Thursday, January 2, 2014

Top earning BPO companies in the Philippines

Are you planning to start a career in the business process outsourcing (BPO) industry this 2014 but don’t know yet which company to work for? This list might help. Here are the top earning BPO companies in the Philippines.
Pasig City Rep. Roman Romulo, an industry supporter, has released a list of the country’s top BPO companies based on on their revenues generated in 2012.

1. Accenture Inc. (Php28.104 billion in revenues)
2. Convergys Philippines Services Corp. (Php17.281 billion)
3. JPMorgan Chase Bank N.A-Philippine Global Service Center (Php10.805 billion)
4. 24/7 Customer Philippines Inc. (Php7.711 billion)
5. Telephilippines Inc. (Php7.241 billion)
6. TeleTech Offshore Investments B.V. (Php6.978 billion)
7. Sutherland Global Services Philippines Inc. (Php6.805 billion)
8. Stream International Global Services Philippines Inc. (Php6.738 billion)
9. Sitel Philippines Corp. (Php6.364 billion)
10. Deutsche Knowledge Services Pte. Ltd. (Php5.754 billion)
11. Sykes Asia Inc. (Php5.617 billion)
12. IBM Daksh Business Process Services Philippines Inc. (Php5.516 billion)
13. Aegis PeopleSupport Inc. (Php5.445 billion)
14. TeleTech Customer Care Management Philippines Inc. (Php5.402 billion)
15. IBM Business Services Inc. (Php5.211 billion)
16. Telus International Philippines Inc. (Php4.962 billion)
17. Shell Shared Services (Asia) B.V. (Php4.821 billion)
18. HSBC Electronic Data Processing (Philippines) Inc. (Php4.700 billion)
19. ePLDT Inc. (Php4.147 billion)
20. SPi CRM Inc. (Php3.501 billion)
21. ACS of the Philippines Inc. (Php3.492 billion)
22. VXI Global Holdings B.V. (Php3.266 billion)
23. Emerson Electric (Asia) Ltd. (Php3.230 billion)
24. StarTek International Ltd. (Php3.094 billion)
25. IBM Solutions Delivery Inc. (Php3.019 billion)
26. Sykes Marketing Services Inc. (Php2.760 billion)
27. SPi Technologies Inc. (Php2.626 billion)
28. Genpact Services LLC (Php2.552 billion)
29. Macquarie Offshore Services Pty. Ltd. (Php2.522 billion)
30. Thomson Reuters Corp. Pte. Ltd. (Php2.265 billion)
31. AIG Shared Services Corp. Philippines (Php2.357 billion)
32. Hinduja Global Solutions Ltd. (Php2.194 billion)
33. Lexmark Research and Development Corp. (Php1.956 billion)
34. ANZ Global Services and Operations (Manila) Inc. (Php1.869 billion)
35. Maersk Global Service Centers (Philippines) Ltd. (Php1.859 billion)
36. Manulife Data Services Inc. (Php1.745 billion)

The BPO industry remains as a popular source of employment among young Filipinos with college degrees. “Based on sectoral projections, we are confident that BPO firms will be able to add an average of 124,000 well-paying jobs annually from 2014 to 2016, or a total of 372,000 new posts over the next three years,” Romulo said in a statement.

Kris Aquino on Transferring to GMA 7 is 90% sure, source says.

There is no denying that Kris Aquino is still one of the most sought-after TV personalities these days. That is evident as her possible transfer to another network is being a big puzzle. According to well-placed sources, the Queen of All Media is now up to 90% sure to move to GMA-7, the staunchest rival of her current network, ABS-CBN.

According to insiders who are privy about the negotiations between Kris and other parties involved, she is more likely to soon ink a huge deal with the Kapuso network. They are very sure that she will not take any pressure from ABS-CBN because she is almost very determined to move to the other station.

The negotiations between Kris and GMA-7 don’t surprise anyone. Sources added that Kris’ network contract with ABS-CBN had already expired in October. ABS-CBN has been reportedly offering new contract deals to the controversial actress-TV host. But to no avail, Kris seems to always defer signing any contract renewal.

A Very Big Switch

But there is a new twist to this story and this one would surely shake up the TV industry in 2014. According to sources, Kris has already concluded discussions with GMA-7 president and CEO Atty. Felipe Gozon. They have reportedly agreed to make the transfer final. But wait, there’s more.

