An illusion is brilliantly hatched. Playing alongside each other are two scenarios, apparently separated by time and a huge change in the nature of Pol (Pen Medina), a convict prison which doubles as an assassin for the prison guard (Archi Adamos). The illusion is skilfully maintained, at least until the prides of off ingenuity and the need for the exhibition becomes imminent. The film opens with unwavering murder of a man Pol revealing fast in sequence so wisely run Pol as a man of hollow virtues. However, Pol, visibly aged sees also communicates with a group of other retirees, revealing a character which is opposed to the ruthless man opening sequence. Gargantuan between two Pols so-called two scenarios of Wildcat Bilanggo Michael Angelo Dagnalan (life sentence) distinctions are gargantuan so that it is impossible to not be intrigued by what could have converted Pol Pol fresh geriatric.Given obedient killer two different mood and style, since Pol killer storyline frames is unabashed in his use of violence and the representation of reforming institutions as ravaged by corruption and exploitation during the storyline of Pol, older people seem to be a calm portraits of people living in the twilight of life, film has naturally movement stimulation, requiring a little diligence and competence of the Director. Fortunately, the Dagnalan juggles mainly two scenario with quiet efficiency. Yet, when Dagnalan allows vanity, revealing Pacific and reformed presence of Pol home for the elderly is but a sham for its next mission as an assassin, the movie loses an essential part of what makes it momentarily poignant, the sincerity of endearing and ease-of-life bought what appears to be an inevitable hell.Layang Bilanggo ultimately suffers because it is said with this vanity in mind. It is demeaning to the emotion has sought to be developed, focusing more on the ingenuity of the narrative of the story itself. Although the story itself is not as remarkable as he thinks it is. It is primarily a story of redemption of a father who left his wife and there are decades of daughter and now attempts to reconnect with her without revealing itself in the meantime to eliminate his next target, a journalist who conducts research on corruption in the prison system. There are certainly times where emotional weight which is implemented by POL is exposed to certain poignancy to the screen. With the help of consistently credible representations of Medina and Miriam Quiambao as the father of criminal and his daughter, respectively, Dagnalan manages to maintain a puff of pet in a story that wraps itself limit flagrant. The attempts of familiarity, however, are far from noble or new, because they are on melodramatic rotates and motivations of character that are often used to point to raise the status of snapshot. Superficial stories at home for the elderly are many faults of the film, perforation of the convoluted main plot with humanity indispensable. Jaime Fabregas, who plays officer retired Metrocom became paradoxically best friend of Pol at home for the aged and in the film, later wreath gifts a grandmother brandishing a necessary in the case of particularly serious and moribund adds lightweight, powerful weapons. Thus, despite the abundant excess in Dagnalan script and direction, one cannot simply remove the fact that Wildcat Bilanggo works, even if only as a curiosity at random.(Cross-published in the teachings of the school of inattention.)
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