultimatum.Damon and Paul Greengrass, who directed the hell out of the last two Bourne epics — not including the 2012’s The Bourne Legacy, which both wisely skipped — didn’t want to commit till they had a screenplay. The filmmaker and editor Christopher Rouse did the honors, with a script that spoke truth to the power of rightthis-effing minute. And though Damon has barely 25 lines of dialogue (Bourne is a force in perpetual motion), the movie says a mouthful about cyber terrorism and the easily-crossed line between public safety and personal privacy.

To catch up: Bourne has most of his memory back, but lacks info on the CIA program that ended with the murder of his father. Guilt eats at him for what he did as a government-built, $100 million killing machine. He picks up bare-knuckle fights to punish and be punished. But during an austerity riot in Greece, Bourne is contacted by former colleague Nicky Parsons (Julia Stiles) and learns that new CIA director Robert Dewey (Tommy Lee Jones at his devilish best) is building his own shadow government with the help of compromised tech kingpin Aaron Kalloor (a terrific Riz Ahmed of HBO’s The Night of). The result could be something “worse than Snowden.”

As Bourne trots the globe — Athens, Berlin, London, Vegas — he’s tracked by Dewey’s lieutenant, Heather Lee (a stellar Alicia Vikander), and an assassin known only as the Asset (Vincent Cassel). Miraculously, Greengrass and his ace cinematographer Barry Aykroyd (The Hurt Locker) build a slam-bang spy game that plays like a you-are-there documentary. The jittery hand-held cameras shatter your nerves, and the truly special effects are mostly practical, not CGI. From Athens to a climactic car chase on the Vegas strip, the film offers the glorious sight of stunt work at its most palpably exciting.

All this may seem achingly familiar to those who’ve seen the other Bourne movies. For me, drowning in the pixelated muddle of most summer movies (Warcraft marking the lowest point), the realism is a distinct pleasure. Greengrass doesn’t stoop to hollow digital dazzle to jazz an audience. Long, fluid takes emphasize action that reveals character. Through it all, Damon keeps us glued to the war going on inside Bourne’s head. It’s a brilliantly implosive performance; he owns the role and the movie. It’s a tense, twisty mindbender anchored by something no computer can generate: soul.

The Best Day of Our Lives: A Movie Review of “Imagine You and Me”

Posted on: July 17th, 2016 by Joan Astronomo


Rating: 8.5/10

At first glance, the overall quality of the film stands out quite differently compared to most other contemporary local films. Besides being shot in various locations in the Lombardy and Veneto regions of Italy, there are some elements and methods used in the film that seems very unconventional and very different when pitted against contemporaries. It takes a few more viewings for a moviegoer like me to actually think like a film critic when viewing the film (it took me four viewings).

The overall cinematography is amazing (Shayne Sarte is worth mentioning here). Some of the best parts of the movie could’ve been boring, but the skillful movement of cameras really made the intended emotion flow from the screen to your heart. There were extended periods of single-camera use (3-5 minutes in one scene) in which the camera skillfully tilts, runs, stops, and chases characters, making it a really dynamic viewing experience without having to make you dizzy. Overall, the camera movements are spectacular, comparable only to other lengthy yet fantastic single-camera scenes in other movies like Children of Men (2006).

The camera angles weren’t as diverse as in other movies, but it is enough to convey the ideas to the viewers. Most views were either only eye-level or birds eye, which, for a rom-com like this, seems sufficient. Even the birds-eye views are used quite rarely as well — usually, it depicts scene transitions. It helps in giving closure to each scene. Nothing special about it, but it is camera use done right, I should say the least.

Lighting was basically untouched–the movie relied on what natural light the setting produced. Since the days in Como were generally bright, I also believe there was no need to work on this part.

The musical scores and songs used were very appropriate to the movie, giving the scene more life and successfully serving as supplement to the emotions the movie intends to convey.

As expected with most rom-com local films, the use of certain objects is central to the motifs of the entire film. Some objects in the film are symbolic of the characters themselves. Under this same category are some parallels drawn from Shakespeare’s Romeo and Juliet, which the character Gara seems to like. These are aspects of the film that appeal to the sentimental section of the viewing public.

The story is still typical boy-meets-girl in local movies. Another typical aspect is one of poor-girl-meets-rich-boy (although the story doesn’t really touch anything about money, the central premise still remains). The highly anticipated ending is somewhat reminiscent of the classic A Walk to Remember (2003) in terms of screenplay and dialogue.

However, the chain of events that lead to the ending differs from repetitive themes in other movies, most probably due to the peculiar personalities of Gara and Andrew. The story is generally cohesive and easy to follow, owing to the fact that it’s a typical one, although some scenes seem to have been patched up in the wrong place, thus temporarily interrupting one’s experience of a (sometimes crucial) scene. Another notable shortcoming is that the story flow seems to have “gaps” in it. The general story could be followed easily, but there are quite many parts where one will be probably asking “how did that happen?” or “wow, that escalated quickly”.

