Manila kingpin: The Asiong Salonga Story is written by Lopez Nepomuceno and directed by Tikoy aguiluz, It is an action movie which starred Jorge Estregan (Asiong), Carla Abellana (Angela), Philip Salvador (Policeman), Baron Geisler (Boy Toothpick), among others. Asiong Salonga is the husband of Angela. Even though he is too young to think of it, Asiong wants to rule Manila. But there is the group of Totoy Golem, who is the antagonist. The group of Totoy Golem got angry with Asiong because he stopped the illegal activities of the group. The group of Totoy Golem is known for illegal gambling and drugs. The group was paralyzed. One of the members of Totoy Golem's group was killed by Totoy Golem himself when he learned that the member was spreading the rumor that the group was afraid of Asiong.The setting of the story is in Tondo, Manila. The dialogue of the casts is so frightening. The audience think that the dialogue is only use in street-sides. The special effects of the movie is awesome. Actually, the movie was only a remake of the movie ''Asiong Salonga'' that happened in 1961. Some of the cast was very good in acting but the other cast was needs improvement for his/her acting.5/10

When I first heard about this film, the first film which came to my mind was The Godfather (1972) and I got excited that I wanted the holidays to end so I could finally watch it. "Manila Kingpin: The Asiong Salonga Story" is a really good film, though I hate to admit that it wasn't quite as satisfying as I thought it would be considering that they depicted the life of Asiong Salonga- the famous gang leader of Tondo back in the old days. The director, and everyone behind the film, probably wanted to capture how it feels and what it looks like living back in the late 40's and early 50's, that's why they chose to make the film black and white. I have to commend the brains behind that idea because they were able to relive what I call "The Old Days". Watching the actors shoot their guns and drive those vintage cars just blew me away and it was like almost as if I was actually in that place where it happened!I believe that without good actors, there can never be a great film. But there are always exception to the general rule. Looking at Jorge Estregan's acting skill, I think it was a mistake casting him as Asiong Salonga. Yes, we all know that he portrayed several antagonist characters in the past, but his experience, I'm afraid to say, just wasn't enough to make him fit for the role, thus, making him face humiliation from the audience. I also felt that his moves were stiff and the way he delivered his lines was not powerful enough to make everyone believe that he is Asiong Salonga. I was moved by Baron Geisler's performance, though. As an actor who portrayed famous antagonist characters on films and TV series as well, you can rest assured that he will never fail to deliver what is expected of him. Joko Diaz was good portraying a bad ass gang member, though there were times when I said to myself that: "He's just not as good as his father was". John Regala will always be John Regala- you'll hate him the moment you see him. That's just how good he is as an actor.The action scenes were almost perfect had it not been for Jorge's lousy acting. I found some scenes funny rather than exciting, moving, astonishing, and worthy of my praise. The scene that made a mark to me was the battle scene in the rain (you saw it in the trailer). It was so good I had to stop breathing for a second to savor that epic moment. Overall, the movie "Manila Kingpin: The Asiong Salonga Story", though a bit short with good actors, is worth watching.

"Manila Kingpin" is a very good-looking movie. The remarkable black and white photography is very sharp and striking. The camera angles were very well-placed and dramatic in composition. The period costumes and set design were meticulously planned and paid attention to. All the supporting characters, from Asiong's policeman elder brother Doming (Phillip Salvador), his wife (Carla Abellana), his gang mates (Baron Geisler, Yul Servo, Dennis Padilla, Ketchup Eusebio and Amay Bisaya) to his arch rival Totoy Golem (John Regala), everyone looks and feels right for their respective parts. The action sequences, be they gun battles or fist fights, were quite well-choreographed and executed.However, the main problem about this film is the lead actor himself, Jeorge 'ER' Ejercito. He did not have the right look nor charisma to pull off this lead character. He tries his best, but there seemed to be difficulty to fit. He did not project well in his scenes with Salvador, Regala, as well as those with Jay Manalo, who played his protector in prison, all of whom can dominate the screen better than Estregan. His scenes with Abellana had an unfortunate DOM ("dirty old man") feel to them, instead of sincere marital love. These problems can be explained when it was revealed at the end that the real Asiong died at the young age of 27! Ejercito must be twice that age already by now, hence the very tight fit.Overall though, the hard work and sincere efforts for excellence can be felt while watching the film. Director Tikoy Aguiluz certainly seemed to have nothing to be ashamed of with this final print we saw in the theaters, so I am also very curious what these controversial re-shot and re-edited scenes were that caused him to want his name stricken off the project. My one suspicion would be the final gun battle-royale in the rain, which was very well shot, but was curiously scored with the slow version of "Mad World" of Tears for Fears. I felt this score was inappropriate and awkward to the time period and to the culture. An original Filipino sad melody would have been better. Anyway, that is only a minor quibbling observation. This film is worth watching especially for fans who miss traditional Filipino action films. It deserved all the awards given to it during the recent awards night -- Best Picture, Director, Screenplay, Supporting Actor, Cinematography, Production Design, Editing, Sound, and Theme Song.

