Entertainment

Now Playing: The Dog Stars

The supposed post-apocalyptic thriller fails to deliver

All photos c/o 20th Century Studios

Published

August 29, 2026

Manila Connoisseur

It’s easy to mistake The Dog Stars for a canine-centric survival tale if you aren’t familiar with the source material.

Peter Heller’s 2012 novel uses the title as a double meaning — referencing both the star Sirius within the Canis Major constellation (hence, “the Dog Star”) and the very real bond between a man and his dog.

In Ridley Scott’s cinematic adaptation, the premise delivers a grounded, post-pandemic world devastated by a global flu. The narrative is driven by a mysterious radio transmission intercepted by Jacob Elordi’s Hig, a quiet pilot pushed by grief and an irrepressible human curiosity to see what’s left of the world beyond his refuge.

With a stacked cast, a legendary director, and rich thematic material, general moviegoers and book fans alike have plenty of reason to expect a post-apocalyptic thriller.

Sadly, as an adaptation, The Dog Stars underwhelms. What promises to be an edge-of-your-seat survival ride settles into a surprisingly dull story that lacks the punch of a post-apocalyptic thriller.

It isn’t a bad film, but it struggles to balance its atmospheric build-up with a rushed, squandered third act.

⚠️ Warning: Some spoilers ahead! ⚠️

Ridley Scott’s signature touch

For what it’s worth, Scott doesn’t take long to make his visual presence felt. The director fills the screen with sweeping tracking shots of Hig’s Cessna plane gliding over vast mountain ranges.

This is juxtaposed with melancholic, muted sequences of his daily survival routine with Josh Brolin’s Bangley.

There is a sense of desolation; unaddressed grief for Hig’s late wife and the sheer fatigue of scavenging alongside his loyal Belgian Malinois, Jasper.

The quiet routine switches gears dramatically during action sequences. Scott brings dynamic flair to the screen. Notably, when Bangley holds off a horde of Reapers, the cinematography turns into a video game-esque, FPS-style night-vision POV shot.

Ditto with the high-stakes chase at Margaret Qualley’s Cima’s place, and during the final act in the trap that is Grand Junction.

Brolin and Pearce anchor the wasteland

What’s problematic here is that the lead supports, Josh Brolin and Guy Pearce, give the film its most grounded and reliable energy.

Fresh off playing a father searching for answers in Weapons, Brolin again slips effortless into his role of Bangley.

This badass survivalist with ex-Marine credentials complement Hig with a contrasting manner, making defending their abandoned airstrip look routine.

The initial friction between Hig and Bangley also drives the film’s early momentum. Bangley is perfectly content just chilling at the airstrip, while Hig is consumed by a curiosity to see what’s left on the other side of the horizon given the tools he has.

Bangley eventually concedes to Hig’s urge to chase the radio signal, but gets an earned “I told you so” moment near the end. This is fittingly a chef’s kiss to his character’s consistent demeanor.

Yet you don’t mistake Bangley’s isolation for passivity as well. He is practically itching for a reason to unleash a barnyard full of weapons (pun not intended) he’s been hoarding. It’s as if treating the invading Reapers like the ultimate survival battle he’s eagerly been waiting for in the post-pandemic world.

Complementing this heavy-duty presence is Guy Pearce’s Pops. His fiercely overprotective father persona to Cima steals the spotlight given how everyone is cherishing what’s (or who’s) left.

There are sharp one-liners aimed at keeping Hig at arm’s length, as he’s understandably paranoid after surviving the apocalypse.

Together, these are two highly enjoyable flavors of post-apocalyptic fatherhood. Eventually, Bangley warms up as the entire protagonist group relocates to integrate with the Mennonites in the end.

Pacing turbulence, squandered climax

The film’s momentum begins to stall in the second half. Once Hig crash-lands and meets Cima nad Pops, the narrative slows down considerably.

Sure, it’s a way to establish the emotional foundation and romantic spark between the couple for audiences unfamiliar with Heller’s novel. Perhaps, an attempt to balance the quiet character work with the surrounding chaos.

However, the scales still tip heavily toward sluggish pacing, with the film losing much of the earned tension. This turns what should have been a tense journey into a noticeably dull movie experience.

Quite ironically, this is where Elordi and Qualley’s acting shines the most. It doesn’t help that there is an exposition-heavy writing as you just wait for a climactic finale to unfold, yet it never quite materializes.

By the time the story finally moves to Grand Junction, what should have been a defining act feels like a rushed afterthought.

Given the creative independence, Grand Junction could have been executed like a harrowing, inescapable maze. More frustratingly, the film completely drops the ball on its most disturbing revelation.

When the group stumbles upon roomfuls of discarded passports and piles of dead bodies, it should have been a heart-stopping, horror-thriller pivot. It’s the ultimate “we are completely fucked” moment, exposing the radio signal as a trap rather than a beacon of hope.

Had the film leaned into this nightmare, it would have rolled out the red carpet for Scott to flash his brilliance even further, recalling the tight, claustrophobic dread he mastered in Alien.

