Erik Matti uses his signature style to take
on the most pressing issue facing our country right now. But does he deliver?
Walking into the theater, I was admittedly expecting
something more from the film than just punching and shooting. After all, this
was the creator of On the Job, one of the best commentaries on the state of
Philippine politics today. Because of that, I left the cinema feeling…unfulfilled.
I expected something more intelligent.
It’s helpful to think of Buybust not as a
political thriller, but as a 70s-style action movie. Buybust’s social
commentary is admittedly snappy, but – unlike previous Matti work On the Job – seems
to be there mostly to be provocative. In other words, it’s just there as window
dressing: there’s no serious attempt at having an in-depth discussion of the
War on Drugs, it’s just used as a veneer over all the punching and shooting.
And honestly? I’m OK with that. Part of me should probably be offended by the use
of such a sensitive topic for shock value, but that’s where the good parts of
the film come in. Buybust’s real strength is in its well-choreographed fight
scenes – there’s one scene that gives me so much respect for Anne Curtis, at
least until the next shitty rom-com with her name on it comes out. The level of
work put into this film is stunning, and shows readily.
To summarize, go see Buybust, but don’t go
in expecting any particularly deep insights about the Philippines’ drug war. It’s
just punching and shooting; really well-made punching and shooting, but punching
and shooting nonetheless.
