Crosspoint takes a bold leap as a cross-cultural collaboration between the Philippines and Japan, blending a complex set-up of drama, suspense, and the occasional dark humor.
Directed by Donie Ordiales, the film follows Manuel Hidalgo (Carlo Aquino) as a washed-up Filipino actor taking odd jobs in Japan in order to survive.
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As fate would have it, Manuel crosses paths with Shigeru Yamaguchi (Takehiro Hira), a bankrupt businessman deep in debt with the yakuza.
The storyline, rich with potential, promises an intricate exploration of human desperation and unlikely camaraderie.
Yet, despite its initial intrigue, Crosspoint feels like it’s stuck in the crossroads.
CARLO AQUINO'S BRILLIANT PERFOMANCE
Carlo is the film's biggest asset. His portrayal of Manuel is grounded, but magnetic, successfully holding the viewer’s attention even during the movie’s slow parts.
The Kapamilya actor deftly brings out Manuel's exhaustion and quiet tenacity, drawing empathy for a man trying to navigate a foreign world while being haunted by personal failures.
In contrast, Takehiro's Shigeru though more reserved is equally compelling. The senior Japanese actor captures Shigeru’s blend of pride and despair, especially in his strained father-daughter relationship that adds a necessary layer of heart to the narrative.
These two actors, despite their contrasting styles, create an intriguing dynamic that lights up the screen when they are together.
One of the film's main drawbacks is its long-drawn-out build-up.
The movie dedicates significant time to side plots, such as Manuel’s unresolved issues with his father and Shigeru’s troubled business, which, while somewhat necessary for context, tend to bog down the story.
By the time the two leads finally connect, the movie feels somewhat spent; in the aftermath, their momentous meeting is left with less screen time than it deserves.
The film skims over the main actors' interactions, offering only fleeting glimpses of what could have developed into a powerful, darkly comedic dynamic.
CROSSPOINT: THE BEST PARTS
What sets Crosspoint apart are its action sequences, with Sho Ikushima’s portrayal of a menacing serial killer delivering an unexpected burst of energy to the film.
Sho’s chilling presence adds an undercurrent of tension, with action scenes that feel starkly different from the drama-heavy sequences preceding them.
Direk Donie proves he has an eye for suspenseful shots and quick pacing here, though these moments are short, leaving the audience wanting more.
Moreover, the genre-blending approach feels somewhat unbalanced, as the film dips into action and suspense but never fully commits to it.
While the film has inklings of a gritty buddy story with dark humor, those moments of awkward comedy feel underexplored.
At times, Crosspoint hints at a compelling exploration of Manuel and Shigeru’s differences and shared struggles through these humorous exchanges.
Yet, just as these moments start to engage the audience, the film pulls back, never quite embracing the darkly comic potential fully.
Exploring these interactions more fully could have enriched the film’s depth and entertainment value. However, it leans back into familiar dramatic territory, softening the unique edge it briefly captures.
Overall, Crosspoint shows promise for Donie Ordiales as a first-time director.
The film is well-shot, competent, well-acted and engaging. With better pacing and a stronger focus on the action, the film could have made a greater impact.
It premieres on October 16, 2024, in cinemas nationwide.
Aside from Carlo Aquino, Takehiro Hira and Sho Ikushima, it also stars Ian de Leon, Polo Ravales, Kei Kurosawa, Sarah Jane Abad, and Dindo Arroyo.