Author: Wanggo Gallaga

IdeaFirst Live Unveils a Stacked 2027–2028 Theatrical Season

After its successful 2026 theatrical run of About Us But Not About Us, IdeaFirst Live! hosted a press conference to unveil their 2027-2028 season slate and it is packed with powerhouse productions!

The theater arm of the film studio that brought us hit movies like Call Me Mother, And The Breadwinner Is…, and the acclaimed Sisa is pushing through with some big stage productions next year, some in the same vein as this season’s roster while introducing something new.

Following the success of the theatrical adaptation of the movie About Us But Not About Us, it seems like a natural move to adapt another one of Jun Robles Lana’s beloved films onto the stage. His acclaimed movie Die Beautiful is set to take the stage, this time transformed into a full-scale musical.

Die Beautiful: The Musical will make its way to the Proscenium Theater in June 2027, featuring a new book and lyrics by Jun Robles Lana and Elmer Gatchalian. Directed by Tuxqs Rutaquio, the musical reimagines the enduring friendship between Trisha and Barbs. While the original film centered on traditional beauty pageants, this modernized stage adaptation shifts the spotlight to drag culture and the fabulous lives of its queens. The initial cast announcement includes Audie Gemora, Karylle, Esang de Torres, Maxie Andreison, Viñas Deluxe, Lance Reblando, and Chamyto.

While this pivot modernizes the story to mark the decade since the movie’s release, many of its core narrative elements will remain intact. Hopefully, the friendship between Trisha and Barbs takes center stage as their deep bond was the strongest element of the film for me. Director Tuxqs Rutaquio shared that on of the challenges will be reimagining the transformations from the original source material as these were easily done in the medium of film. While Paolo Ballesteros spent hours in make up chairs for each onscreen to transform into the many celebrities whose faces he fashioned himself into in the movie, Rutaquio says we have to wait and see how he will do the same for the theatrical adaptation.

Come October, IdeaFirst Live will follow up with Victorina, a play centered on one of Jose Rizal’s most infamous characters from Noli Me Tangere and El Filibusterismo. Directed by Chris Martinez with a book by Jun Robles Lana, Victorina will almost be a one-woman show. While there are other performers, the whole play is teased to be almost one extended monologue that promises to be funny, satirical, and fiercely biting. Bringing this iconic character to life on stage is none other than the comedic genius Eugene Domingo. I don’t need to know anything else about the production, Eugene Domingo directed by Chris Martinez in an almost one-woman show? Sign me up. Victorina is set to open at the PowerMac Spotlight Blackbox Theater in Circuit, Makati.

If you caught the film or stage play version of About Us But Not About Us, then you know that an important element of that story is the book Teorya ng mga Tanong, penned by the character Lancelot Guinto (played by Elijah Canlas). Idea First Live also released the physical book under Lancelot’ Guinto’s name, and now, that book is being adapted into a stage play. Directed by Tuxqs Rutaquio with a script by Jun Robles Lana, the production stars Romnick Sarmienta, Elijah Canlas, and Epy Quizon, who return to play the characters from the book that was inspired by the characters from About Us But Not About Us. In a way, this IdeaFirst’s most meta offering yet, as the play explores the thin boundary between reality and fiction. The show will be in March 2028 at the PowerMac Center Spotlight Blackbox Theater in Circuit Makati.

Finally, the company teases us about a mysterious final production without revealing its title, any indication of its form, or genre. Perci Intalan and Jun Robles Lana of IdeaFirst Company hints that it will be a different kind of show, one that “changes the way we experience theater.” The only clue, a red question mark dripping blood against a black background, Could it be an immersive horror experience or a haunted house? It’s anybody’s guess for now.

November 6, 2026
Movie Review: To Fully Enjoy ‘Multwoh,’ One Must Embrace Its Unconventional Filmmaking and Its Powerful Leads, Sassa Gurl and Joao Constancia

There is a confidence and certainty in Rodina Singh’s direction that I’m envious of, and it is on full display in her latest film, the romantic horror-comedy Multwoh. The film foregoes a conventional plot and linear narrative, preferring to tell its story through an emotional journey. Singh uses multiple approaches to her storytelling, opening with a flashback that is cut, rewound, and replayed alogside a voiceover that allows Marcel (Sassa Gurl) to offer editorial comments on her own memories. It is a fitting device, as Marcel is recounting her history with her high school best friend, Miguel (Joao Constancia), to her dormmates, Suzy (Pipay Kipay) and Jamba (Gaia Polyhymnia), a friend who had cut ties with Marcel and has now returned to their shared space.

Multwoh often uses these non-conventional techniques, choosing not to rush the plot, but rather to encapsulate the film’s emotional weight, something I did not realise until the final twenty minutes of the film. For audiences accustomed to watching conventional movies, this pacing can initially feel jarring, even indulgent. Early in the film, after Suzy and Jamba are furious upon learning what Miguel did to Marcel and that he has returned, they march over to his room and knock. When Miguel opens the door, revealing how much he has changed from the flashback, the film instantly cuts to a fast MTV-style glamour shot of Constancia flexing and showing off his attractive looks before cutting back to the scene.

