by Heinrich Domingo
Pan banks on nostalgia as its sole hope in engaging an audience too familiar with a storyline. It brings back to the crowd the beautiful young boy who taught the world that believing can be everything. Being a prequel, the film has the tendency to hold firm in the original story and supplement the much needed background. But in the process, an important element has been left out. The filmmakers who focus so much in the original form have forgotten the nature of film audience – that moviegoers are dynamic. In the end, the crowd has outgrown the boy who wouldn’t grow up.