Instead, the movie glances past it in a split second. The protagonists overpower the opposition far too easily, robbing the climax of any real danger or lingering tension.

Should you watch it?

Undeniably, The Dog Stars movie succeeds in grounding itself on the human side of post-pandemic survival.

This isn’t a high-octane, “suspend-your-disbelief” blockbuster stuffed with outrageous sci-fi gimmicks; it is a thoroughly logical, realistic look at how real people would handle isolation, grief, and the instinct to rebuild community after everything crumbles.

The film’s core ideas are sound, and its emotional logic is intact. Still, it simply lacks the sharp execution and narrative punch needed to elevate it into a masterpiece.

On our Watch Scale, it falls under Wait on streaming. There’s plenty of technical flair and solid performances from grizzled veterans, but the rushed finale and missed horror-thriller pivot leaves you wishing Scott had been allowed to unleash the full extent of his cinematic powers.

Entertainment

UNDERTALE: The Determination Symphony gets two more shows

Both shows will be held on the next day.

Published

August 21, 2026

Luigi Leonardo

The Philippines has an unquenchable love for game-based concerts (so *wink wink* please bring more of them). Though these concerts do generate a lot of hype, the drawback is that they often sell out way before most fans can grab tickets. If you’re an UNDERTALE fan, that experience might be rocking you right now, as both shows have already sold out. But fear not: UNDERTALE: The Determination Symphony has just opened two more shows.

Late last month, Film Concerts PH, in partnership with SOHO Live, announced UNDERTALE: The Determination Symphony happening on October 17. As expected, both shows, at 3pm and at 7pm, sold out very quickly after sales opened.

Today, the concert experience is opening two more shows on the next day, October 18. Like the original date, the two shows will happen at 3pm and at 7pm, allowing more fans to experience the concert.

The concert will be performed by the Filharmonika Orchestra and conducted by Thanapol Setabrahmana. Personally curated by creator Toby Fox and developed by Lambert Jackson with Materia Music, the concert experience showcases the game’s most recognizable tunes laid over gameplay footage playing simultaneously. Plus, for the world tour, the experience will have expanded scoring.

Tickets are available through Ticketmelon. Both dates will be held at The Proscenium Theater in Makati.

Entertainment

Here’s what you should watch before Avengers: Doomsday

The road to Doom begins here.

Published

August 18, 2026

Luigi Leonardo

As of today, the entirety of the Marvel Cinematic Universe will take around 650 hours to watch. So, if you wanted to catch up with everything before this December’s Avengers: Doomsday, you would need to allot around 5 hours per day to watch content from Marvel. For a lot of us, that sort of commitment is completely untenable. Thankfully, Marvel has released an official watchlist, paring the list down to something much more manageable.

Before the MCU got as big as it is today, it was fun to do a movie marathon heading into a major Marvel release. For example, when Avengers: Endgame came out, some theaters held continuous marathons lasting a few days. Take note that this was before Marvel officially included every TV show and legacy movie (like the X-Men universe).

Now, heading into Avengers: Doomsday, Marvel will not ask you to devote the rest of your year just for homework. Instead, here’s an official list you can use to catch up:

X-Men
X2
Captain America: The First Avenger
The Avengers
Avengers: Infinity War
Avengers: Endgame
Loki
Shang-Chi and the Legend of the Ten Rings
Spider-Man: No Way Home
Black Panther: Wakanda Forever
Captain America: Brave New World
Deadpool & Wolverine
Doctor Strange in the Multiverse of Madness
Thunderbolts
The Fantastic Four: First Steps

Compared to the extensive list of everything Marvel, this official list is much more manageable, especially since there’s only one show (Loki). It’s also a veritable who’s who of the MCU, so it’s hard to get bored.

The official list as seen on Disney+

There are, however, a few surprises and spoilers. For one, if you’ve been avoiding the teasers and trailers, the X-Men films might be a shock to you. Likewise, the inclusion of the critically panned Brave New World is interesting.

The exclusions are just as noteworthy, too. Though the two earliest X-Men films are included, the list doesn’t add Days of Future Past, one of the first Marvel films to use time travel. Thor: Love and Thunder isn’t on here, despite Love, Thor’s adopted daughter, appearing in the trailers. Brand New Day is also missing, but that’s likely because the movie isn’t on Disney+ yet.

Avengers: Doomsday premieres in cinemas on December 18. Four months should be enough time to catch up on these titles.

Entertainment

Now Playing: The End of Oak Street

A more grounded, relentlessly suspenseful take on human-dinosaur coexistence

Published

August 17, 2026

Manila Connoisseur

All photos c/o Warner Bros. Pictures

For years, cinema has repeatedly tried to answer the age-old question: “What if humans and dinosaurs co-existed?”

Executions have varied wildly from standout franchises. There’s the corporate greed-driven, sci-fi techno-thrills of Jurassic Park.

There’s also the colossal, kaiju-laden spectacle from modern monster movies led by Godzilla.