Kris is also reportedly set to talk with TV5 CEO Manny V. Pangilinan (MVP). This comes as a surprise. Kris and MVP are not about to talk about the latter’s counter offer for Kris. Sources say that they will be discussing about Kris’ imminent transfer to GMA-7 and MVP is pushing for it!

It turns out that Mr. Gozon is reportedly decided to sell his full GMA-7 stake to MVP. That will give the TV5 CEO the majority of the power/control over Kapuso network. The other two major owners of interest in GMA-7 are reportedly determined to keep their stakes and remain as among the top owners of the company.

Hitting Two Birds In One Stone

If that happens, it could be possible that Kris could still take the offer to become TV5 president. She could easily juggle between being a network president and a talent of another affiliated network. 

According to more sources, Kris also consulted with TAPE Inc owner (and Eat Bulaga producer) Tony Tuviera about this decision. Mr. Tuviera is known for his strong connections and ties with GMA-7, where Eat Bulaga has been airing for 19 years this January. If all negotiations are finalized and Kris finally moves to GMA-7, it is expected that her first project would be a sitcom with Vic Sotto.

Shaking Up Philippine TV

This development would surely create an avalanche in the Philippine TV industry. For quite some time now, MVP has been eyeing GMA-7 because he has always wanted its content to be integrated into his other companies, particularly Smart Communications and PLDT, which provide online and mobile content to subscribers. 

Could this be the reason why many changes are happening to GMA-7 these days, particularly when it comes to programming? If Kris moves to the network, it will be her homecoming. It could be recalled that it was GMA-7 that gave her the break to be a talkshow host via the shows ‘Startalk’ and ‘The Kris Aquino Show’ in 1995. - See more at:

Kris Aquino for GMA 7 President?

how could you react for the rumors about transferring the former Kapuso talent and a long time Kapamilya host/actress to be a Kapuso again this 2014?

one circulating reason of 90% sure transfer of Kris Aquino is doing a sitcom with Kapuso mainstay Vic Sotto together with Raiza Mae Dizon and Bimby following the success of MMFF entry My Little Bossings allegedly will be a sitcom soon on Kapuso station.

whats your thought?

REVIEW: MMFF entry Girl, Boy, Bakla, Tomboy

Beyond the Title

by posted on Fri, 27 Dec 2013 1:15 PM

Girl, Boy, Bakla, Tomboy is kind of a tricky film. The title puts the idea of differing sexualities right up front, but the movie isn’t really defined by that idea. It’s instead a fairly dramatically grounded family drama about a son feeling abandoned by his father, augmented by a good deal of Wenn Deramas’ typical absurdist humor. The film runs a tad long for what it is, its emotional climax taking place in the middle of the movie. But solid production values and strong, committed performances keep the film chugging along.

Years ago, Pia (Maricel Soriano) gave birth to quadruplets. The siblings were split up when her husband Pete (Joey Marquez) left for the States, and his domineering mother brought a couple of kids along. The quadruplets grow up not knowing of the existence of the other pair. But the secret is revealed when Peter (Vice Ganda) needs a compatible liver to save him from Hepatitis. He and his sister Girlie (Vice Ganda), along with their dad, travel to Manila to find their siblings Mark and Paying (both played by Vice Ganda). But when they find them, it turns out that Mark has been harboring a lot of resentment, and as the only compatible donor, he sets out to make sure that his far more affluent siblings get a taste of what his life was like.

The film doesn’t really make a big deal out of the individual sexual orientations of each of the characters. There are maybe just a couple of scenes that really capitalize on the differences between them. But the film is really much more about family, and bonds that unite siblings even if they don’t really know each other. The film finds its emotional grounding in the character of Mark, who upon seeing his father and his US-grown siblings, releases his pent-up frustration with his much harsher upbringing. The film gets pretty silly, but it nails its more dramatic moments.

The problem is that the film doesn’t actually have a lot of plot to tell. The film largely finishes its main dramatic arc by the halfway point of the film. The rest of the film is mainly concerned with far less interesting subplots, none of which the film resolves to any satisfying degree. The film’s flair for the absurd keeps things from just falling apart, and the solid technical package keeps all of it watchable. But it does wear thin after a while. The film just runs out of things to talk about, and basically just starts repeating itself.

