Pula

The storyline is typical of Filipino movies: Infidelity. Murder and rape scenes are very predictable. You could almost say with high degree of certainty what happens next. And then there is Poor Acting from the main cast. Julia Montes' acting is terrible. Coco Martin's smug is almost similar to his Probinsyano role. It makes you wonder if he is just a one-dimensiinal guy. The dialogue is also corny. I mean why would you believe that you can fool and lure a 15 years old girl with mermaid stories. The potrayal of religiosity is a bit too traditional. There a lot of cinematic errors too and the porttayal of police work and the jusrice system is very unrrealistic. In short, the movie sacrifices realism for the sake poor story telling.

Coco martin strike again with the tounge ahahaha, this movie was such a blast, every scene can make you go wonder what's gonna happen, it was entertaining and unexpected, watching this movie with my parents are 1 sit movie for us. Though many people might dont agree but that ending is wild and scary that it can happens in real life. The movie reflects corruption and the ability of the people to do such a thing, coco martin really did a good job at acting and it fits the character so good that it makes me hooked more watching the movie.

This story reflects that jealousy can be savage and controls people to murderous intent.

It's like a horror movie but also not a horror movie, they're horny? Yes, it all started because of jealousy because Daniel's wife couldn't be good as the girl he had his eyes on but the also jealous that his chief can take care his wife better than himself.

And then after all those pointless thriller, he S. A the girl and kill her after he banged like hell. After all those relieve he just started becoming a school shooter for the guilt and jealousy he had. Technically there's no reason at all when he started to just shot everyone in the department (and the village mentioned) just because he doesn't want any prove that he's the murderer and the rapist of the girl who he's jealous with Jeff in the first place.

The script is so muddled that it becomes difficult to follow and understand the central narrative. The pacing is erratic, with scenes that either drag on unnecessarily or jump abruptly without proper transitions. This disjointed approach detracts from any potential impact the film could have had.

Additionally, the film's production values leave much to be desired. The cinematography and editing are inconsistent, with some scenes looking amateurish and poorly lit. The action sequences, which should be a highlight in a movie of this genre, are uninspired and lack the intensity needed to keep viewers on the edge of their seats.

Overall, *Pula (Red)* is a disappointing effort from Coco Martin. Despite his previous successes, this film feels more like a misstep than a triumph. The poor acting, nonsensical plot, and subpar production make it difficult to recommend this movie to anyone looking for quality entertainment.

As an avid cinephile, I ventured into 'Pula' with high hopes, given Brillante Mendoza's track record for gritty, immersive storytelling. However, my anticipation was met with disappointment as the film unfolded.

'Pula' lacks the captivating narrative and character development that one expects from Mendoza's work. The plot feels stagnant, meandering without purpose, leaving viewers disengaged and, dare I say, bored.

While Mendoza's signature raw and unflinching visual style is evident, it fails to compensate for the film's narrative shortcomings. The relentless focus on bleakness and despair becomes tiresome, lacking the depth necessary to sustain interest.

Despite commendable performances from the cast, particularly in conveying the harsh realities of their characters' lives, 'Pula' struggles to evoke genuine empathy or connection from the audience.

In conclusion, 'Pula' may appeal to die-hard Mendoza fans or those seeking a stark depiction of societal issues, but for most viewers, it's likely to be a tedious and forgettable cinematic experience.