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Pa-Siyam (Erik Matti, 2004)

Ever since Chito Roño's Feng Shui (2004) made a killing at the local box office (an obvious aftershock of the successes of Hideo Nakata'sRingu (1998)and Takashi Shimizu's Ju-On (2000) which were adored by Filipino filmgoers), big studios started riding the wave, coming up with their own crafty variations of long-haired creeps with gait problems haunting innocent victims wherever they go.

Most of the J-horror rip-offs are uninspired, inexpensive excuses to launch the careers of love teams and teenage idols. Clearly, the wave has blurred what a horror film should be, that instead of damaging the implied safety the audience has with real life (like most of Kiyoshi Kurosawa's films, leaving his audience with a prolonged dread by questioning the very fibers that make us human, something which we cannot easily shrug off), these so-called directors delegate the duty of scaring to cheap shocks, computer effects and jarring sounds.

Erik Matti's Pa-Siya