Image Source: Official ‘Multwoh’ Facebook Page

The film is filled with these breaks away from the plot and conventional filmmaking of Multwoh, which can range from comedic gags and music video-style montages to fourth-wall breaks and a pivotal shift in point of view from Marcel to Miguel in the second half.

Image Source: Official ‘Multwoh’ Facebook Page

It was hard for me to follow along this route until the very end, when everything suddenly clicked into place. I finally felt like I understood what Singh was trying to do, and the execution was so surprisingly effective that I found myself tearing up and ultimately crying right there in the cinema.

Image Source: Official ‘Multwoh’ Facebook Page

Multwoh follows Marcel, who has long fallen for her high school best friend, Miguel, believing the feeling was mutual, right up until he abruptly cut ties with her before they moved to college. Now, he is living in the same dorm, but he is a changed person. Though they run into each other constantly, neither can breach the awkwardness to say what they really want to say. Miguel eventually asks Marcel out on a date, but she never makes it. She unexpectedly passes away, leaving her spirit with just forty days to find her closure or else she’ll never have her chance again.

Image Source: Official ‘Multwoh’ Facebook Page

Because the film never truly takes a linear or strictly logical path to its finale, what we see are a lot of scenes that show how deeply Miguel really means to Marcel, and how much effort Marcel does to either try to forget him or to become someone he cannot avoid. Often, these scenes are wildly funny; at other times, they linger a bit too long when one might prefer to stay on the plot. They even veer into complete tangents, like a news report of gay individuals suddenly getting possessed coming up every now and then.

Once Marcel passes on and becomes a ghost, she watches Miguel, and now we see Miguel’s side and the film does the same. We witness his perspective as a former classmate (Yannie Villarosa) makes advances on him, and as he grieves while remembering Marcel. There’s a recurring video game motif that frames their entire friendship, cleverly suggesting that is often used in the film and it gives the idea that all these extra moments are side quests leading toward the film’s eventual finale.

Image Source: Official ‘Multwoh’ Facebook Page

And it works. By the time we reach the end, the film finds the exact right moment to connect the two leads, weaving every prior scene – whether tangential or essential – come together to fully encompass what it feels like to have a chance to say what it is you have always wanted to say to someone very dear to you. It packs an emotional wallop, powerful enough to move me tears even after I had spent most of the time resisting the film’s form. Yet what Multwoh speaks to goes far beyond its queer themes, that are portrayed – from discrimination and the importance of a found family – but the universal truth of how important it is to say how you really feel. It is terrifying prospect, but time is short, fragile and utterly unpredictable.

Image Source: Official ‘Multwoh’ Facebook Page

Singh bends the rules of filmmaking to construct a vibrant patchwork of scenes that, when taken as a whole, wraps the viewer in a gorgeous emotional blanket, especially those who are afraid to say what needs to be said. It is profoundly touching, and Sassa Gurl and Joao Constancia serve as excellent vessels for this unconventional love story that really hits hard. Their total commitment to these roles really sells the film’s big, beautiful heart.

My Rating: 4 Stars

Catch Sassa Gurl and Joao Constancia in Rodina Singh’s hilarious yet tear-jerking Multwoh, showing at a cinema near you. Click here for showtimes.

October 26, 2026
Movie Review: As a Dark Fable, ‘The Fisher’ Captivates and Instills Dread While Subtly Delivering Its Political Message

From Odyssey Flores’ lush black-and-white cinematography to Timi Dominguez’s gothic-like interpretation of its setting, The Fisher plays out like a dark fairy tale, a fable that gently finds its footing in the genre of a quiet, dreadful psychological horror. You’re not quite sure what is real and what is imagined; whether this unnamed island town, cut off from any semblance of modernity (be it cellphones or even government reach), is real or purely symbolic. Yet, it serves a central character in this dark tale, culminating in surprising political imagery at its finale.

Directed and co-written by Paul Soriano with Anton C. Santamaria, The Fisher follows Pedro (Mon Confiado), who has isolated his family – his wife Delma (Mercedes Cabral) and his adoptive daughter Simone (Heaven Paralejo) from the rest of the town as he opts not to use dynamite fishing. But the seas have gone barren and everyone is suffering. The town is held in thrall by its leader and healer, Manay (Eula Valdez), who not only permits dynamite fishing but also enforces the old beliefs and traditions, including the myth of the golden fish and the black demon, where the former grants a bountiful catch while the latter brings a plague upon the town.

The Fisher | Image Source: Black Cap Pictures Facebook Page

Amidst all of this, Pedro finds an unconscious man caught in his fishing net and brings him home. His wife and daughter call him Hai (Enchong Dee), whose strange ways have a bewitching effect on Pedro and his family.

The Fisher | Image Source: Black Cap Pictures Facebook Page

From the get-go, the film’s politics are already in full view: the stark poverty of the village and its detachment from the national government, the destructive use of illegal fishing methods, that is destroying the oceans, the adherence to old beliefs that resemble an almost cult-like spirituality, and the Chinese symbol and writing on the back of Hai’s neck. The film never dwells too heavily on these, choosing instead to focus more on Pedro’s descent into a sort of madness as Hai’s presence threatens his family’s security and resurfaces the grief over his dead son, Andro (Tommy Alejandrino).

