Author: Wanggo Gallaga

THEATER REVIEW: The Uneven Set D ‘Pusong Mamon’ of the Virgin Labfest Starts Muddled but Ends with a Bang

Set D of the Virgin Labfest, titled “Pusong Mamon,” presents an uneven trilogy of plays. The opener, Gerald Manuel’s ‘Buhaghag,’ utilizes exceptionally really good theatrical devices to help energize an otherwise didactic script. This leads into to Jerom Canlas’s emotionally-strong ‘Footprint’ and ends on a high with John Lapus’ comedic ‘Taksyapo!.’ While the set starts out muddled, it quickly finds it footing in the second play before delivering a rip-roaring, laugh trip of an experience in its finale.

Buhaghag
By Gerald Manuel
Directed by Tess Jamias

Production photos for “Buhaghag,” “Footprint,” and “Taksyapo!” by Orly Daquipil

Didactic in its execution, ‘Buhaghag’ spends most of its time explaining what is happening rather than dynamically showing us the lead character’s problem. Phoebe (played by Krysytle Valentino) is so busy that she is chronically sleep-deprived and no time to see friends and family. Her room is filled with black vines that resemble hair, and bursting through the walls comes a creature made entirely of hair (played by Adrienne Vergara), who offers Phoebe a deal to give her the rest she needs. Director Tess Jamias does a wonderful job of trying to keep the performance energy high, with huge credit going to Set Designer Carlos Siongco and Costume Stylists Monica Sebial and Sam Quizon for bringing this surreal nightmare to life..

VLF XXI – SET D [PUSONG MAMON]: BUHAGHAG

Unfortunately, all the visual theatrics cannot alleviate the play’s issue which could have been solved by the lesson: show, don’t tell. We need to actually see Phoebe working; we need to witness her missing out on life because of her obligations. Because Vergara’s entity comes far too soon, the remainder of the play relies almost on the two characters simply talking about the play’s plot. It doesn’t help matters that Valentino struggles to match Vergara’s powerful presence. As a result, she disappears underneath all that theatrics – the set, the costumes, the stage design – making it incredibly difficult to connect with the protagonist.

Footprint
By Jerom Canlas
Directed by Mikko Angeles

Production photos for “Buhaghag,” “Footprint,” and “Taksyapo!” by Orly Daquipil

In a near-future world, Jerom Canlas’s ‘Footprint’ follows a family who regularly visits the virtual digital archive containing the memories of Ram, a teenager who committed suicide. Within this virtual space, his father, mother, older brother, and girlfriend find each other and deal with the loss of a loved one and the painful realisation: they will never truly understand why Ram did what he did.

Director Mikko Angeles has the unenviable task of conceptualizing what this future looks like. Collaborating with set designer Carlos Siongco, the stage resembles an abstract drawing of a library, but its cool, slick design makes it look futuristic. Enhanced by a sharp projection mapping and immersive lighting and sound effects, the aesthetic and feel of the future is clearly palpable. If it was really needed, I’m not sure because the weight of the performances are enough to carry this play through. If it was an empty stage and the actors just spoke the lines in some oblivion-like space, the effect would have been just as powerful.

Screenshot

The ensemble, played by Elijah Canlas, Meryl Soriano, Jojo Cayabyab, and Pappel, delve so deeply into their emotional space that the audience really felt it. Everyone around me was crying. The rawness of the unearthed emotions and the sensitive issue of suicide – never romanticized, but carefully contextualized for the sake of the survivors – hit in a different way. When Omar Uddin, who has been exceptionally strong in all of his recent performances, comes up to do a monologue as Ram, the play reaches its absolute emotional peak and completely kills it.

Ultimately, while the heavy theatrics were undeniably well-executed and helped sell the idea of the play; it was executed well but felt unnecessary.

Taksyapo!
By John Lapus
Directed by Tuxqs Rutaquio

Mosang and Christian Bables in “Taksyapo!.” (Photo by Orly Daquipil)

A play centered around the famous rage booth in Tarlac, where one buy plates and mugs and throw them against the wall to elease their pent-up anger and frustration, is an interesting idea. John Lapus’s ‘Taksyapo!’ is a two-hander featuring booth clerk Maya (played by Mosang), and a gay patron, JM (played by Christian Bables). Through their banter, we see a world that is deeply painful to live in. Maya is a woman whose husband has left her, while JM is a gay man reeling from a recent a breakup. Both characters find themselves in the absolute perfect space to let out some steam.

VLF XXI – SET D [PUSONG MAMON]: TAKSYAPO!

And let off steam they do, to fantastic effect. The immersive sound effects of the shattering glass and plates add to the energy of the play as the actors hurl their frustrations through a cleverly designed fake wall. However, the play’s frustration goes beyond the personal. It extends to other things that bother them until the whole play becomes a litany of actions and people who piss us off. Of course, it gets political, but at the same time serves as a mirror to our society in general.

