![]() ![]() There's a rather creative idea where some unconventional camera-work that offers a different take on how to do a creature confrontation, which makes for the positives on display. The extended scenes later on when they venture out into the dark to rescue their fallen friend provide some tense sequences which provide a great build to the finale where the true nature of the disappearances is revealed. The panic and confusion felt when Mimi and the group have to race through the streets to reach a safe-house and find out that one of them is still outside is carried over into the scenes of everyone trying to come to terms with where they are and what to do next. That most of them are accompanied by a strange, eerie electronic buzzing noise coming from an undetermined source within the blackness is a fantastic ploy to ramp up the tension and unease throughout the sequence, when married together alongside the backstory about the fates of victims who are caught outside. Given the way Dayao enhances the darkness of the blackouts to the point of absolute black save for the light on camera-phones, the sense of isolation and genuine discomfort is easily achieved. On top of that, the horror scenes are quite fun. It ends up enhancing the film even further. The aftermath of this all, involving the complete erasure from society and social media like they never existed, speaks rather pointedly about the real-life terror of being wiped from existence by totalitarian governments or other such nefarious figures. As this universe presents an idea of the city as a run-down sinkhole despite the technological progress mentioned around the country, the introduction of this strange event that causes anyone who gets caught up in it to be affected regardless of their social stature is a rather novel idea. The world of rampant drug use and sketchy attitudes towards the imposed lockdowns relating to the strange blackouts that cause citizens to vanish unexpectedly is immersive enough to be quite chilling and terrifying throughout. Among the best features Dayao employs is an engrossing setup that offers a fantastic premise for the supernatural horror to emerge. Generally, there's quite a lot to like about “Midnight”. Before the night ends, they will each make a decision that will cast light on just how safe their “safe house” is and what lurks in the mysterious darkness outside. Then a phone rings and they realize one of them is still out there with something still chasing him. As the city lights start going out one by one, they manage to take refuge inside what looks like a designated safe house. Four friends, Mimi ( Jasmine Curtis-Smith), Glenn, ( Anthony Falcon) Jinka ( Glaiza de Castro), and Tonichi ( Dino Pastrano) who think it's all a hoax, find themselves getting caught out in one of these blackouts. No one knows who or what is inside the locked-up second floor. These safe houses are usually two stories high with the ground floor for those who come in just in the nick of time. For those unfortunate enough to find themselves out of their homes, their only refuge is special safe houses installed by the authorities. One involves people disappearing after being caught out in mysterious electrical blackouts that happen at random parts of the city after midnight. In the near future, Manila is an almost utopian city but they still believe in ghost stories. ![]()
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