The Fisher | Image Source: Black Cap Pictures Facebook Page

Confiado is captivating as the lone man carrying the burden of rationality in a town besieged by desperation and folklore. But he himself is breaking under the weight of his own loss. Hai’s presence threatens to take away his beautiful daughter and even turns his wife against him. Even the most rational man has a breaking point. And this is wonderfully conveyed by editor Mark Victor’s constant cutaways to the waves crashing against the shore. Wonderful job by Mark Victor.

The Fisher | Image Source: Black Cap Pictures Facebook Page

It is Enchong Dee, though, who proves to be a revelation. Because Hai is unable to speak, we aren’t even sure at times if he understands what Simone or Pedro is saying. He is alien and otherworldly, and his presence gives credence to the fairy-tale nature of the film’s tone. Unbothered by Pedro’s outbursts and fits of anger, he seems detached from the material world. He’s like an innocent, constantly smiling figure whose quiet demeanor adds to the dread of his presence. But when he suddenly reveals a keen knack for swimming the depths of the ocean and securing massive catches, his standing in Pedro’s family changes completely.

The Fisher | Image Source: Black Cap Pictures Facebook Page

The simplicity of the film works in its favour as the setting, striking visuals, and grounded performances elevate the story into something you can really sink your teeth into. It continually teeters on the edge of the strange, oftentimes crossing over before snapping back to a grounded reality, which makes it engaging to watch. You’re completely hooked until the film’s dramatic finale, where a sudden twist reveals the full extent of Soriano’s political message. It’s a vague one yet undeniably pointed, and Flores’ cinematography comes into full bloom. The Fisher is an unsettling, deeply disturbing film and I love it for it.

My Rating: 4 Stars

Will Hai bring a bountiful catch or a dark curse upon Pedro’s family? Experience powerful performances from Mon Confiado and Enchong Dee in this haunting fable! Click here to check The Fisher showtimes near you.

October 25, 2026
Movie Review: While Gruesome and Gory, ‘Clayface’ Runs Less Like a Horror Film Than a Bloody Supervillain Origin Story

A recent wave of mainstream and indie hits like The Substance and Together has brought body horror into the cinematic mainstream. In an era where violence has become a regular part of the daily news cycle, audiences have somehow developed an appetite for visceral gore. In all of its marketing, Clayface promises to deliver just that brand of terror. Based on the iconic DC Comics and a regular opponent of Batman, the film is directed by James Watkins from a screenplay by Mike Flanagan and Hossein Amini. Yet despite Flanagan and Amini’s are major draws, the film never fully realises its terrifying potential for horror. Instead, it leans into a fast-paced, comic-book approach to its storytelling, ultimately foregoing the genuine horror for action.

Clayface follows Matt Hagen (Tom Rhys Harries), an actor reaching the pinnacle of his career with an Academy Award nomination. Framed as a rags to riches underdog who beat the odds, Hagen loses everything after a chance encounter in a nightclub with Theresa (Ruby Sear), the girlfriend of mob boss Markos Szabo (David Dencik). Szabo brutally mutilated Hagen, leaving him disfigured without a face and his reputation destroyed. Desperate, Hagen turns to Dr. Caitlyn Corr (Naomi Ackie), a scientist who has been betrayed by her partners and runs a rogue lab that is working on broken tissue-repair nanotechnology. Hagen insists to be her human test subject, and while the experimental procedure restores his face, the side effects drive him to take more than Caitlyn prescribes, and he discovers his body has mutated and he can now change his shape at will.

Clayface | Photo courtesy of Warner Bros. Pictures

There are so many interesting avenues the film could choose to take with this premise. As an actor, it would be interesting to see Hagen use his skills to learn how to properly mimic his targets whose shapes he copies and the slow descent of his mind as the potential to be anyone could fracture his own sanity. In the film, Hagen develops a growing attachment to Caitlyn, the story naturally teeters on The Invisible Man territory, with her only good cop in Gotham boyfriend, John (Max Minghella) as the man in the way.

Clayface | Photo courtesy of Warner Bros. Pictures

The film could have also pushed Hagen to extreme lengths to revive his acting career, and the twists and turns it could take for him to secure that would lead him to frightening games of manipulation that would eventually lead to murder when the stakes get sky-high.

Clayface | Photo courtesy of Warner Bros. Pictures

Instead, the film takes a straightforward revenge route. Hagen gets a hero’s underdog story, only to discover he has been lied to and betrayed by everyone around him. As he demands accountability, he loses control, triggering an accidental murderous streak that paints a target on both his back and Caitlyn’s. It is this chain of events that his descent into villainy is predicated.

Clayface | Photo courtesy of Warner Bros. Pictures

Depicting Hagen as a victim turned perpetrator undercuts the core horror of his transformation. The film makes you want to root for him until the final act of the film, diluting the darkness and sense of danger necessary for film’s genre to fully take hold. It does not help that the dialogue is painfully weak, with characters constantly over-explaining every thought and emotion. There is zero subtlety here. It’s unabashedly watered-down mainstream storytelling.