Ultimately, ‘Taksyapo!’ feels destined to become an instant classic – something that will be added into a line-up of short plays that will serve to end the show with a good laugh and a chance to call out the troubles and ills of the day. It is a brilliant piece that will unboubtedly be easily revived time and time again.

My Rating: 4 Stars

Virgin Labfest XXI runs until June 28 at the Tanghalang Ignacio Gimenez (CCP Black Box Theater). Don’t miss your chance to witness the raw emotional power and explosive comedy of Set D ‘Pusong Mamon’ for yourself, grab your tickets before the festival wraps up. For tickets, visit Ticket World and Ticket 2 Me.

June 15, 2026
MOVIE REVIEW: ‘Backrooms’ Is a Confident Full-Length Feature Debut for YouTuber Kane Parsons

What I liked about Backrooms, the full-length feature film debut of YouTuber Kane Parsons, is its resistance to fully explaining the strangeness and supernatural elements of the story. There is pivotal moment when Clark (Chiwetel Ejiofor) shares his understanding of what this labyrinth found in a literal tear in space and time within the basement of his furniture shop with his therapist, Mary (Renate Reinsve). It is a necessary scene that helps stamp out the final images of the film, yet it never discusses the why. The Backrooms – that endless, uncanny space found through a mystical doorway – just exists. It just is. And that may very well be one of the most terrifying aspects of the movie.

So much of Western horror is ruined by the compulsive need to explain everything. In a world driven by the practical and the modern, everything needs to make sense. That the lore be perfectly complete. It is actually a very boring exercise, one that robs us of our imagination. As Asians, however, we are inherently attuned to cosmic and supernatural forces; they are deeply woven into our culture and social design. So we are not bothered or bogged down by the unexplained mystery.

In Backrooms, that mystery can kill. The film follows Clark, an unhappy man living in his failing furniture store after being kicked out by his wife. He is an alcoholic and a frustrated architect, details we learn through his tense therapy sessions with Mary, who is quietly battling her own trauma about her mother and her childhood home. Things take a surreal turn when Clark discovers a doorway into another dimension within his basement: a liminal space that is made up of an endless, maddening array of yellow rooms. As he decides to explore it, he discovers that something else lives in that space. Something dark, sinister, something that kills.

Image Source: a24films.com

Set in the 1990s, the film utilizes a heavily saturated, grainy aesthetic to its cinematography. It adds to the existential dread hoveriing over our two leads. This analog texture also adds to the ambiguity and mystery of the Backrooms. Oftentimes, the film switches to a first person point-of-view, seeing from the lens of the person holding a 90s camcorder. The film opens with a chilling prologue establishing that someone else was in the Backrooms long before Clark’s discovery, and the use of this vintage footage increases the tension. The conceit of a found footage aesthetic means that the film can’t just cut to show us what we need to see. Instead, the character must physically turn and and point the camera where the audience needs it to point so we can follow the story – or in this case, the horror – and the limited perspective adds to the tension and the fear.

But there’s another scene midway through the film, when Clark is now exploring the labyrinth, using a camcorder to record evidence that the Backrooms is real and there’s a frightening sequence that is excellently executed – I caught myself cursing and screaming out loud – but it doesn’t make sense at that point in the narrative for Clark to take the camera and continue recording his escape. That one scene, a pivotal one, is what took me out of the whole film. It’s why found footage is such a difficult and delicate film mode to undertake because one false intention can ruin the illusion.

This is a remarkably confident debut from a first-time feature director – even if he has been directing YouTube shorts for a while now – and it will be interesting to see what else Kane Parsons is capable of next. Backrooms is utterly terrifying, weird, deliberately slow, and confident. A very strong debut indeed.

My Rating: 4 Stars

Wonderfully weird, deliberately slow, and utterly terrifying. Discover why Kane Parsons’ Backrooms is a masterclass in tension and a formidable debut. Check showtimes here.

June 13, 2026
THEATER REVIEW: Repertory Philippines’ ‘Man of La Mancha’ Finds New Life in Incredible Staging and Quicker Tempo

I grew up listening to the Broadway cast recording of Man of La Mancha, the 1965 musical with music by Mitch Leigh, lyrics by Joe Darion, and a book by Dale Wasserman. The musical is the source of the famous song “The Impossible Dream,” and for some reason, I always thought the name Dulcinea originated from this musical. I also caught the 1972 film adaptation starring Peter O’Toole and Sophia Loren.

So while I was happy to learn that Repertory Philippines was staging a new revival, helmed by Nelsito Gomez as director and starring Nonie Buencamino as Miguel Cervantes/Don Quixote, I worried about whether the play could resonate with a modern audience. Does its light, whimsical touch on madness and positivity reflect our contemporary issues? Does it treat too lightly things we do not play around with so easily in 2026, like mental health and sexual assault?

REP officially stages the seminal classic Man of La Mancha, as reimagined by director Nelsito Gomez. The musical will have a limited run until June 28 at REP Eastwood Theater | Photo credit: Krizhal Daryl Ordas of Indio Creatives

Set in the late 16th Century during the Spanish Inquisition, Man of La Mancha begins as Miguel de Cervantes and his manservant, Sancho, are brought to prison to await trial. But in prison, the other prisoners there conduct their own mock trial.

