Its ambition and meticulous detail make it worth watching, but be prepared for a story that demands patience and close attention.
Is Raymond Red’s police drama the finest entry in this year’s Metro Manila Film Festival (MMFF)?
That’s exactly the question I would like to ask after watching Manila’s Finest.
Whenever I watch films—local or foreign—I try to put myself in the shoes of an average, reasonable person (or viewer in this case), or, as my college professor once described, someone with ordinary intelligence and common sense.
Moving forward, as I plan to watch all MMFF entries, that will be my gauge. But a little disclaimer: there will be a few minor spoilers.
Manila’s Finest is a visual feast, immediately immersing viewers in the humid, chaotic streets of 1969 Manila. It’s a gorgeous period drama. The color grading is consistent, and every frame feels meticulously choreographed to reflect the era, from period-accurate costumes to detailed police station interiors.
Piolo Pascual as Capt. Homer Magtibay exudes commanding presence, while Enrique Gil’s Lt. Billy Ojeda balances youthful impulsiveness with charm. The supporting cast, including Joey Marquez, Romnick Sarmenta, Jasmine Curtis Smith, Ariel Rivera, and Ashtine Olviga, deliver strong performances despite limited screentime.
Dylan Menor won the audience’s admiration, judging by their reaction during the Robinsons Manila screening on Monday, while Rica Peralejo’s comeback felt a bit underwhelming. Personally, I had expected her character to receive more attention, given it marks her return to film. Still, as the saying goes, there are no small roles, only small actors.
Cedric Juan portrays his character with clear, deliberate intent, while Rico Blanco is animated and vividly expressive—the kind of character you can’t help but love to hate.
The production design is equally impressive, speaking volumes about the time and effort invested. Every detail, from the city streets to the police interiors, makes Manila itself feel like a central character.
However, the film’s narrative structure leaves much to be desired. Manila’s Finest is slow-burning and often vague, which can make it difficult for viewers—especially those unfamiliar with pre-Martial Law Manila—to grasp the plot or main conflict.
Its ambition and meticulous detail make it worth watching, but be prepared for a story that demands patience and close attention.
Raymond Red’s direction captures the era authentically. Themes of systemic corruption, loyalty, and personal sacrifice resonate strongly, underscoring that the struggles of 1969 Manila echo in today’s society.
Yet, despite its thematic relevance, the film struggles with pacing and clarity, which may frustrate some viewers. The slow narrative and occasional confusing plot beats prevent it from reaching its full potential.
In the end, Manila’s Finest is both compelling and frustrating—a visually stunning period drama with standout performances and immersive production design, tempered by narrative gaps that may leave audiences scratching their heads.
