I have seen a total of 55 films this year (yes, a very low number, since I have been reviewing theater as well), and I could only come up with two films that I loved: Janus Victoria’s Diamonds in the Sand, screened at QCinema; and the Netflix comedy One of Them Days. Irene Villamor’s Charo Santos–Dingdong Dantes-starrer platonic love story Only We Know is one of this year’s local mainstream surprises.

But most of what I have seen this year, now about to close, are either crap or mediocre. Instead of listing down the worst films of the year, Razzie-style, I’m going for the most disappointing films of the year. These are films I expected would at least turn out okay, if not great, because of the important filmmakers at the helm. Instead, I ended up angry, shocked, or depressed. 

A lot of you might hate me for this list, especially since most of these films are critically acclaimed, but it’s not my job to protect your ego or pretend I enjoyed something I didn’t. So here’s my list, in no particular order.

‘Sinners’

I mean, this is Ryan Coogler. Oscar nominee. Who directed Black Panther and Creed. Taking inspiration from From Dusk Till Dawn to Quentin Tarantino films, this vampire-blues mash-up is deeply pretentious. A prime example of cultural commodification, it turns Black history, blues culture, and pain into a one-dimensional monster fantasy, with Black religion portrayed as superstition. Hollow, inert and messy.

‘Food Delivery: Fresh from the West Philippine Sea’

After all the hype and controversy surrounding this documentary with an important subject, I felt ripped off. Baby Ruth Villarama’s Sunday Beauty Queen was unforgettable, so it was reasonable to expect Food Delivery to be effective at the very least. Instead, it comes off as crudely executed, empty and essentially one big commercial for a supermarket. I was somewhat traumatized.

‘Sunshine’

Antoinette Jadaone’s “bold” and “daring” pro-abortion film is obviously inspired by Eliza Hittman’s Never Rarely Sometimes Always. It cringely borrows Western sensibilities, but never nails its subject in a Philippine context, resorting to cartoonish arguments. Tactile cinematography, a stirring score and a committed performance from Maris Racal cannot save it.