Gawad Buhay winner Marvin Ong plays Don Quixote’s faithful squire, Sancho Panza, joining his master in his many adventures.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Because Cervantes is not just a former tax collector but a failed poet and author, the inmates quickly deemed him guilty. But Cervantes demands that he be given a chance to defend himself and presents his defense by performing a play.

In REP’s Man of La Mancha, Nonie Buencamino makes his grand musical comeback playing three characters: the fictionalized version of the famed writer Miguel de Cervantes, and his characters the old gentleman Alonso Quijano and the iconic knight-errant Don Quixote. | Photo credit: Krizhal Daryl Ordas of Indio Creatives

He invites the other prisoners to take on roles in the story of Don Quixote, played by Cervantes himself, a noble who, driven by madness, believes he is a knight. Quixote renames Aldonza, a waitress and part-time sex worker, calling her by the name Dulcinea and insisting she is a noble lady.

Esteemed classical singer and actress Katrine Sunga takes the role of Don Quixote’s muse, Aldonza, in Man of La Mancha.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Though he is widely ridiculed, his delusion begins to transform those around him, inspiring them to see the best versions of themselves. Yet, as Don Quixote wants to fight for a better world, his family tracks him down as his exploits have become the talk of the town and brought shame to their name.

Man of La Mancha features the timeless classic, “Dulcinea,” a song Don Quixote sings to Aldonza, a barmaid.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

Much of Quixote’s delusions were originally meant to be taken as a comic relief; it was written in 1965, after all, an era with a far more flippant attitude toward about how mental health is treated in this musical. What makes Gomez’s direction is so compelling is that he does not shy away from it. He never treats madness for mere comic effect, choosing instead to explore the very real, harrowing ramifications of Quixote’s delusions. Aldonza, for instance, is placed in harm’s way by his virtue-signaling, having been lured into believing Quixote’s idealistic vision of the world. There’s a hardness to Gomez’s direction that amplifies the other characters’ distaste for Quixote’s ramblings. Yet, there are moments of grace hit even harder. such when Quixote gives an innkeeper with dignity and honour, when Aldonza begins to desire the noble woman Quixote sees in her, and in the profound way Quixote wants the best for himself.

Sarah Facuri as Housekeeper, Steven Hotchkiss as Padre, and Mikkie Bradshaw-Volante as Quijano’s niece Antonia share their worry for the old gentleman’s mental state in “I’m Only Thinking of Him.” | Photo credit: Krizhal Daryl Ordas of Indio Creative

That is the delicate tightrope Gomez walks in this staging. Rather than shying away from the age of the material, he highlights how our perspective is different now. He speeds up the tempo of certain songs – such as “I’m Only Thinking of Him,” which is traditionally one of my least favourite songs in the musical, but here in the new arrangement, the song is vibrant and funny, especially with Mikkie Bradshaw-Volante and Sarah Facuri eating up that song – keeping the show from ever feeling too rigid or slow. His vision for the stage, realized alongside set designer Julio Garcia, initially presents an ICE detention center, a huge chained fence trapping the actors within and partly obscured to the audience. But as Cervantes begins his defense and tells the story of Don Quixote, the fence lifts, the walls break open and suspend into the air and the stage opens up for the play. Even the backdrop opens up to reveal the live band. It is such a strong use of stage imagery that visualizes how art opens up the world and allows us a new way of looking at things.

A favorite among REP audiences, Man of La Mancha in its third restaging dares audiences to believe in hope.
Photo credit: Krizhal Daryl Ordas of Indio Creatives

In today’s world, there is a bit of misplaced idealism to Man of La Mancha that can make it feel like a time capsule from a more innocent and pure era. Yet, Gomez, his amazing cast, and his artistic team manage to critique the elements that have aged poorly while still allowing the spirit and profound hope of the play’s core message to shine through.

Though there were noticeable technical difficulties, particularly with sound and lighting cues on opening night, these are easily remedied. The cast is incredible, with Buencamino leading the ensemble into a delightful frenzy. Marvin Ong’s Sancho is a breath of fresh air, while Katrine Sunga is utterly breathtaking as Aldonza. She is all power and forceful, Sunga commands a strong stage presence that matches Buencamino line for line. Meanwhile, Farley Asuncion’s musical arrangement is incredible, and Julio Garcia’s stage design is a theatrical revelation. Ultimately, this is a thoroughly engaging night at the theater and an interesting approach to reviving classic musicals.

My Rating: 4 Stars

Don’t miss this striking revival! Repertory Philippines’ Man of La Mancha runs at the REP Eastwood Theater until June 28. Secure your tickets now via TicketWorld or Ticket2Me visit Repertory Philippines’ official social media pages for updates and show schedules.