Clayface | Photo courtesy of Warner Bros. Pictures

Despite the flawed script, the film is still entertaining to watch with its clean and seamless visual effects. These are some of the cleanest special effects I’ve seen and they are quite enjoyable to watch. The moment I dropped my genre expectations and accepted the movie for what it is, a popcorn supervillain origin story, there are some fun to be had. I particularly enjoyed a whimsical, out-of-the-box moment in a dance floor that came out of nowhere, proving it could have a bit of fun.

There’s a huge expectation that has been placed on this film by its marketing, trailers, and the high-profile screenwriters involved. But once you let go of that hype, however, there is fun to be had – especially if you like gruesome, bloody body horror. On that front, it has that in droves at the beginning.

My Rating: 2.5 Stars

High-stakes body horror meets classic popcorn cinema. Experience the shape-shifting spectacle of Clayface on the big screen, click here for showtimes and theater listings!

October 22, 2026
Theater Review: A Night of Acrobatic Wonder and Magic, ‘Cirque Alice’ Is Fit for the Whole Family

It is a night at the circus at the Theater at Solaire as Tim Lawson & Sam Painter, in partnership with GMG Productions, present Cirque Alice, a circus adaptation of Lewis Carroll’s “Alice’s Adventures in Wonderland”. The delightful two-hour show blends music, dance, acrobatics, and magic to showcases the human body pushed to its physical limit. It is both awe-inspiring and heart pumping, leaving the kids in the audience and myself thoroughly impressed by the show.

Cirque Alice | Photo courtesy of GMG Productions

The show loosely follows Carroll’s classic tale: Alice (Layla Schillert) pursues the White Rabbit (Raphael Papo) down the rabbit hole and into Wonderland. There, she encounters many eccentric characters based on the novel, each bringing a distinct act to the stage.

Cirque Alice | Photo courtesy of GMG Productions

Most of them are acrobats and gymnasts, such as The Tweedles (Temesgen Adole Zada and Leul Derreje Ashebir), who balance atop one another and while one is balancing on the other’s legs, the lower performer juggling his partner at a frightening speed! Another standout is example is Vladyslav Tsarov as the Snap-Dragon, an aerialist who does beautiful poses in the air while suspended from a single pole.

Cirque Alice | Photo courtesy of GMG Productions

The show is packed with these death-defying stunts that push the limits of the human body and mind. I’ve never seen a circus show live before and it’s really quite an experience. The Doormouse (Daniel Onofre) performs a balancing act that grows increasingly precarious with every level. When you see it in front of you, how high Onofre gets, and how unstable his platform is, you can’t help but get stressed out but are also amazed by the skill that it takes to perform this stunt.

Cirque Alice | Photo courtesy of GMG Productions

Creative Directors Kirsty White and Ash Jacks McCready do a splendid job creating the flow of the performances. Schillert delivers a strong vocal performance as Alice, she gets to sing operatic songs like “The Flower Duet” from Lakme and “Ave Maria” in-between some performances, while the Mad Hatter (Darren “Dizzy” Partridge) does a comedy act with magic that includes audience participation.

Cirque Alice | Photo courtesy of GMG Productions

To transition between major acts, dancers dressed in lavish costumes perform with great choreography by Dane Bates, keeping the show’s energy fluid. The White Rabbit doubles as a violinist who also takes the spotlight at times to help keep things moving along.

Cirque Alice | Photo courtesy of GMG Productions

The pace is fast, and while the acts are shorter than they seem – feeling extended only because they can be intensely stressful (if it involves high-altitude balance acts) or beautiful (like many of the aerial stunts) – they help create such an experience that you feel constantly engaged. No single one performance is better than the other; rather, each showcases its own distinct artistry and unique skill set.

Cirque Alice | Photo courtesy of GMG Productions

The Caterpillar is brought to life by Munkhjin Tuvd, Bayarmaa Ganbat, Shinechimeg Otgonbayar, and Dolgorsuren Ganbold, a quartet of skilled contortionists and acrobats. Their choreography cleverly mimics the shifting movement of a caterpillar’s legs as they climb atop one another to form incredible physical tableaus.

Cirque Alice | Photo courtesy of GMG Productions

The March Hare (Viktor Hladchenko) is a hoop acrobat who performs amazing thing with a Cyr wheel, while the Queen of Hearts (Vladyslav Tsarov) is a solo contortionist and gymnast who strikes seemingly unimaginable poses atop an elevated crescent hook.

Cirque Alice | Photo courtesy of GMG Productions

My personal favourite? The Flamingos (Duo Daylight: Anna Stelmakh and Evgenii Slepukhin), rope aerialists who essentially perform ballet in the sky. Their routine is graceful and romantic, and the stunts that they do tells its own story.

Cirque Alice | Photo courtesy of GMG Productions

It is an incredible production: simple in concept, yet executed wonderfully. I never thought I’d go and enjoy a live circus show so thoroughly, but the sheer wonder of the performance took me by surprise at how it made me feel. Judging from the audience’s reactions around me – especially the kids – I wouldn’t be surprised we were all inspired by that show as well.

My Rating: 4.5 Stars

Flying acrobats, daring aerialists, and a Wonderland like no other: Cirque Alice is a must-see spectacle for the entire family. With only few performances left, don’t miss your chance to experience the magic before it closes on October 25. Secure your seats now through TicketWorld!