The End of Oak Street, on the other hand, approaches the premise from a much more grounded and relentlessly suspenseful angle.

Led by A-listers Anne Hathaway and Ewan McGregor, director David Robert Mitchell delivers what feels like a Marvel-style “incursion” — except localized entirely to a quiet 1980s suburban neighborhood.

⚠️ Some spoilers ahead! ⚠️

Well-paced buildup to an 80s nightmare

The End of Oak Street doesn’t waste time getting its board pieces into position. It quickly establishes the Platt family dynamic: Anne Hathaway’s Denise is a frustrated aspiring writer, Ewan McGregor’s Greg is a moonlighting pizza delivery rider struggling to keep his family afloat while striving to be a better man, husband, and father.

They have two children: Brian (Christian Convery) and Audrey (Maisy Stella) plus their family dog Starbuck. The Platts aren’t picture-perfect, and a brief argument early on reveals this fractured marriage on the brink of divorce.

Visually, the film nails its 80s aesthetic right off the bat. There’s warm color grading, period-accurate costume design, and of course, backyard activities to build-up the overall setting.

The mystery kicks off when Denise photographs a mysterious plant suddenly appearing in her neighbor’s yard, only to be identified as Pleuromeia, a species that had been extinct for millions of years.

Moments later, a violent storm and a blinding flash of cosmic light would rip Oak Street out of normalcy as dinosaurs and other prehistoric wildlife would be transported into the same timeline.

Dinosaurs galore, relentless suspense

Once the neighborhood shifts, the film becomes a continuous gauntlet of prehistoric terror. Mitchell fills the screen with an impressive array of creatures.

There’s all kinds, from the flying pterosaur, the harmless but massive Stegosauruses and Triceratops, the heavily-armored but likewise herbivorous Ankylosaurus, and the main threat, the Allosaurus. In between, there’s even giant pre-historic crocodiles and eels.

Cinematography works exceptionally well here. It balances full creature reveals with the more subtle, tension-building frames, like the tip of a tail disappearing, spikes moving behind house roofs, or just the simple rustling behind bushes and trees.

Also noteworthy is how these various species all mostly played a role in the plot’s progression, not just thrown visually for mindless fanservice or eye candy.

Arguably, the two most suspenseful scenes were the attack of the mighty Allosaurus in a brutal, wide-open chase, and the claustrophobia-causing slithering prehistoric eel that held the Platts’ collective breaths while trapped inside their home.

Logically, when you’re in a state of panic, you wouldn’t be able to notice what’s happening around you, which was exactly what happened to the Platts when discussing a strategy just as the apex predator was about to get to them.

Worthy performances, well-timed sequences

Hathaway and McGregor carry the film’s emotional weight, from the portrayal of their strained marriage to trying to stay intact amidst the chaos for their children.

Greg gets a tragic, redemptive arc when he sacrifices himself in the mid-film shocker as he gets caught by the Allosaurus. All he wanted to be was a better husband and father figure, afraid to lose everything.

This leaves Hathaway’s Denise to process grief when there is no time to waste, and when the immediate goal is to steer her kids to safety. She somehow finds a way to express these emotions when she repeatedly stabs the prehistoric eel later on.

Convery and Stella also hold their own as the Platt kids with their portrayals of panicked youngsters. There’s bone-headed, irrational decisions and just plain annoyance when their seniors are trying to focus on problem-solving.

Involving Brian’s neighborhood crush, Jeannette, along with his bullies while everything is falling apart feels natural. It’s something kids would definitely do even with Oak Street getting torn apart.

For the most part, it felt like filmmakers timed the sequence of scenes well. They knew when to zig and when to zag, and when to insert particular elements.

But letting Starbuck loose into the jungle felt like a stretch, given how it’s filled with predators, although I get inducing even more anxiety to viewers when there are several question marks yet to be answered.

Endless chase, intriguing finale

At a 99-minute runtime, the final third of the film transitions into a long, heart-pounding chase to sustain the energy high.

Eventually, Denise, the kids, and Jeannette find the wormhole atop local librarian, Mrs. Valcourt’s house.

They fend off giant prehistoric crocodiles and pterosaurs in a gripping final scramble. Starbuck miraculously reappears, and the survivors plunge back into the wormhole and are able to get home safely.

This brings everything to the resolution. Denise lands back in 1982, just a few minutes before the incursion occurs. Knowing what’s about to happen, she calls Greg to deliver pizza so he can avoid the radius of the cosmic event entirely.

As with movies involving time-travel, resetting the timeline is what’s logical and realistic.

However, it does feel a lot anti-climactic, wiping away the entire journey that involved character growth, trauma, and heavy emotional stakes, for a happy ending and the success of Denise’s writing career.

Should you watch it?

On our Watch Scale, The End of Oak Street sits comfortably under Watch at your convenience.

The creature variety, sustained tension, and shrewd pacing make it a fun, heart-pounding ride.

Its reset-button ending and occasional logical flaws prevent it from being a top-tier dinosaur movie, but it’s one of the better ones we’ve had in a while.