June 11, 2026
MOVIE REVIEW: ‘Disclosure Day’ Is a Film That Uses Spielberg’s Entire Array of Cinematic Tools While Remaining Fun and Exciting to Watch

There’s a classic feel to Disclosure Day, and I credit that to Steven Spielberg’s direction, Janusz Kaminski’s cinematography, Sarah Broshar’s editing, and John Williams’ score. The craftsmanship behind this epic sci-fi mystery thriller is so impeccable that you are effortlessly guided toward the exact emotions that Spielberg and his team want you to feel. The storytelling is so exquisite that it sweeps you up from the very first scene until its big finale, never letting you go through it all. Sure, they use a lot of new techniques as well; multiple one-shot takes that are complicated and involve stunt work, but where they point that camera and how they cut the scenes creates a seamless flow that really builds upon this amazing story about truth, aliens, and the human condition.

Disclosure Day follows Daniel (Josh O’Connor) as he attempts a high-stakes trade off with what appear to be government forces led by Noah Scanlon (Colin Firth). Scanlon’s men have taken Daniel’s girlfriend, Jane (Eve Hewson); in exchange for her freedom, Daniel must return stolen documents and an alien artifact.

However, Daniel manages to rescue his girlfriend and retrieve the items and escape. Simultaneously, Margaret (Emily Blunt), a meteorologist, experiences a strange visit that alters her, suddenly granting her inexplicable knowledge an the ability to speak multiple languages.

She feels compelled to search out Daniel, who in turn, is told to seek her out by his informant, Hugo (Coleman Domingo). The story and all its secrets unfolds one piece at a time while Daniel is on the run, Noah Scanlon gives chase, and a bewildered Margaret is drawn right into the center of the storm, completely unaware she is meeting the three right at the center of all of this.

Written by David Koepp from a story by Spielberg, Disclosure Day has an unconventional narrative structure. It thrusts the audience directly into the middle of all the action – no exposition whatsoever – and we are learning about these characters and their dramatic situation as the film unfolds.

Everything is a mystery, from the true identities of Daniel, Jane, and Margaret, to the capabilities and origins of the alien artifact. Everything is shrouded in secrets, the narrative relies on Spielberg and his team to let us into this world just one piece of information at a time.

While he is doing this, he shows us a world on the brink of collapse; populated by people who are overthinking or would rather cede their autonomy to a higher authority. It’s a chaotic world, and Daniel is in the middle of it. He’s at the center of the conspiracy, he witnesses the sheer darkness that it holds and how it directly affects the people around him, especially Jane.

On the other hand, through Margaret, we can also see the wonder of it all: the awe-inspiring effect of a paranormal occurrence. Her sudden, inexplicable knowledge and ability to know things and people, it is played out with such levity and whimsy that it creates some of the most enjoyable scenes in the film.

In fact, O’Connor and Blunt play off of each other beautifully, marrying the film’s two contrasting sides – the pessimistic and the optimistic – and really grounding the film into a balanced shape. While O’Connor delivers a solid performance and holds his own in such a massive production, this territory is a walk in the park for Blunt, who has had her share of huge box-office movies. Yet, she adds a little bit more, her portrayal of Margaret is that of a woman completely overtaken by this alien power.

She’s in awe of it, and while it frightens her, the phenomenon also feels like an answer to her character’s search for purpose. It is a complex, highly demanding role, yet Blunt manages to keep it real and engaging despite the fact she remains mostly reactive until the tide finally turns.

This movie makes full use of Spielberg’s greatest strengths as a director. It features stunning, large-scale chase sequences, intricate character work, and scenes where people find themselves beholden to forces far larger than themselves. While Disclosure Day evokes classic, old-school Spielberg, it simultaneously possesses a refreshing quality and a hopefulness that feels so fitting for this day and age. It is a lovely film even with some scenes where the narrative gets untethered, or takes a didactic approach to answer some questions still left hanging, these minor flaws are just a small price to pay for a cinematic experience that reaches out and makes us feel and believe in magic again.

My Rating: 4.5 Stars

Are you ready to experience the magic of classic Spielberg again? Disclosure Day is officially out in theaters. Check showtimes here.

June 10, 2026
THEATER REVIEW: The Restaging of Artist Playground’s ‘Reverse Card’ Brings Along a Friend in ‘Al.Ter’ in a Twin-Bill Presentation Called ‘Double Take’

Artist Playground, in cooperation with Kho-lab Productions, presents the twin bill Double Take: Reverse Card and Al.Ter. The two one-act plays, written by Chase Kyl Loza and Pablo Joaquin respectively, are directed by Paul Jake Paule. Performed by a plethora of performers with alternates for each role, the production is slated for a stunning 20 shows over four weeks. This run cuts directly through Pride Month, a fitting backdrop since both plays revolve around queer stories.

al.ter | ARTIST PLAYGROUND

The show opens with Al.Ter, which follows Al as he loses his live-in partner, Lester (nicknamed Ter), the morning after an argument. While wandering through the furniture section of a department store, a heartbroken Al meets Terrence, who also goes by Ter and looks exactly like Lester. Al befriends Terrence and asks him to roleplay as his deceased lover, desperate for a chance to find closure.