October 21, 2026
Movie Review: Full of Gags, ‘Pee Mak’ Feels Like a Tribute to ’80s Pinoy Comedy

When I went to see Pee Mak at the cinema, I was not aware that it is based on Thailand’s highest-grossing film of all time. The Filipino adaptation, directed by Victor Villanueva, follows the original film’s story structure but translates the humor into a style of Filipino slapstick reminiscent of the ’80s comedy of Dolphy comedies, while infusing cultural folklore and making full use of its setting.

Pee Mak follows the story of Mak (Wilbert Ross), a soldier in the heat of battle who returns home with his four friends – Pok (TJ Valderrama), Ayong (Jairus Aquino), Bunak (Gian Bernardino), and their commanding officer Teryo (Vandolph) – only to find something eerie with his wife and newborn child. What he doesn’t know, though shown as the film begins, is that his wife, Pee Nang (Bea Binene), perished during childbirth. While Mak is overjoyed to reunited with his family, his four friends quickly grow suspicious of Pee Nang’s true intentions.

Image Source: VIVA Films FB Page

For a film that places Wilbert Ross as one of its lead stars, Pee Mak focuses far more on the four friends and their comical hijinks as they try to determine whether Pee Nang is alive or a ghost. The movie feels more gag-centered than it does as a cohesive story, taking narrative shortcuts to reach its emotional core. Having not seen the original, I wonder if this structure stayed true to the Thai version, but it leaves film feeling very unserious, especially considering it actually has quite a lot to say about family, friendship, and moving on.

Image Source: VIVA Films FB Page

With the script’s focus on the funny moments of the friends dealing with the hauntings of Pee Nang, Valderrama, Aquino, Bernardino, and Vandolph seem to be doing most of the heavy lifting. Ross, for three-quarters of the movie, plays a fool who is hopelessly in love with his wife, regardless of how strangely she behaves. It’s mined for its comic potential, but it quickly loses its effect. It doesn’t give him much to do for most of the film, leaving the final act as the only section that allows him to show any real range.

Image Source: VIVA Films FB Page

On the flip-side, while Valderrama and Aquino get to have fun, it is Vandolph, showing off his deep experience with this genre who truly stands out. Bernardino’s commitment to the role is also a breath of fresh air; he has a natural comedic timing that works so well on screen, making this a great debut for his first full-length feature. There is an organic, very natural sense of performance from both Vandolph and Bernardino that grounds their comedy amidst the over-the-top, absurd tone the film takes.

Image Source: VIVA Films FB Page

In fact, Villanueva leans into the slapstick and punchy joke delivery Pee Mak that it really feels like a tribute or homage to classic comedies. Unfortunately, some of the jokes don’t quite hit as hard as they should, if not due to the performances, then through the sheer relentlessness of it all. The characters aren’t fully fleshed out and tend to become caricatures, so the comedy has a tendency to become impersonal.

The film then twists in the final act to reveal a plot point explored through a montage and a long exposition that kills the film’s momentum. Fortunately, it gives Ross and Binene a chance to show more of their range and humanize their characters, but it comes a little too late in the story. Perhaps if this last-act twist had been the central conflict from the start, the film might have felt more grounded.

My Rating: 2.5 Stars

Is Pee Nang really a ghost, or are four frantic friends just losing their minds? If you’re ready for non-stop ’80s-style slapstick, ghostly hauntings, and laugh-out-loud hijinks in this local version of the hit Thai comedy, gather your barkada, check Pee Mak showtimes near you and buy your ticket now!

October 20, 2026
Movie Review: “Street Fighter” Knocks It Out of the Park

The moment Street Fighter begins, it tells you what kind of movie it is and how to receive it. It opens with a flashback sequence fully animated in anime style, packed with all the drama and a brutal fight scene that pits Ryu against Sagat while Ryu’s training partner and best friend, Ken (Noah Centineo), and their master Gouken (Don Lee), watch. Ryu is getting his butt served to him, but he activates a Hadouken that awakens the demon Akuma (Joe “Roman Reigns” Anoa’i). It’s overly dramatic, amplified by the anime styling, and tells us right away that this film will lean into these elements.

As the film moves to its present timeline, it is 1993 and Ryu and Ken have parted ways. Ken has become a flashy fighter, getting endorsement deals through his manager Dan (Andrew Schulz) and becoming a joke to the fighting community. Ryu, meanwhiles, has gone off grid, unseen after winning the first World Warrior Tournament. Ryu and Ken are now estranged, there’s bad blood and a history that is not revealed until much later.

Noah Centineo stars in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

Meanwhile, in the nation of Shadaloo, the dictator M. Bison (David Dastmalchian) is conducting human experiments to extract chi, or power, from humans to boost his own psychopower. But it’s not enough.

David Dastmalchian stars in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

He decides to host the second World Warrior Tournament in order to lure the world’s best fighters, including Ryu, so that he can extract their power to increase his own. He employs Chun-Li (Callina Liang) to recruit the competition’s participants, but M. Bison doesn’t know that Chun-Li has an agenda of her own.

