A scene from 'Strange Frequencies: Taiwan Killer Hospital' 

Kerwin Go ("Mina-Anud," "Keys to the Heart") stands out as one of the country’s most technically meticulous directors, known for his dynamic visual storytelling, influenced by his Hollywood sensibilities — unsurprising given his background at an LA film school.

His last two projects have been remakes of popular Korean films. Following "Keys to the Heart," Go’s latest work, "Strange Frequencies: Taiwan Killer Hospital," is a remake of the 2018 Korean horror film "Gonijam: Haunted Asylum." This marks Go’s first Metro Manila Film Festival (MMFF) entry. Co-produced by Erik Matti, the film maintains Go’s signature polished and sophisticated technical flair.

Employing a shooter’s perspective — where characters document events as they unfold — the film harkens back to the 1999 found-footage pioneer "The Blair Witch Project." But in "Strange Frequencies," the footage isn’t “found”; it’s livestreamed, fitting seamlessly into today’s clout-chasing, social media-driven era.

The ensemble cast is composed of seven celebrities who play fictionalized versions of themselves: Enrique “Quen” Gil, Jane de Leon, Alexa Miro, Rob Gomez, Miss Universe Philippines 2014 MJ Lastimosa, TikTok tarot reader Raf Pineda, and YouTube vlogger Zarckaroo. The story, co-written by Go with Dustin Celestino and Leovic Arceta, wastes no time establishing its brisk pace. Viewers are taken to Taiwan to follow these real-life Pinoy celebrities as they trespass into the infamous Xinglin Hospital — the most haunted location in Taiwan — to livestream their exploits, aiming to “break the Internet.”

The film’s editing is sharp and seamless, employing clever camera angles and transitions as the celebrities explore the hospital’s pitch-black corridors. However, the scares rely heavily on formulaic horror tropes — jump scares, eerie sounds, and shadowy figures — that feel predictable and unoriginal. There’s no real sense of tension, only the routine unfolding of events designed to follow a checklist of horror conventions.

The plot touches on the risks of clout-chasing, as Quen, the de facto leader, is acutely aware of the consequences of trespassing. Ironically, while trying to avoid legal trouble, they livestream their antics for millions to see, practically inviting the attention of Taiwanese authorities.

As the horrors unfold in real time, followers flood their YouTube channel with comments. The characters’ managers, agents, or handlers, however, make no attempt to intervene, allowing the celebrities to continue their risky behavior. All the while, the audience within the film, who are watching the livestream, collectively believes it’s just an elaborate script and continues to engage with the content as if nothing serious is happening, which creates a disturbing contrast to the reality the characters are facing.

That said, the novelty of this subgenre has long since faded. Found-footage horror, popularized by "The Blair Witch Project" and elevated by "Paranormal Activity," thrived in a pre-smartphone era when camcorder-style filmmaking heightened the anxiety. In the TikTok-obsessed digital age, the concept feels less groundbreaking and more of a nostalgic throwback.

The characters are given distinct personalities, with Raf Pineda standing out for his magnetic on-screen charisma. The mostly English-speaking dialogue avoids “jologs” slang, clearly aiming for a Hollywood-style Pinoy aesthetic — a hallmark of Go and Matti’s influence and admiration for mainstream American cinema.

"Strange Frequencies" is an ideal choice for families and friends seeking uncomplicated jump scares this MMFF season. However, for viewers desensitized to the genre (like myself), it may not induce the slightest hint of anxiety. This film is best enjoyed by casual horror enthusiasts or groups of friends looking for lighthearted thrills.

Despite its reliance on familiar horror tropes, "Strange Frequencies" showcases Go’s technical expertise, affirming that Filipino filmmakers can execute productions on par with Hollywood and Korean standards.

This review was originally published in the author's blog, “Film Check+”.