Al.Ter opens provocatively with Al and two other actors acting out a threesome in the dark, recording it for publication on Al’s “alter” account. It’s daring, sexy, and shot in minimal light, giving the distinctimpression that one or two of them are actually naked. However, that provocative opening is merely a hook, from there on, Al must deal with the consequences of being caught living a double life.

al.ter | ARTIST PLAYGROUND

It is through Ter’s double, played by the same actor, that Al ultimately finds some level of closure. The one-act play is poignant and bittersweet, cleverly incorporating the idea of doppelgangers and the theory of genetic variation and use it to push for a moving story about forgiveness.

al.ter | ARTIST PLAYGROUND

On opening night, Al.Ter was performed by Johnrey Rivas and Drei Arias as Al and Ter, respectively. I also had the opportunity to see an open rehearsal featuring Rivas alongside James Ramada, as Ter. Both Arias and Ramada have shown great skill in bringing Ter to life. Arias easily shifts from one version of Ter to the other, crafting distinct mannerisms and delivery of lines for each character; the fact that he switches between both roles in a split second on stage is quite a feat. Ramada’s approach relies on a much more internal switch.

While there’s barely a visible difference between his two iterations, his Lester is softer and warmer, whereas his Terrence is all “bro” and macho energy. Ultimately, both actors do an excellent job at finding the nuances that allow the plays’s themes of forgiveness to flow, providing a grounded emotional core. Unfortunately, Rivas’ performance feels a bit too scripted and measured. It feels less natural than that of his co-actors. There’s a predictable pace and rhythm that gets in the way of the storytelling.

Reverse Card | ARTIST PLAYGROUND

Reverse Card, on the other hand, is a tense cat-and-mouse game between Marvin, a gay aspiring writer who was bullied in school, and John, former tormentor. As the play opens, Marvin is visibly excited because John is coming over to his house. While the encounter initially feels friendly, but as the night progresses, we realise there is far more to this meeting than a simple paid hookup. With secrets waiting to be revealed and mind games to be played, the atmosphere shifts from friendly to terrifying really quickly and it opens up a lot of emotions for both characters to unearth.

Reverse Card | ARTIST PLAYGROUND

On opening night, Reverse Card starred Gerhard Krysstopher as Marvin and Gerald Magallanes as John. Both delivered incredibly strong performances. Krysstopher playing out a wide range of tones and styles for the more eccentric Marvin, who turns out to be playing a much darker game than John.

Reverse Card | ARTIST PLAYGROUND

Meanwhile, Magallanes anchors the stage with a brusque, macho energy; he projects a frightening presence that makes you fear for Marvin except Marvin is not an easy character to break. I also had the opportunity to see Inah Evans and Drei Arias at the open rehearsal, and duo shared very good chemistry as well. Evans cleverly hides Marvin’s darker side behind a layer of comedy, which offers a refreshing contrast. Arias, not the other hand, brings a softer, more charming side to John that makes his John more charming and irresistible that it leads you to not question why Marvin would invite him to his home in the first place.

My issue with Reverse Card is how it takes the collective anger and frustration of gay people who have been bullied and mistreated poorly by their families, and channels it entirely into a spirit of vengeance. It problematizes and subverts a common trope, but instead of offering empowerment, the narrative resorts to violence and harm.

Dramaturgically, Double Take: Reverse Card and Al.Ter tackles the contrasting themes of retribution and forgiveness. The twin bill explores our shared humanity through the suffering inflicted upon us by others, alongside the suffering we inflict upon ourselves in relation to grief. However, by choosing to end it with Reverse Card, the production leaves us with such a sour note, considering that this is Pride Month. It’s not the best look.

My Rating: 3.5 Stars

Don’t miss out on this bold Pride Month twin bill. Experience the complex storytelling and powerhouse acting of Double Take live at the Illumination Studio, Makati. The production runs until June 21, 2026. Book your slots online via Ticket2Me.

June 7, 2026
MOVIE REVIEW: Reverent in Its Love for the Original, ‘Masters of the Universe’ Embraces Its Irreverence and Gives Nicholas Galitzine a Chance to Have Fun

The very name of the character in his godlike form, “He-Man,” was already distracting when I was a kid, and even more so as an adult. It’s why I entered the cinema for Masters of the Universe with very low expectations. Unless the filmmakers were going to lean into how silly it all really is, there was no way I could imagine this narrative taking itself seriously. Luckily for me, director Travis Knight along with screenwriters Chris Butler, Aaron Nee, Adam Nee, and David Callaham knows how to have a good time. Masters of the Universe is a 141-minutes of self-referential comedy that tries to stay true to the show’s spirit while poking fun at itself.

In Masters of the Universe, the story begins with a narration by Prince Adam (Nicholas Galitzine), as he reflects on growing up on the world of Eternia. As a prince, he is a bit of a clown who doesn’t take his role very seriously. This upsets his father, King Randor (James Purefoy), who wants him to grow up stronger and take his role more seriously.