Director Kitao Sakurai on the set of PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

Director Kitao Sakurai and screenwriters T. J. Fixman and Sakurai lean into the campy elements of the video game the film is based on, doubling down on the ’90s setting with its use of music and lighthearted tone that integrates so easily that the cast and creative team can have a lot of fun with the material.

Eric André stars in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

The plot follows three main characters – Ryu, Ken, and Chun-Li – and no matter where their stories go, the overall aesthetic and tone allow for easy comprehension of the film’s narrative. The plot goes everywhere, but you don’t care because it’s just a lot of fun.

Andrew Koji, left, and Noah Centineo star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

Street Fighter is not afraid to make fun of itself and to have fun by being whimsical and left-of-center. But when the fight scenes begin, it goes full throttle, delivering geniunely enjoyable fight sequences with sharp choreography and camera coverage that feels as brutal and relentless as the anime flashback that prologues the film.

Callina Liang, left, and Rayna Vallandingham star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

The editing is quick and fast-paced, yet leaves enough space for you to see that the actors are doing a lot of their own stunts. What makes it equally enjoyable is how it blends live stunts, wirework, and CGI effects to bring game-accurate moves to life, like Chun-Li’s kicks, Ken’s Shoryuken uppercut, Ryu’s Hadouken, and so on.

Curtis “50 Cent” Jackson, left, and Noah Centineo star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

And surprisingly, despite all the fun they are having, they still manage to push for a really strong brotherhood storyline between Ken and Ryu. Their estrangement and complicated relationship have a full arc that takes its time before reaching its conclusion. It’s not rushed; it’s given its due, and it allows Koji and Centineo to get some acting work in, aside from showing their moves and their insane physiques.

Vidyut Jammwal, left, and Cody Rhodes star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

They seem to have a lot of fun playing to the audience’s expectations when it comes to the characters and the fight scenes – with Centineo going full comedy in most parts of the film – but when it comes to the scenes depicting Ryu and Ken’s relationship, they take it seriously enough to give the film its beating heart.

Andrew Shulz, Callina Liang, Andrew Koji and Noah Centineo star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

The cast is enjoyable to watch, with Centineo, Dastmalchian, and Schulz really hamming it up for full effect. Meanwhile, Koji and Liang possess powerful screen presences, operating on the exact right frequency to act in that they make the film’s tone work seamlessly.

Noah Centineo, left, and Andrew Koji star in PARAMOUNT PICTURES AND LEGENDARY PICTURES In Association with CAPCOM.
A LEGENDARY PICTURES Production “STREET FIGHTER”

Street Fighter is an absolute blast and a total joy to watch on the big screen with friends who know the lore and can spot all the Easter Eggs. It’s a solid martial arts film that doesn’t demand much, yet offers so much in return. And out of the many times “What’s Up?” by 4 Non Blondes has been used across any form of media, the film delivers yet another good use of that timeless song.

My Rating: 4.5 Stars

Hadouken your way to the nearest theater! Don’t miss out on all the action, camp, and ’90s nostalgia. Gather your player twos and click here for Street Fighter showtimes.

October 19, 2026
Disney+ Review: In Search of Meaning in the First Four Episodes of ‘VisionQuest’

After an oversaturation of comic book movies and shows, Spider-Man: Brand New Day reminds us that a truly great superhero story must focus on the human element of it. The spectacle helps, certainly, but deep down, we look for a hero we can relate to, and their issues have to resonate with our own.

Interestingly, Disney+’s latest series, VisionQuest, finds an alternate route to connecting with its audience. Following the events of WandaVision, we find Vision (Paul Bettany) living disguised as a human, struggling to discover who he is. When we last saw White Vision, SWORD had rebuilt him as a weapon to kill Wanda Maximoff, until her version of Vision imbued him with the same persona. He has all of Vision’s memories but none of his emotions or actual experience. He’s a machine trying to understand his purpose. What is he to do with all these memories, and how does he rationalize his existence?

Paul Bettany in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

But things go sideways when an unknown client hired The Paladin (Todd Stashwick) to capture Vision. To gain the upper hand, The Paladin makes a god for Thomas Shepherd (Ruaridh Mollica), carrying all of Tommy Maximoff’s memories and persona inside of him. Forced out of hiding, Vision feels compelled to rescue Thomas, a choice that ultimately forces Vision toward an identity forged through action rather than mere observation.

Paul Bettany in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

The show presents a fascinating dilemma as it explores what defines humanity. Having formed a bond with the original Vision, the audience instinctively has a connection with the original Vision, and we are immediately hoping that this new iteration of him will find his own identity soon. Watching a “person” piece himself together makes for compelling viewing and it’s quite an enjoyable ride. Do our emotions define us? Our experiences? Our memories? These are asked and are somehow argued throughout the first four episodes of the show and it’s quite enjoyable.

A scene from VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

Parallel to Vision’s journey is Thomas’s own crisis of identity as he carries the memories of both Thomas Shepherd and Tommy Maximoff, he is riddled with the need to be anybody else because he isn’t sure who he is. As an orphan turned a con man, with his pickpocket friend Lisa (Lauren Morais), preferring to be anybody else rather than try to figure out if he is crazy or not.