This might as well be the first time that I'm reviewing a film without a director. Of course it was, during production, helmed by veteran film director Tikoy Aguiluz, whose film "Segurista" I truly admire. But because of some post-production politics and creative clashes between him and the producers, Aguiluz's name, by his own request, was removed from the posters and the film itself, leaving screenwriters Roy Iglesias and Rey Ventura as the only people left at the top of the creative hierarchy."Manila Kingpin: The Asiong Salonga Story" was, above all, branded as a resurrection of sorts for the very dead action genre of the local film scene: an alternative cinematic reality reigned over by the likes of Lito Lapid, Rudy Fernandez, FPJ, and lots and lots of blazing machismo. It was truly a haven of myth-making capable of solidifying silver screen stars such as Ramon Revilla Sr. as an amulet-empowered 'crime does not pay' icon and Paquito Diaz as villainy and ruthlessness personified. This is the powerful formula only action movies have the strength and endurance to carry on for more than 40 years or so without looking, even at the slightest bit, exhausted. And in this film's case, it was that same, enduring formula that was utilized by George Estregan Jr. (or E.R. Ejercito) and company to serve us thirsty fans a tribute to the genre's lore and also a blood-drenched gangster tale that we can call our own.Namely, some of the film's strengths are its exquisite cinematography and set design, which have genuinely evoked the 50's period with its nostalgic, often times claustrophobic and grayish visual treatment. Take note, 'evoked', not 'replicated'. If replication is the film's real intent, then they should have gone braver and filmed it in full color. But with its purpose being to merely create a distinct visual 'feel' completely free to express its own artistic liberties rather than to completely emulate a bygone era to the teeth, "Manila Kingpin: The Asiong Salonga Story" succeeded.But although the film has meritoriously upheld its own visually, it has fallen short substantially. The film suffered in severe one-dimensionality in terms of characterization, with George Estregan Jr., most known for merely playing loud-mouthed, smoker-voiced supervillains such as Dr. Zyke in "Batang Z" and Ivan in Andrew E.'s "Extranghero", although showing relative depth and previously unseen dramatic intensity in his performance as the savage but gold-hearted titular crime boss, obviously looked awkward at times as he makes most out of the stereotypically-written lead role. While character actors like the ever so psychotic John Regala and the subtle Ronnie Lazaro seem to enjoy in their respective characters' caricature-like brutality, the always reliable Phillip Salvador suffered in his role's tiring and predictable 'although my brother's a hardened criminal I still love him' mentality as Asiong's older cop sibling.Ping Medina, one of the best young actors working today, was underused in an underdeveloped character, and so were Yul Servo and Ketchup Eusebio. Though I can't say the same for Baron Geisler's, which fueled and enforced the film's theme of betrayal and split loyalty with his dimensioned, though predictable Judas-like character to Estregan's Jesus Christ. With Geisler and his mocking smiles and stares like that of a manipulative schemer, you can clearly read within his character that it's just a matter of time before he goes all Robert Ford to Asiong's Jesse James behind.True, "Manila Kingpin: The Asiong Salonga Story" may have, in certain ways, hopefully reverberated the action genre with the urgency of its ambition, thanks to George Estregan Jr. and all the people involved. But I think that in time, this film will and should be more remembered as a pioneering crime film that just happened to have one action scene and two or three kissing scenes (!) more than the usual. And just when I'm merely recovering from a "Mad World" LSS hangover, here comes this film complete with its own instrumental rendition of the said song which puts a preachy, 'this is what you should feel' vibe to an otherwise well-executed, "City of God"-esque bullet ballet of a climax.Now, despite of my scrutiny of the film no one really asked for, I truly enjoyed watching the film for what it is: A textbook action/crime opera. And as the film's credits roll and as the lights in the theater were switched back on, I can see the geriatric majority of the audience; a bittersweet sight that made me think of one thing: "These are the fans that you've left behind, action genre!" Fans that, for so many years, have settled for those pixelated 16 in 1 Robin Padilla DVDs and Cinema One reruns to compensate for the lack, or even the complete absence, of new, locally-produced action pictures.Now, with not much left to say, I have appreciated this version more than I thought I would, but I'm still particular of the fact that in the long run and in the overall definition of what cinema is all about, the director's vision matters more than all the commercial-minded producers' combined. Now, can we have the Tikoy Aguiluz cut, please?(Review originally published at www.ivan-thoughts.blogspot.com)