(l-r): Roboto (Kristen Wiig), Man At Arms (Idris Elba), Adam (Nicholas Galitzine), Teela (Camila Mendes) and Cringer in MASTERS OF THE UNIVERSE.

However, their family friction is cut short when the mystical warlord Skeletor (Jared Leto) launches a surprise attack on the kingdom. Because Randor’s bloodline comes from a long line of champions who can wield the Sword of Power, the Sorceress (Morena Baccarin), the guardian of that power sends Adam to his mother’s home planet, Earth, to keep the blade out of Skeletor’s hands. But Adam, still a child, loses the sword and finds himself standed on Earth for over 15 years.

Adam (Nicholas Galitzine), Teela (Camila Mendes) and Cringer in MASTERS OF THE UNIVERSE.

Now an adult, Adam is isolated and unhappy in his corporate HR job while trying constantly searching for the sword that can bring him home. When he finally locates the blade, he enlists the help of Teela (Camila Mendes) to make his way back to Eternia. Upon arrival, he discovers that Skeletor has completely destroyed his homeland, forcing him to wield the power within to become the champion of his homeworld.

Jared Leto stars as ‘Skeletor’ in MASTERS OF THE UNIVERSE.

What is hilarious is just how silly the creators of this movie think the whole premise is. Adam’s extended stay on Earth serves as a clever a way to acknowledge the property’s inherent campiness; that way, when the narrative finally shifts to the science fiction and fantasy, they can go completely all out and have as much fun as they want. There is very little story involved here, though Adam does experience a lovely reckoning regarding his relationship with his father, but character’s depth remains secondary to a barrage of fight scenes and there’s even a chase scene on a space ship.

Nicholas Galitzine stars as He-Man in MASTERS OF THE UNIVERSE.

Knight and his crew deliver a lot of fan service here while acknowledging at the source material’s questionable names and abilities in the first film – like Fisto (played by Johannes Haukur Johannesson), who seems very much aware of the joke as well. Ultimately, everyone, including Galitzine and Leto, are not afraid to amp up the homoeroticism in the imagery of the classic 80s cartoon.

Galitzine attacks the role with such childlike wonder. He is clearly having a blast playing a kid who never really grew up but now finds himself inside the body of a muscle-bound god. There’s a levity and whimsical nature to his performance that really makes Masters of the Universe an absolute joy to watch. He is entirely in on the joke without ever overplaying it.

Sam C Wilson stars as Trap Jaw in MASTERS OF THE UNIVERSE.

The rest of the cast is having an equally fantastic time, from Idris Elba (who brings a wonderful gravity to Teela’s father, Man-at-Arms) to Mendes, and even Alison Brie as Evil-Lyn, who gets to play the evil henchwoman to the absolute hilt.

Alison Brie stars as ‘Evil-Lyn’ in MASTERS OF THE UNIVERSE.

It’s incredibly refreshing to encounter a movie that proudly decides to have fun and brings the audience along for the ride. There is immense reverence and love for the original 80s cartoon here, but the affection is so secure that the filmmakers can openly poke fun at the property’s inherent absurdities. They masterfully weave in various nostalgic references, even reaching outside of He-Man universe like playing songs and soundtracks of from other iconic fantasy franchises. Because the plot is secondary from the very get-go, we are directed to just what happens and enjoy the journey.

For a film that looks so glossy and expensive, it’s great that the filmmakers were cool enough to embrace irreverence rather than attempt to be serious. This was absolutely the right creative direction to take and make sure you stick around, because you will definitely want to watch all the post-credit scenes.

My Rating: 4 Stars

Masters of the Universe trades self-serious fantasy for glorious, unapologetic 80s camp. It is an absolute blast that gives Nicholas Galitzine plenty of room to shine. Don’t miss out on the fun, check showtimes here, and make sure to stay through the credits!

June 3, 2026
MOVIE REVIEW: In Praise of the Toxic Male—A Review of ‘Tayo sa Wakas’ and the Strong Perfomaces of Belle Mariano and Donny Pangilinan

There’s a shift that happens in the second part of Tayo sa Wakas that cuts away at the charm of the film, making me question how the film approaches its themes, how it romanticizes a toxic character, and how it highlights his redemption arc. It’s a strong enough story at the beginning; Cathy Garcia-Sampana’s directing is dynamic and strong, while lead stars Donny Pangilinan and Belle Mariano show off their impressive on-screen chemistry. Mariano is capable of such immense range and nuanced acting, while Pangilinan shines in the heavier, more dramatic requirements of his role.

But Tayo sa Wakas is centered on Pangilinan’s character, Cisco. It’s really his film, with Mariano’s Cheska serving as the romantic lead, though her character’s point of view is withheld from the film – and there is a story element as to why. Cisco is the typical romantic lead presented as the forlorn lover who cannot move on from a breakup. Despite this framing, Mariano is just so good that her character’s presence is felt all throughout the film, even when she is off-screen, her presence lingers. It’s an amazing feat, Mariano really is a powerhouse.