The collision of these two characters surprisingly forms the emotional strength of the series, and the story truly takes off the moment they finally meet.

(L – R) Orla Brady, James D’Arcy, Johnathan Sayer, and Henry Lewis in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

Rounding out the cast are the AIs Vision has created within his mindscape: copies of code from various AIs used in the MCU mainstays including Jarvis (James D’Arcy), Friday (Orla Brady), Edith (Emily Hampshire), Dum-e and U (Henry Lewis and Jonathan Sayer), and Ultron (James Spader). Each with their own unique personalities, helping Vision along to finding what it means to be human and to reconcile his existence with Wanda’s version of his memories and his own rebuilt body as a weapon. There’s also a lovely supporting turn by Diane Morgan as The Paladin’s tech-genius assistant.

James Spader in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

By the third episode, another antagonist emerges: Butcherbird, a mercenary whose own goals run separate from that of Vision’s, but their paths will cross and it expands the questions about technology’s own relationship with humans.

(L – R) Paul Bettany and Ruaridh Mollica in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

There are just enough superheroics to keep this rooted in the comic book genre with funny quips and puns and enough light-hearted moments to keep it friendly. Yet the story remains firmly centered in the existential, grounded by the relationship between Vision and Thomas, as well as Vision and Ultron. One brings him closer to humanity through the possibility of affection, while the other brings him closer to humanity by embracing chaos. Interestingly enough, it’s these two aspects Vision needs to embrace if he wants to fully understand humanity and it’s fascinating to watch as it unfolds.

(L – R) James Spader and Paul Bettany in VisionQuest exclusively on Disney+. Photo courtesy of Marvel. © 2026 Marvel. All Rights Reserved.

These first four episodes deliver a strong start, promising a lot of good storytelling threads that keep the show emotionally strong and intellectually ambitious without becoming overly lofty. Above all, the series retains enough charm and humor to keep it from spiraling out of mainstream appeal.

It is a promising start to a show I’m interested to finish and catch more of it as as the rest of the season unfolds.

My Rating: 4.5 Stars

Be sure to check out the first four episodes of VisionQuest, now streaming on Disney+.

October 15, 2026
Movie Review: Not Fully Committing to Its Camp Potential, “Verity” Wastes Fine Performances by Anne Hathaway, Dakota Johnson, and Josh Hartnett

There’s a lot of good things going for Verity. First of all, its cast is amazing. Anne Hathaway, Dakota Johnson, and Josh Hartnett, I love these actors. The premise looks enticing: a writer is asked to ghost write the book of an author of a popular series after she gets into an accident, but not all is as it seems. And then there’s the genre. From my initial impression of the trailer, I thought it was going to be a horror film, but it’s actually more of an erotic thriller, which is just as good. As the movie progressed, though, I started to feel that its ambitions were not quite being achieved and that the film was veering into camp territory. Seeing Hathaway and Johnson’s performances sort of sealed it for me. It helps that director Michael Showalter is also a comedian, so there is an underlying understanding in the film’s structure and presentation that it should lean into those campy elements.

Unfortunately, the film is neither campy enough nor erotic enough to fully embrace its potential.

Verity | Image Source: Columbia Pictures PH FB Page

Johnson plays Lowen Ashleigh, a struggling writer who is propositioned to finish the last three books of a popular series by Verity Crawford (Hathaway), who is unable to finish the book. She is encouraged by Verity’s husband, Jeremy (Hartnett), to accept the offer because Verity read her work and thought she was very good. The money offered, an attraction to Jeremy, and the praise given are enough for Lowen to take the job. She drives up to Vermont to stay in Jeremy and Verity’s house for a few days, going through all of Verity’s notes and outlines to start writing. There, she discovers Verity is now a paraplegic and can no longer talk or move. As Lowen begins her work, she is drawn into Verity’s life after finding an unpublished autobiography amongst her files, and a secret that turns her whole world upside down.

Verity | Image Source: Columbia Pictures PH FB Page

From the beginning, we are already made aware of Lowen’s mental state. Her mother died just a week prior, she’s being evicted from her place, her books are not selling well, and she takes medication daily, which tells us she’s not in the best frame of mind. So her choices become questionable every step of the way. When she starts seeing Verity move, we think that either one, she is going crazy or two, something else is going on. The film ensures that both possibilities could be true to mess with us.

Verity | Image Source: Columbia Pictures PH FB Page

Hartnett is so effective at playing Jeremy. As a loving father and husband, it’s easy to see why Lowen’s attraction to him grows stronger and stronger as the film unfolds. He has a gentle, everyman aura, and the care he shows Lowen can be enticing for a woman all wrung out by life. Johnson approaches the role with a delicate touch, oftentimes she’s a blank slate (likely due to the meds), but in later scenes, she becomes increasingly attached and invested. There are a wink and a smile to her performance that tells us she’s in on the joke, especially since her character can be a little silly. Hathaway, though, who appears primarily through flashbacks and interviews, really has fun with the role. Verity is a dangerous woman with dark, twisted thoughts, much like her books, and Hathaway clearly enjoys playing the villain, which makes us enjoy watching it all the more.

