MANILA, Philippines — Why do quite a number of horror movies leave something to be desired? An analysis of Rico Ilarde’s “Villa Estrella” presents some key factors:

The movie’s plot, while occasionally interesting, fails to rise to a satisfying, empathetic climax because some of its premises are difficult to believe. For one thing, its female protagonist (played by Shaina Magdayao) is “forced” to spend the night in a run-down resort by her ex-boyfriend (Jake Cuenca). Why would an otherwise self-possessed young woman allow herself to be treated in so cavalier a manner? Why does it take her so long to ask her current boyfriend (Geoff Eigenmann) for help?

Some explanations are offered for these delays and lapses but they don’t sit well with viewers, who prefer their leading ladies to be less prone to manipulation, especially by irritatingly irate and wheedling ex-boyfriends.

And, when situations take a dangerous turn, we expect the would-be victims to get the heck out of harm’s way while there’s still time. —But no, Shaina’s character stays on—and on—until we peevishly feel that she deserves her nasty fate.

Another major distraction and turn-off is provided by the movie’s musical scoring, which is too lush and livid to genuinely add to the production’s legitimate sense of dread. The scoring here is so old-fashioned and obvious that it ruins some otherwise believable scenes, more’s the pity.

We also get ticked off by some of the movie’s supporting characters, who are too weird to be taken seriously.

Too bland

Contrastingly, lead player Shaina Magdayao is too bland to hold up her end of the horror-drama tale, and the same goes for Eigenmann. Jake Cuenca has another kind of thespic problem: He fumes and twitches too much and too often, leaving viewers enervated rather than energized by his self-conscious portrayal.

A sort of exception to the desultory rule is Maja Salvador, who plays the movie’s most “mysterious” character. She’s not quite there yet, but she at least tones down her performance and tries to go for subtlety rather than sledgehammer shock value.

Also deserving of our serious attention is the script’s earnest effort to make at least some aspects of its bizarre story more logical and credible. Without giving too much of the plot away, let’s just say that key storytelling factors here include elements like murder, guilt, selective amnesia, psychic vengeance, parental cruelty—and evil so monstrous that it can acquire a horrible physical form.

As you can imagine, it’s a tall order to make much sense out of this turgid thematic soup, but at least the script tries to, Now, if only some of the movie’s other elements were as focused and productive.

Another plus factor is the movie’s occasionally striking visualization, particularly of its underwater scenes. But, other elements dissipate rather than add to the production’s genuine sense of dread, so when the movie manages to reach its climax, it’s much the worse for wear.