The film, written by Vanessa R. Valdez, opens with a dizzying flashback of a break up between Cisco and Cheska. It’s hurtful. Cheska questions whether Cisco really deserves her love, and he walks away. We cut to the present, where Cisco has shaved his head. His family is scared for him as he insists on borrowing a car to visit someone. Not getting any help from his family, he goes to a friend (played by Joross Gamboa) who lends him a car and gives him advice. As Cisco is about to leave, Cheska appears and insists on going on a breakup trip. On the road, the two rehash their moments, the ones Cisco wants to hold on to and the ones Cheska wants to remind him of, when everything went wrong.

Belle Mariano as Cheska in Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

Through these flashbacks, we see a highly competitive Cisco who falls in love with the new intern, Cheska, who recognizes his ideas and talent even when others aren’t sure about them. We see the ways in which Cisco falls for her and makes his moves, and she falls too. It’s a classic romance story as the couple move in together. But in such close proximity, with work as a shared space, Cheska begins to rise and the highly competitive Cisco finds himself uncomfortable with his lover and protege’s growing success.

Donny Pangilinan as Cisco in Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

The first half of the movie has all the trappings of a romantic film, maybe even that of a rom-com (though every time it cuts back to the present, we know this won’t be a full-on comedy with a happy ending). Garcia-Sampana’s direction keeps the narrative busy and energetic. She even brings the two leads into the realm of the sensual, showing a lot of physical intimacy and skin. It looks grown-up, but it’s deceptive. It’s the lure of youth and young love, but the hard demands of the adult world will come calling, and they will find themselves unready.

Tayo sa Wakas | ABS-CBN Film Productions Inc. (Star Cinema)

But the truth is, Cheska is ready with the hard answers. Cisco, with all his privilege and bravado, is not. This is exactly where I felt more and more uncomfortable as the film progressed: Cisco is toxic. He fails at every turn when their relationship gets serious and when work gets in the way of their relationship. Throughout the film, we see only Cisco’s point of view. Garcia-Sampana’s direction tries to soften and humanize him, making the storytelling feel increadibly lopsided. Cheska’s perspective is just as important here, but the answer to that happens later in the film, leaving us entirely with Cisco’s road to redemption.

Images from: ABS-CBN Film Productions Inc. (Star Cinema) FB Page

It’s not a pleasant movie to watch, though it starts out that way at the beginning. Mariano is magnificent all throughout, while Pangilinan seems more comfortable with the heavier, dramatic aspects of the narrative, feeling a bit out of place during the rom-com atmosphere of the film’s first half. There is a serious dramatic actor in Pangilinan, and I hope they give him more roles that play to his strengths. Yes, he’s attractive and his chemistry with Mariano is electric, but he doesn’t seem as natural in the kilig scenes as he is in the more emotionally demanding ones.

Sitting through this film became difficult after a while. So many movies have put toxic men and their high expectations of women in relationship into the spotlight, but they always seem to get their hard lessons served right up to them. I can recall Never Not Love You, Un/Happy For You, and just the recent The Loved One. In those films, the woman’s perspective served as the balance that kept the narrative from romanticize the man’s toxic behaviour. As good as Pangilinan is here, not even Marianos’ fantastic performance can fully balance this narrative’s gaps.

My Rating: 2.5 Stars

Tayo sa Wakas is a beautifully acted drama where the undeniable, explosive chemistry of Donny Pangilinan and Belle Mariano makes the journey worth taking. Check your local showtimes and watch it on the big screen this weekend!

May 30, 2026
THEATER REVIEW: Menchu Lauchengco-Yulo Delivers a Powerhouse Performance as Maria Callas in Philippine Opera Company Production of ‘Master Class’

Terrence McNally’s play Master Class is an imagining of one of the sessions of famed opera diva Maria Callas’ master class, which she held a few years before she died, after her voice had given out and her retirement. It is a fictional account of what a master class would be like with someone so important and revolutionary in the world of opera that her teachings would give way to asides that would talk about art, discipline, fame, and her own personal life. It is funny and brutal, it’s casual and accessible and yet it reaches out and engages thoroughly with the sophisticated world of an elite art practice. In efforts to demystify and humanize Callas, McNally allows humour – formed by Callas’ self-confidence and belief in herself and her brutally honest and frank way of critiquing the students and anybody else who catches her attention – into the script and interweaves it with explorations of what it takes to truly express the truth in art while also wrestling with Callas’ own personal demons.

