There is something about a family coming together under the worst possible circumstances that immediately creates tension—and Poon takes that idea into the realm of supernatural horror.
Directed by Adolfo Alix Jr. and written by Jerry B. Gracio, Poon follows three estranged sisters who are forced to return to their family home after the mysterious death of their patriarch, Peping, during Holy Week. Adele, Ria, and Mae each carry their own histories, resentments, and secrets, while the presence of their grandmother Berta and the younger generation adds even more layers to an already complicated family dynamic.
But this is not simply a story about a family dealing with grief.
Inside the house are the wooden statues of the twelve apostles—and a mysterious thirteenth statue that seems to carry something far more sinister. As strange occurrences begin to unfold, questions surrounding beliefs, rituals, family history, and the supernatural slowly emerge. Faye, the youngest member of the family, also begins to become connected to a spirit whose intentions remain uncertain.
And this is where Poon finds its strength.
If you are familiar with Adolfo Alix Jr.'s filmmaking, you would probably expect a slow-burn approach, and Poon definitely embraces that style. The film takes its time building its atmosphere, allowing the tension to grow gradually rather than immediately throwing everything at the audience.
But honestly, that works for this kind of story.
The film is as much a family drama filled with secrets as it is a horror movie. The supernatural elements become intertwined with the relationships inside the house, making every conversation, every silence, and every strange occurrence feel like it could reveal another piece of the bigger mystery.
Atmospherically, Poon is a standout. From the opening sequence involving Peping's death, the film immediately establishes a haunting visual language. And the poon itself is genuinely unsettling. Its presence becomes one of the most memorable visual elements of the film, especially when combined with the house, the statues, the lighting, and the overall sense of isolation. There is a very deliberate mood throughout the movie. The house feels like it has its own history. The statues feel like they are watching. And the silence often becomes just as effective as the scares. The supernatural horror is enhanced by the film's atmosphere rather than relying solely on traditional jump scares. It creates a feeling that something is constantly lurking beneath the surface.
One of the biggest reasons to watch Poon is its stellar ensemble. Every major character has a distinct presence, and the actors are given moments to make their characters memorable.
Will Ashley, hands down, is one of the standouts. He continues to prove how versatile he is as an actor. Whatever role is given to him, he finds a way to make it believable, and Poon gives him another opportunity to show a different side of his acting ability. Allen Dizon is equally interesting, particularly because of the film's exploration of beliefs and cult-like ideas. His character brings another dimension to the story, especially as the film plays with the question of faith and what people are willing to believe. And of course, you have the powerhouse actresses Lotlot de Leon, Janice de Belen, and the late Jaclyn Jose.
These are actresses who simply know how to own their roles. There is a certain confidence in watching them perform. Their presence immediately gives weight to the family drama, and each one leaves a distinct impression. Jaclyn Jose, in particular, is a poignant presence in the film, making Poon even more meaningful as one of her final cinematic appearances. The same can be said for the rest of the ensemble, including Gina Pareño, Ara Mina, JC de Vera, Bembol Roco, Martin del Rosario, Kelvin Miranda, and Althea Ablan, among others. Everyone contributes something to the film's complicated family dynamic. And speaking of Althea Ablan, her character was definitely one of the pleasant surprises for me. Her presence adds another interesting layer to the story, and she gets moments that make you want to know more about her character.
Another element that deserves attention is the music and sound design. Wow. The music adds so much suspense to the film. There are moments when the score makes the tension feel even heavier, creating that heart-pounding feeling where you know something is about to happen—but you don't necessarily know what.
The combination of the visuals, silence, sound, and music creates an experience that is meant to be felt inside a cinema. Poon is a slow-burning atmospheric horror film wrapped inside a complicated family story. It may take its time, but that gradual pacing allows the tension, relationships, atmosphere, and mystery to develop naturally. The horror becomes more effective because it is connected to the characters and the history of the family rather than existing separately from them. POON opens in selected cinemas nationwide on September 9.
My Verdict: 3.5/5
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