The film’s characters are well-defined. A viewer will, at once, feel that the characters are human. Their good and bad attitudes, their aspirations, goals, and beliefs, and even the way they talk and other mannerisms are very visible. This part is so excellent to the point that even the supporting characters and other cameo characters are successfully humanized as well. One can feel genuineness in their actions, particularly the way Gara talks to her friends Vangie and Winona. One would not feel like they’re forced to their characters. Some lines, especially from Gara, seem way out of line, but we can interpret this as one manifestation of Gara’s hopeless romantic personality. One can safely assume that the main characters were especially written to suit Maine and Alden’s real-life personalities.


The Legend Of Tarzan movie review: Could a Tarzan film be more? Here is an answer — yes

Posted on: July 11th, 2016 by Joan Astronomo

The Legend of Tarzan

David Yates movie gives us a believable reason to revisit the tale of the man raised by apes.

Could a Tarzan film be more? Here is an answer — yes.

David Yates, the award-winning director with, among others, four Harry Potter films behind him, makes The Legend of Tarzan soar with adventure as much as it bristles with tension, makes us care as much for king-size characters as unknown African villagers, and most of all, gives us a believable reason to revisit the tale of the man raised by apes. While it’s White men, again, who rise to the rescue, this time of Congo, the film gives a genuine shot at explaining the game played by the colonial masters in divvying up the continent.

Now, preferring to be referred to formally as John Clayton III (Skarsgard), Tarzan has been living for some years in a London castle. A member of the House of Lords, he is as used to tea at certain hours as semi-boiled eggs served a certain way, though the legend of his life in the jungle has followed him to England.

The suggestion that he represent the House of Commons as trade emissary to the Congo, on an invitation by King Leopold of Belgium, stirs up uneasy thoughts of that life, with its share of dangers. John doesn’t hesitate to reject the idea, saying Africa is “too hot”.

George Washington Williams (Jackson, playing a real-life character) persuades him to change his mind, saying he suspects a huge slave trade in Congo. Williams has just fought that war from the other side, at home in America. Jane (Robbie) is excited to return, and when John tries to argue that she should stay back, she points out that Africa is her home too.

Their homecoming, bathed in the warm, glowing colours of the African grasslands, literally and rather too metaphorically, turns bitter soon enough. On their trail is Rom (Waltz), who is after John’s life to further his own interests with the Belgian king.

Yates shoots the battles they fight, amidst huts in a spare village, inside deep forests, swinging in the air, landing on a train, under waterfalls, or atop a boat, with urgency. You never lose sight of what is at stake here, and there is no time for cheap thrills. Even John’s first encounter with his gorilla family is not a picnic, and his fight with his ape brother has all the bone-crunching elements of The Revenant, without the lingering aftermath.

Jane holds her own too, especially, as Rom finds it difficult to contain his fascination for her. Waltz, of course, breezes through his role of a sociopath, with snatches of a real life character too, saying a lot just with how he keeps a rosary always close and wields it as a killing weapon. But Robbie is impressive too, as a woman who, genuinely, no one can ignore.

Jackson is rendered a side fiddle in this tale, which is sad given the real life importance of the character he plays. In that his fate is similar to the other Blacks of the story, who are side shows except when John and Jane include them in their embrace. Their families too are among those abducted when Rom kidnaps Jane, but hardly a tear is shed for the remaining.

The origin story of Tarzan is reserved for flashbacks, but Yates is both spare and effective in how he tells it. This includes the minimal use of Skarsgard in the buff, though when he takes that shirt off, revealing trousers worn oh so dangerously low, half the battle is won.




Box Office: ‘Finding Dory’ Swims Past ‘Independence Day: Resurgence’ Opening

Posted on: June 25th, 2016 by Joan Astronomo

Disney/Pixar’s second weekend of “Finding Dory” will handily win at the U.S. box office with about $67 million, topping Fox’s opening of “Independence Day: Resurgence” at around $48 million, early estimates showed Friday.

“Dory” will see a 50 percent drop from its opening weekend, but will wind up with a robust 10-day total of more than $260 million. Should it top $70 million this weekend, it would be only the 12th title to do so in its second frame.

Blake Lively’s shark adventure “The Shallows” is projected to bring in about $13 million for Sony with a $6 million opening day on Friday. Matthew McConaughey’s “Free State of Jones” should see something in the $7 million to $8 million range for STX.

Fox’s “Independence Day: Resurgence,” had been forecast for an opening weekend of $50 million at 4,068 locations. It’s heading for an opening day of around $18 million.

“Independence Day: Resurgence,” directed by Roland Emmerich, carries a $165 million price tag. Emmerich brought back original cast members such as Jeff Goldblum and Bill Pullman, and added newcomers like Liam Hemsworth and Jessie Usher to the mix.

The original “Independence Day,” starring Will Smith, was an immense success two decades ago. It was the biggest movie of 1996 with a $306 million U.S. total and $817 million worldwide.

“Free State of Jones” had been expected to take in around $12 million at 2,815 locations but is likely to do significantly less. “Jones” stars Matthew McConaughey as the leader of an armed rebellion against the Confederacy. The film cost $50 million to make with STX bringing in partner IM Global to handle international rights.

Sony’s “The Shallows” follows Lively’s character as she battles for survival against a shark. It carries a $17 million price tag and had been looking at an opening of $7 million when it debuts on roughly 2,800 screens, but it looks likely to double that projection.

“The Shallows” will probably finish fourth behind the second weekend of New Line/Universal comedy “Central Intelligence,” which should wind up somewhere above $15 million.