Mario is a hit-man and he is getting on in years so has a 'back up' man and that comes in the shape of the much younger Daniel. The thing is they are also both inmates in a not so high security Filipino prison. They work for a mysterious – if ruthless – Madame called Thelma and she works for whoever has the cash to pay for these exclusive services.They get day release or rather night release to go do their thing. We also have their back stories of how they ended up where they are and what is going on outside the prison confines. No crime story would be complete without some cops – and we have them in spades; they, though, are mainly the sort that fit into the convenient pigeon hole marked 'corrupt'. Enter suave good looking cop Francis Coronel who is 'connected' and he ends up paired with an ageing Sergeant whose career has entered a cul-de sac, but they actually want results.Now this is a full on thriller with action where needed and performances that evince the gritty realism that some crime films can only dream of. The film has an air of poverty versus wealth running throughout and the corrupt seem to be only separated from the poor by degrees of honesty and bank account balances. To say this is a brilliantly accomplished film is an understatement. In Tagalog and English this is one for those who appreciate World cinema and like their films to be as unflinching as real life can, sadly, be.

ON THE JOB is a dark, dingy, and rather sweaty Filipino thriller that has some stylistic similarities to the far superior METRO MANILA. Unfortunately this is ultimately a much lesser work in which promise at the outset soon devolves thank to some rather pedestrian writing. ON THE JOB is too long, too slow, and marred by unsympathetic characters who you don't give two hoots about despite their various problems.The story involves a real-life scandal around career criminals being given day release from prison to go around working as political assassins. It sounds great, but after the umpteenth long-winded scene of characters arguing and discussing their plight, it becomes merely average rather than profound. It doesn't help that the only truly likable character is the young crusading cop whose character is let down by possibly the most unsatisfying climax in a film ever.Director Erik Matti performs an able job behind the camera, creating a gritty and realistic look that brings out the poverty and grime of the surroundings. Individual scenes are powerful, and there are one or two good action moments, but the choreography is sometimes sloppy and the tedium occasionally overwhelming. These factors conspire to make ON THE JOB a distinctly average movie when it should by all rights be a good one.

I actually wanted to watch "Foxcatcher", but the screening was sold out, so I decided I'd go and watch this instead. And why not? Had no idea what to expect and was mostly entertained by it. The story this is based on, something that seems to have happened is completely crazy. As they say: You could not make this stuff up (well maybe some of it, but the core is true).The acting might not be always up to the challenge, but the violence and the "reality" of it, will hold your attention to it and will grip you from start to finish (if you don't mind reading subtitles that is like I don't). While it's straightforward, there are a few surprise twists here and there awaiting you. More than a decent thriller then

On The Job has some intriguing stuff, it's a story about four lives connected in one conspiracy behind the law. What's going on is as many as its moral ambiguities. It is a heavy story, but it consistently delivers thanks to the people who are involved. The craft is excellent for giving an absorbing quality with pure tension. The stellar cast brings plenty of life within the characters. Beyond the surfaces, the film is already fascinating itself, but it's a very ambitious picture. OTJ is a rare modern Filipino film that has an actual engaging story to tell in a brilliantly slick and exhilarating way.The subjects of the film are the realities of crime and moral ambiguity. Even though the lead character's motivation is good, it won't make his job look any less terrible. It never glosses anything about what they do and that's the interesting part. There are no actual heroes and a dirty work will always be a dirty work, which provides absolute danger within the surface. The film is best at tension, every set piece is like a ticking bomb, it gets louder and louder until it fires to an unpredictable shock, then more action. It's amazing stuff. When there's no blood and gunshots, the film explores the characters. They are in fact not bad people after all. They have their own problems and only do those things to provide for their loved ones, though there's a fear that they might bring their work into their personal lives, but that just makes it human.Tatang is mostly ruthless, but Joel Torre gives all the humanity which balances the character's depth and criminal side. Gerald Anderson shines remarkably. His greatest feat is the arrogance he brings, makes his character feel more threatening. Piolo Pascual surprisingly has something beyond his typical charms. My favorite among is Joey Marquez, who gives the cop a natural rage and fear that can be relatable and somehow enjoyable to watch.The film never depicts Metro Manila as pleasant, it's like hell on earth where violence may happen anytime in the city. Well it is in fact one of the rotten places of the country. Other than that, the film has most the best things in a classic crime thriller: noir feel, anxiety filled action, twisted dark humor, and a cinematography that glamors around the filth. Director Erik Matti keeps everything interesting and magnetic.OTJ is a great surprise among the local blockbusters today. We don't usually get a well made Filipino movie like this nowadays unless it's an independent film. Otherwise, it's a compellingly grim crime drama that may possibly stuck in your mind in a while. Personally, I think this is the best film I've seen this year so far. Since it's not really the greatest ever, I think this is what we need. It has a lot of what's missing in most modern blockbusters. It also has the craftsmanship and down-to-earth performances that would impact more to the audience. With all the merits, OTJ is easily recommendable.