Vice Ganda does a pretty good job playing the four main roles. The comedian mostly sticks to the established schtick through most of the comedy, a lot of it drawn from elaborately composed insult humor. But he finds something real enough in the dramatic scenes. Also great in the film is Maricel Soriano. There might be no better actress to have in a comedy. All her humor is grounded in her character. The humanity she imbues in the scenes transcends the outright silliness of some of these conceits. The set up for this movie doesn’t make any at all, but Soriano really does sell the pain that her character went through.

Girl, Boy, Bakla, Tomboy is a really solid offering. Its last half gets a little tedious, and the ending wraps things up a little too neatly, but as a whole, the movie does have heart. It is oddly resonant when it starts exploring the rift that formed between these siblings, transcending the easy jokes of the premise to deliver something a little more human. I’m certain that the title has already turned a lot of people off, but the film is more than its title.

REVIEW: MMFF entry Pagpag: Siyam na Buhay

‘Pagpag:' Stylish superstition

POSTED ON 12/28/2013 11:42 AM  | UPDATED 12/28/2013 12:47 PM
HOLIDAY HORROR. 'Pagpag' provides a thrilling, fun and campy premise for a horror film. Screen grab from the trailerHOLIDAY HORROR. 'Pagpag' provides a thrilling, fun and campy premise for a horror film. Screen grab from the trailer
MANILA, Philippines – Horror films have always been an unspoken tradition within the Metro Manila Film Festival. But with the Shake Rattle and Roll franchise clearly absent from this year’s line-up, horror fans will have to look elsewhere for their holiday horror. In this case, it’s going to be with Pagpag: Siyam na Buhay.
Pagpag explores the many Filipino superstitions of the traditional wake; particularly the belief that guests of the deceased should shake off (in this case, pagpag) the spirit of the dead by not going straight home after visiting the deceased.
But Pagpag uses more than a few other superstitions ranging from the belief that guests shouldn’t bring home food from a wake or look into a mirror in the presence of the dead. It’s interesting to see how superstition has become intrinsic to Filipino culture, particularly among those surrounding the dearly departed. And though Pagpag misses the opportunity to expand the lore of any of these beliefs; they nevertheless provide a thrilling, fun and campy premise for a horror film.
In Pagpag, a rebellious young teenager Cedric (Daniel Padilla) and a headstrong funeral arranger Leni (Kathryn Bernardo) make the mistake of violating a number of superstitions during a wake. They soon discover that these seemingly innocent desecrations come with grave consequences. One by one, each of their friends are killed off as Cedric and Leni race against time to make amends with the dead. (READ:Winners of the MMFF)
The style of superstition
From its production design to its lighting, Pagpag’s overall aesthetic is especially well-crafted. Its stylish execution often makes up for slips in its story, which admittedly takes far too long to get going. And when it finally does, its rather mechanical plot ends up being nothing more than a long-running check list of deaths as each of the friends of Cedric and Leni are brutally murdered.
But despite its obvious holiday demographic, director Frasco Mortiz pulls no punches with his body count. Pagpag is a surprisingly violent film by Metro Manila Film Festival standards, but that particular aspect only adds to the fun of the film.
While most of the film is simply a prolonged count down of slayings, there is a morbid thrill to seeing how each character will be punished for disrespecting superstition. Though the story still follows a near mathematical formula of plot points, the deaths themselves provide the satisfying entrée to this buffet of brutality.
‘Til death do us part
Daniel Padilla and Kathryn Bernardo are undoubtedly the hot ticket in Pagpag, but the film’s real substance falls on the shoulders of the deceased Roman (Paulo Avellino) and his wife Lucy (Shaina Magdayao).
Buried under the gaudy exterior of Pagpag’s teenage, camp horror is an admittedly powerful story of a grief-stricken couple. While the rest of the cast seem perfectly content with hamming up their performances or playing to type, Paulo Avellino’s portrayal of an inconsolable father becomes especially resonant. Although Avellino has long since proven his ability as a dramatic actor, it becomes gratifying when he delivers the goods on a genre that doesn’t expect him to.
Admittedly, Pagpag was designed as a teen horror flick with a younger demographic in mind. But while it would be easy to dismiss the film for its focus on its young stars, and despite the many missteps of its story, Pagpag still carries with it a germ of something greater.
Setting the right tone
While more discerning horror aficionados will find Pagpag lacking in the scare department, it’s worth noting that Mortiz’s intention as a director is just as much to delight as it is to horrify. But what’s particularly remarkable about Pagpag is Mortiz’s ability to juggle various tones without losing focus. The film whimsically skirts along the lines of horror, romance and straight-out comedy, but still manages to feel like part of a much larger whole.
With Shake, Rattle and Roll missing in action, it’s refreshing to see the festival open up to lengthier, more ambitious horror films. Although Pagpag does lack in scares, it does deliver on a handful of satisfying thrills that may be cheap but are thoroughly entertaining.
Watch the trailer here:

Zig Marasigan is a freelance screenwriter and director who believes that cinema is the cure for cancer. Follow him on Twitter at @zigmarasigan.