Verity | Image Source: Columbia Pictures PH FB Page

But the film relies on unnecessary jump scares to amp up the tension, and the sex scenes and nudity feel tame for the darkness at the core of the story. It has an R-16 rating after all, and for it to fully embrace its genre, it needs to get messier and sexier so we can truly feel that the movie is entering dangerous territory. For a film to be genuine camp, it has to be dead serious in its ambitions and fail spectacularly to earn that distinction. The film, though, knows it is a little silly but doesn’t totally commit to it. It also features a soundtrack with some songs that sound very “of the moment,” which undercuts the campiness of it all.

The film has quite a lot of twists and turns in its plot, which is all fine and good, but its final reveal and chosen conclusion run contrary to what it tries to make us believe. Instead of leaving me feeling amazed and impressed by the manipulation of my thoughts and feelings, the explanation of the film’s actual truth just doesn’t carry me over to its intended emotional destination, even if it was set up earlier.

My Rating: 2 Stars

Curious to see Anne Hathaway, Dakota Johnson, and Josh Hartnett unravel this twisted thriller on the big screen? Verity is showing in theaters nationwide. Catch it at a cinema near you, click here for showtimes.

October 13, 2026
Theater Review: In JC Santos’ Directorial Debut, “A Number” Is a Sci-Fi Play That Asks the Hard Questions

Gripping and so unbelievably relevant today, Caryl Churchill’s play A Number tackles the emotional and moral ramifications of cloning. First produced in 2002, the play’s exploration of its theme hits very strongly to this day of advanced technology and generative AI, as it ask the hard questions of how far technology should be used when facing the harsh challenges of life.

This production marks the directorial debut of actor JC Santos, who also stars as three distinct characters in the play – three clones acting opposite Bart Guingona, playing the clone’s father. It’s a short play, spanning just a little over an hour, the tight narrative unfolds across five confrontation scenes between father and his offspring or a variation of such. Despite its sci-fi foundation, the play focuses on the heavy emotional weight of the effects of society towards the individual and to society. It is a heavy drama that requires the both actors to be wholly present at all times, with Santos having to change characters right before our eyes. It is a demanding piece for its actors and the players do an excellent job at it.

A Number by Caryl Churchill | Image courtesy of WHYNoT

The play opens with a son narrating his experience to his father of seeing his exact duplicate in public. They realise clones of him have been made, their conversation explores the effect of such a discovery on one’s identity. But as the story unfolds, we discover there are secrets that have been kept, dark secrets but with good intentions – if not twisted – behind them. With each encounter between the father and different variations of his son, he must reconcile his own actions, while the clones struggle to define the meaning in their existence when the question of their uniqueness is at stake.

A Number by Caryl Churchill | Photo by Miguel Uy, Courtesy of WHYNoT

As a British play, there’s a sense of formality in the language, but Churchill writes characters who are not the most eloquent or articulate of people. They are so overwhelmed by the events and the discovery of the dramatic situation that they often can’t finish their lines. It is a constant back-and-forth between father and son as they try to piece some level of rationality to their reality, and it’s very grounded and real in the way it captures that human experience. As actors, Santos and Guingona have to embody the confusion and the maelstrom of feelings this situation creates, throwing lines back and forth without missing a beat. It’s a terrific display of each performer’s acting prowess, with Santos having shifting from one clone to the next right on stage, bathed in light with only a slight costume change and an adjustment of his hair. His gait, his posture, and his line delivery all shift seamlessly. It’s a standout performance.

A Number by Caryl Churchill | Image courtesy of WHYNoT

The stage is set at the center – a theater in the round – with the audience watching from all sides. The venue, the artist space WhyNot in Karrivin Plaza, has good acoustics, so neither performer uses a mic, keeping the show intimate and personal. The stage is bare except for two sets of very short glass corridors, which either character uses as an entrance and where Santos makes his costume changes. Cushioned blocks at the center serve as chairs, and at the ceiling, shedding light into the confrontations are LCD screens with an abstract display, to which I imagined as strands of DNA, which I was later able to confirm. There is a drone scoring – I was told it was designed live by sound artist Frankie Lalunio – amplifies the emotions as Santos seems to have directed the performances at a lower register, choosing to let the situation and the words display all the emotions. Everything is kept bubbling inside, not playing for the drama. It’s the sound design that helps cue us there.

A Number by Caryl Churchill | Image courtesy of WHYNoT

With its minimalist approach, the play highlights all the confusion and existential questions that the narrative evokes. The question of how far we will go in using technology to make our lives “better” (quotation marks are necessary) becomes all the more biting as we see the dangerous effects of generative AI and social media on our society today. It’s a smart play. It’s a painful one. And it forces us to think, and hopefully, encourages us to act.

My Rating: 4.5 Stars

Presented by WHYNoT and The Necessary Theatre, A Number marks a compelling reunion for Bart Guingona and JC Santos following their sold-out 2023 hit Red, this time with Santos stepping into the director’s chair. The limited nine-show run plays from October 9–18, 2026 with performances at 3:00 PM and 8:00 PM at WHYNoT. Don’t miss this gripping sci-fi drama. Book your seats now at Ticket2Me.

October 13, 2026