JerPalma

Eerie marks Mikhail Red's entry into the horror genre, combining a vengeful ghost story with a critique of the Catholic Church's institutional cover-ups. Set in an all-girls Catholic school, it follows guidance counselor Pat (Bea Alonzo) as she investigates mysterious deaths while supporting troubled students. Charo Santos-Concio plays the chilling headmistress, Sor Alice, whose zealotry blinds her to justice, symbolized by the blindfolded Sta. Lucia statue.

The vengeful spirit Erika ("Eri")-a name that sounds "eerie"-is central to the film's supernatural events, drawing on familiar horror tropes reminiscent of The Nun, The Grudge, Shutter, and The Sixth Sense. While Eerie excels in atmosphere, with striking visuals and a tense score, some elements feel contrived, such as the overly stylized nun costumes and the unnatural candle arrangements in the girls' dormitory, especially when there's no brownout. Although the writing falters at times, much like his future film Nokturna, Eerie is still a solid Pinoy horror movie, albeit within mainstream constraints. It's a sign of future success, particularly with Deleter.

Jerrold Tarog truly shines with the Punerarya episode, crafting a unique horror story that goes beyond cheap scares. Anchored by standout performances from Sid Lucero, Carla Abellana, and Nash Aguas, Punerarya builds a chilling atmosphere and delivers unexpected twists that make it not only one of the best entries in the Shake, Rattle & Roll series but also one of my favorite 'creature features' in Pinoy horror.

However, it's unfortunate that Tarog's subsequent projects under the SSR banner haven't quite matched the brilliance of Punerarya. Take Mukbang, for example-a film that, despite its larger budget and more extensive 'viral' cast, felt overly ambitious and ultimately missed the mark. It was a stark contrast to his first SRR entry, which, with a smaller budget and limited locations, still managed to pack a punch and leave a lasting impact.

I hope Tarog gets his groove back and remembers that you don't need an extensive cast or virality to make quality, entertaining films. Punerarya proved that with the right vision, even the simplest of setups can lead to greatness. Here's hoping he returns to his roots and creates more films like this-ones that are both smart and captivating, and remind us why we fell in love with his filmmaking in the first place.

In Deleter, Mikhail Red delivers a decent horror that's both familiar and accessible. At its core is Nadine Lustre, whose magnetic presence keeps you engaged throughout. She's has a great register on cam and is clearly the film's focal point, and it's no surprise she's becoming Red's muse with another horror follow up, Nokturno.

The movie feels like late '90s and early '00s Japanese horror films like Ringu and Kairo, using glitchy CCTV and webcam footages. What sets Deleter apart is how it captures the everyday anxieties of office life in the Philippines-from the toxic co workers and low wages to the darker realities of exploitation and workplace assault-all within the high-stress backdrop of a BPO environment.

Red has a knack for storytelling given limited characters and locations. Be it in a vast Philippine forest or in a clasutrophobic Manila concrete jungle.

Ultimately, Deleter offers a fun, fleeting horror experience, delivering exactly what it promises: jump scares, stylized visuals, and over 90 minutes of Nadine Lustre - all we need for a li'l Netflix and chill, only time it is only streaming at Amazon Prime.