REVIEW: MMFF entry Kimmy Dora, Ang Kiyemeng Prequel

'Kimmy Dora (Ang Kiyemeng Prequel)': A fallen franchise

POSTED ON 01/02/2014 9:27 AM  | UPDATED 01/02/2014 12:50 PM
DIFFERENCES. Was a third installment really necessary?DIFFERENCES. Was a third installment really necessary?
MANILA, Philippines – It takes 3 films to destroy a franchise: the first to make it, the second to break it, and, in the case of Kimmy Dora (Ang Kiyemeng Prequel), a third to milk it.
Written and directed by Chris Martinez, Ang Kiyemeng Prequel is a chance to right many of the wrongs of the previous films. Unfortunately, the opportunity is squandered in what can only be described as more predictable than thoughtful.
Ang Kiyemeng Prequel is the third and supposedly final installment to the Kimmy Dora franchise, with comedienne Eugene Domingo reprising her role as twins Kimmy and Dora Go Dong Hae.
Set before the original Kimmy DoraAng Kiyemeng Prequel follows the sisters as they work their way up the Go Dong Hae empire to prove themselves worthy of the family business. They are aided by the dashing Rodin Bartoletti (Sam Milby) who is tasked to make sure that the sisters do their job. But when a mysterious menace threatens to ruin the Go Dong Hae name, the sisters must unite in order to save the family and their business.
Going backward
Like any tired franchise, Ang Kiyemeng Prequel is content with going backward instead of forward. With the novelty of the twins already worn out, many of their antics feel too familiar to be funny.
Even with screenwriter Chris Martinez finally moving on to the director’s chair, Ang Kiyemeng Prequelfeels more like an obligation than a passion. Jokes are drawn out, and often feel forced and painfully tedious. The story itself is one sketch after the next with no real momentum. After penning the two films before it, Martinez may have simply run out of his own bag of tricks despite the occasional flash of cleverness.
Eugene Domingo does her best to save the film from tedium, but an actor is often only as good as the material they are given. In this case, Domingo isn’t given very much. Even with veteran actors Ariel Ureta, Joel Torre, Angel Aquino, and an army of celebrity cameos by her side, they just aren’t enough to save the franchise that catapulted Domingo from sidekick to stardom.
While an odd punchline or two will eventually meet its mark, it’s hardly enough to warrant the price of admission. The real shock here is how such a rich roster of talent could’ve produced such a lackluster film. While it’s difficult to pinpoint what exactly went wrong, it’s much simpler to surmise that the franchise may have finally run its course.
An exhausting end
By Filipino franchise standards, Kimmy Dora could’ve been much worse. But what makes Kimmy Dorasuch an exemplary exception is that the original film was an obvious cut above the usual mainstream comedy. It was an odd mix of clever and crass, and gambled its money on an actress who was willing to prove herself as a bonafide star. Unfortunately, Ang Kiyemeng Prequel is no longer that film.
Ang Kiyemeng Prequel is safe, familiar and disappointingly exhausted. It is born out of an idea nearly half-a-decade old, and hopes to ride on the coattails of the first film’s success. It is everything the first film rallied against, and it’s ironic to see how the tables have turned.
The Kimmy Dora series isn’t the first franchise to wear out its welcome, and it won’t certainly be the last. But maybe that’s the just the curse of any successful franchise, when even the sharpest of talents are dulled by routine. Domingo and Martinez are still one of the most exciting comedic talents in front of and behind the camera, and the film does manage to provide the occasional spark of charm; but everything is muddled by an overwhelming sense of exasperation.
Kimmy Dora has undoubtedly run its course. Despite an invigorating first film, the franchise is left with a curtain call that should be best avoided than applauded. Ang Kiyemeng Prequel is supposedly the final chapter to the Kimmy Dora franchise. If this last film is any indication of things to come; it might very well should be. –

Zig Marasigan is a freelance screenwriter and director who believes that cinema is the cure for cancer. Follow him on Twitter at @zigmarasigan.

