‘Moro’ Netflix Movie Review - A Visual Feast in a Narrative Famine

If you’ve ever wondered what it feels like to sit through a movie that’s more confused than a chameleon in a bag of Skittles, let me introduce you to "Moro." Directed by Brillante Mendoza, this 2023 Netflix release aspires to be a deep socio-political commentary wrapped in family drama but ends up being a masterclass in missed opportunities.

Let's start with the good stuff because, like finding a lone potato chip in an empty bag, it’s always nice to have a pleasant surprise. The cinematography by Odyssey Flores is nothing short of breathtaking. Picture this: the lush, sprawling landscapes of Mindanao are shot so beautifully that it feels like someone sprinkled magic on your screen. Every frame is a postcard-worthy scene, making you wish the plot could match the visuals.

Piolo Pascual and Laurice Guillen bring their A-game to a script that seems determined to sabotage them. Pascual's portrayal of the responsible elder brother Jasim is commendable, and Guillen's performance as the prophetic mother adds a layer of gravitas. They deserve medals for making their characters seem more profound than they actually are, given the script’s best efforts to keep them one-dimensional.

Now, onto the 85% negative because, frankly, that’s where the juicy stuff is. "Moro" tries to juggle family dynamics, local politics, and social issues, but it’s like watching someone juggle chainsaws blindfolded – you’re more worried than impressed. The story centers on Jasim and Abdel, two brothers on opposite ends of the responsibility spectrum. Jasim, the good one, contrasts with Abdel, whose life choices are as questionable as a gas station sushi platter.

Their mother, who dreams of reconciling her sons, brings the local community into the mix to broker peace. This setup has the potential for some serious drama, but it’s undercut by a narrative that’s as coherent as a drunk text. Just when you think the story is getting somewhere, government intervention crashes in like a clumsy party crasher, escalating violence and derailing any sense of plot progression.

And the pacing – dear lord, the pacing. If this movie were a car, it’d be stuck in first gear. Scenes drag on with the urgency of a sloth doing yoga. You find yourself wishing for a fast-forward button to speed through the endless exposition that’s as engaging as a tax seminar. The intermittent bursts of action, intended to inject tension, feel more like someone randomly setting off fireworks at a funeral.

Jake Abelle’s soundtrack doesn’t help matters. While beautifully composed, it’s about as fitting as playing smooth jazz at a rock concert. The serene tunes clash with the film’s darker themes, creating a dissonance that’s hard to ignore. It’s like the music and the plot were having a fight, and neither came out on top.

Character development? What’s that? Jasim and Abdel’s relationship, supposedly the heart of the film, is explored with all the depth of a kiddie pool. Their interactions lack the emotional weight needed to make the audience care. Supporting characters, who could have added much-needed layers to the story, are reduced to background noise.

In summary, "Moro" is a film that reaches for the stars but trips over its own ambitions. It’s visually stunning, thanks to Odyssey Flores, and the cast gives it their all, but they’re let down by a script that’s all over the place. The movie tries to tackle big issues but ends up like a dog chasing its tail – lots of movement with no real progress.

If you’re a fan of beautiful cinematography and want to see actors do their best with what they’re given, give "Moro" a shot. Otherwise, you might find yourself wondering how 80 minutes can feel like a lifetime. It's a film that promises much but delivers little, making it an exercise in cinematic frustration.

Final Score- [3/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times