On the Job (abbreviated as OTJ) is a 2013 Filipino neo-noir crime thriller film[5] written and directed by Erik Matti, who co-wrote the screenplay with Michiko Yamamoto.

Starring Gerald Anderson, Joel Torre, Joey Marquez and Piolo Pascual, it tells the story of two hit-man prisoners (Anderson and Torre) who are temporarily freed to carry out political executions, and two law enforcers (Marquez and Pascual) tasked with investigating the drug-related murder case connected to the prison gun-for-hire business.

The film co-stars Angel Aquino, Shaina Magdayao, Empress Schuck, Leo Martinez, Michael de Mesa, Vivian Velez, and Rayver Cruz.

The inspiration for On the Job came from a Viva Films crew member who said he had been temporarily released from prison to commit contract killings before he was reincarcerated.

When Coronel and his partner, Bernabe, arrive at the local precinct, they clash with PNP Sergeant Joaquin Acosta, who believes that the case was taken from him for political reasons.

Pol reveals that Tiu's murder is one of several assassinations ordered by Manrique's close friend Pacheco, a military officer campaigning for the Philippine Senate.

Soon after, Daniel kills Coronel in front of police headquarters, causing an enraged Acosta to attack Pacheco and Manrique's security detail.

Meanwhile, a disheartened Mario realizes that he has no reason to leave prison since his family no longer wants anything to do with him, and stabs Daniel to death to remain incarcerated.

Director Erik Matti was inspired by a Viva Films service driver, an ex-convict who said that he used to be temporarily freed from prison to commit contract killings and reincarcerated.

[3] During the writing process and after the final draft was complete, Brown was unable to attract investors; some felt that the story was too nontraditional for Philippine cinema or too large a risk for the overseas market.

[8][9] Star Cinema (the Philippines' largest production company) refused to make the film in 2010, deeming it too violent compared with their usual romantic-comedy projects.

[8][9] The project was again put on hold as Matti entered the post-production stage of his horror fantasy film, Tiktik: The Aswang Chronicles (2012).

"[9] Matti asked Piolo Pascual to play attorney Francis Coronel Jr.[9] The role of Daniel was originally written for John Lloyd Cruz, who was interested but had to decline due to scheduling conflicts; it went instead to Gerald Anderson.

[14] To prepare for the prison scenes, the production crew built a set in an abandoned building in Marikina and hired 200 extras to play convicts.

[9] Principal photography took 33 days on location in a number of Manila areas, including City Hall, a Light Rail train station, and Caloocan.

Romulo used lesser-known original Pilipino music tracks from otherwise-prominent Filipino musicians, such as "Maskara" and "Pinoy Blues" by the Juan de la Cruz Band.

He approached Dong Abay and Radioactive Sago Project bassist Francis de Veyra to perform the songs, which were arranged by Armi Millare.

[18] Romulo cited works by Lalo Schifrin and director Ishmael Bernal's longtime composer, Vanishing Tribe, as influences on the soundtrack.

[1][21] The agreement was made by Well Go USA president Doris Pfardrescher and XYZ Films founders Nate Bolotin and Aram Tertzakian.

[34] Mikhail Lecaros praised the lead actors' "parallel depiction of the relationship between fathers and sons" in GMA News;[17] according to Philippine Entertainment Portal's Mari-An Santos, they "provide the heart of the story".

[14] Santos said that Pascual "holds his own, but with a consistently excellent ensemble, his acting pales in comparison";[16] according to Lecaros, he "acquits himself well as a law enforcer whose crises of faith would be right at home in a Johnnie To (Election, Breaking News) or Michael Mann (Collateral, Miami Vice) film.

[14][16][33][37] Neil Young, in The Hollywood Reporter, found Matti and Yamamoto's script conventional and "many of the dialogue scenes operat[ing] on a functionally prosaic level".

[39] Young said that Matti's "muscular handling of fast-paced action sequences consistently impresses",[38] and The New York Times' Jeannette Catsoulis wrote that his "pitiless view of Filipino society may be deadening, but his filming is wondrously alive".

[37] Catsoulis made On the Job her "critic's pick",[37] and Rappler's Carljoe Javier said it "serves as a shot of adrenaline, not only to the hearts of [Filipino] viewers, but hopefully also to mainstream [Philippine] cinema".