REVIEW: MMFF entry Kaleidoscope World

'Kaleidoscope World:' The Magalona melodrama

POSTED ON 12/27/2013 10:24 AM  | UPDATED 12/27/2013 11:12 AM
HIPHOP CULTURE. The film’s sole saving grace is its indisputable passion for dance and music. Photo from the film's FacebookHIPHOP CULTURE. The film’s sole saving grace is its indisputable passion for dance and music. Photo from the film's Facebook
MANILA, Philippines – Inspired by the music of local hip hop icon and master rapper Francis Magalona, "Kaleidoscope World" is an initially charming but ultimately flawed story about dance and music. The story follows two aspiring dancers: Lando (Sef Cadayona) and Elsa (Yassi Pressman) who have their hearts set on making it as professional dancers.
Unfortunately for Lando and Elsa, their respective families eventually put them at odds with their dreams and each other. The film follows the rather strict formula of Romeo and Juliet, but its infusion of dance and hip hop does manage to keep things engaging for a time. But while there’s an obvious passion for music and dance, there’s also an obvious lack of passion for proper filmmaking and storytelling. What starts out as a charming love story quickly spirals into a melodrama fit for an afternoon soap opera.
The Sound of Sincerity
It shouldn’t come as a surprise that the music of Francis M plays a huge role in Kaleidoscope World. Classics like "Meron Akong Ano" and "Man from Manila" are played against energetic and admittedly entertaining dance sequences. But the real treat here are lead actors Sef Cadayona and Yassi Pressman, who alongside the rest of the cast showcase a true sense of skill on the dance floor. Although Cadayona and Pressman’s dance talents have never been a secret, it’s refreshing to see them exercise something outside of their television-trained acting skills.
But for a film that focuses so much attention on music, it’s troubling to discover how little attention has been given to the film’s audio. Kaleidescope World suffers from a wall of technical problems that regrettably distract from the film and will undoubtedly turn off less forgiving audiences. While one or two audio miscues are negligible, the film is plagued by an army of issues from beginning to end. Despite the best efforts of the cast, the film ends up looking largely amateur and unfinished due to the film’s level of patchwork.
However, the film’s sole saving grace is its indisputable passion for dance and hip hop. A majority of the credit falls on the shoulders of the film’s cast of actors, dancers and performers who make every point to do their passion justice. While there’s a genuine dynamic between actors (partly due to Cadayona and Pressman’s actual offscreen relationship), the rich girl, poor boy dynamic paints a rather bland picture for the rest of the story. But it’s when "Kaleidescope World" focuses on aspects outside of hiphop culture that the film begins to truly slip.
A Family Affair
Over and above its countless technical problems, "Kaleidescope World" loses all semblance of direction once it takes its eyes away from the dance floor. Towards the latter half of the film, the focus shifts from the upcoming dance competition to a painfully contrived family melodrama. For a film whose strongest selling point is its dance and its music; it’s astonishing how its entire second half seems to have nothing to do with either.
The film’s climax is an almost one-is-to-one translation of one of the final verses of the song "Lando" by local hiphop artist Gloc-9. It’s a moving track featuring vocal work from Francis M himself. But this literal translation of the song’s lyrics ends up washing away what little good faith the film manages to establish.
By taking things literally, "Kaleidescope World" misses out on the very themes that have made Magalona’s music so enduring. Hip hop culture has often been wrongly misrepresented as negative, aggressive and spiteful. But artists like Francis M have made hiphop positive, inclusive and inspiring; elements that are woefully lacking in the film’s final act.
Even with the film’s gratuitously long running time, Kaleidescope World abruptly ends on an unsatisfying note. Towards the film’s final moments, the story spins out of control as director Liza Cornejo struggles to pull her film together. No real resolution is offered up for any of the characters, and audiences looking for a satisfying experience filled with dance and music will undoubtedly be left wanting.
Francis M’s legacy provides a rich foundation of material for both music and stories. Unfortunately, "Kaleidescope World" squanders that opportunity with a story that feels contrived and clichéd, despite the momentary sparks of genuine inspiration that fuel it.
Watch the trailer here:

Zig Marasigan is a freelance screenwriter and director who believes that cinema is the cure for cancer. Follow him on Twitter at @zigmarasigan.