The Philippine Opera Company’s latest staging of Master Class has Jaime Del Mundo in the director’s chair, and he strips away the theatrics of the Carlos P. Romulo Theater at the RCBC Plaza and turns the stage into a rather simple venue for a master class.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

There’s a piano, a high chair with a music stand, and a table filled with books at the back. Before the start of the play, a projection of Maria Callas is screened on the backdrop, a textured screen that remains dormant until the finale, which gives way to the only spectacle Del Mundo allows for this play.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

There are no theatrics here. The spectacle is the performance of Menchu Lauchengco-Yulo as Maria Callas, a force of nature walking in from the audience’s side who, through sheer aura and stage presence alone, grabs all of our attention.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

Lauchengco-Yulo does not try to mimic or imitate Callas. Instead, she takes all of the opera diva’s essence and truth and presents it in her line delivery, her posture, and her facial expressions. It’s a commanding role, with the majority of the play’s two acts centered around her. Callas knows she’s a star and that this class is filled with people who want to be like her, and Lauchengco-Yulo runs with it but, at the same time, is hiding something deep inside.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

This is presented in moments while her students are singing; she enters into her own interiority, and delivers a gut-wrenching monologue that mines all of the character’s emotional struggles into a powerful moment for Lauchengco-Yulo.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

She does this twice – once before the end of act one and a second time before the end of act two – and it’s really the highlight of the show.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

The cast surrounding her – her accompanist on the piano, Manny (Louie Angelo Oca), the three students, Sophie de Palma (Alexandra Bernas), Anthony Candolino (Arman Ferrer), and Sharon Graham (Angeli Benipayo), and a stagehand (Nelsito Gomez) – feels directed to play in total contrast to Lauchengco-Yulo’s Callas.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

As she is grounded in emotion, the supporting cast feel exaggerated and hyper-real; as Callas is striving for truth, the people around her are playing to people’s expectations.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

The contrast is apparent, and the magic really happens when Ferrer and Benipayo have to sing, with Lauchengco-Yulo, in character, directing them through the songs. I grew up listening to opera arias when my dad would play them while working. I know very little about it, but I could hear the shifts and tones when Ferrer and Benipayo began to imbibe Callas’ teachings.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

They are singing difficult pieces – one from Turandot and the other from Verdi’s MacBeth – and they are acting through them. The largeness of their spoken scenes is given nuance and texture as they sing their arias and learn how to find truth in the performance. By the time they exit the stage, Ferrer and Benipayo have changed their approach and Callas has done her work.

Terrence McNally’s Master Class by The Philippine Opera Company | Photos by Myra Ho

Maria Callas, as a character, is not easy to like, though you can admire her. She’s abrasive and self-possessed and we can hang on to her story because she has lived a truly remarkable life. Lauchengco-Yulo plays her head on, without begging for sympathy, and the result hits like a hammer to the head. It’s a bravura performance from Lauchengco-Yulo that realises the full extent of McNally’s play, but it also makes the piece feel somewhat inaccessible unless you truly love the practice of art like I do. There were people around me who couldn’t grasp the full nature of the show; taking the master class tone and setting to mean they were not in the theater, they began talking incessantly from the middle of the first act.

My Rating: 3.5 Stars

Driven by a commanding, bravura performance from Menchu Lauchengco-Yulo, this production is a must-see for true lovers of the craft. Don’t miss the final weekend of Terrence McNally’s award-winning masterpiece, Master Class. The final shows will run on May 30 at 3 PM and 8 PM at the Carlos P. Romulo Auditorium, RCBC Plaza, Makati. You can secure your tickets now by calling 09176452946 or by visiting Ticket2Me.

May 30, 2026
MOVIE REVIEW: Inde Navarratte Delivers a Breakthrough Role in the Terrifying ‘Obsession’

Stemming from a very simple premise, Obsession finds its chilling horror in the many ways a single wish can go wrong. With minimal characters, a lean plot, and sparse set pieces, director-screenwriter Curry Barker maximizes the scares by exposing the extremes a person would endure for their desires and the sheer damage it inflicts on the human body and those around them. While the hook is supernatural in nature, Barker utilizes very little supernatural horror and keeps it grounded in the depths of human willpower and raw emotion. Ultimately, what makes this film scary is its depiction of how far a person can go for the object or person that they want.

Baron “Bear” Bailey (Michael Johnston) is a shy, sensitive young man who is in love with Nikki (Inde Navarrette), his childhood friend and co-worker at a music store. Together with their other friends and co-workers, Ian (Cooper Tomlinson) and Sarah (Megan Lawless), Bear is constantly with Nikki, yet he cannot open up to her about his feelings.

The One Wish Willow box from the film OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Bear happens upon a a magic shop and purchases a “One Wish Willow” novelty toy, that supposedly grant a single wish when snapped in half. He was supposed to give it to Nikki but when he can’t even do that, he uses it for himself and wishes that Nikki would love him “more than anyone in the world.” The shift is instantaneous. Nikki’s affection changes into a consuming obsession and begins to do anything and everything to be around Bear, pushing further and further what a person is capable of doing to show their love for someone.

The One Wish Willow display from the film OBSESSION, a Focus Features release.
Credit: Manny Liotta / © 2026 FOCUS FEATURES LLC

Barker sets his world and most of the scenes at night, always filling the screen with shadows and darkness, using only minimal light to illuminate the faces of his cast. From the get-go, Nikki’s transformation is already frightening. She’s lying and making up stories – and not very good ones – just to find any excuse to be with Bear.

OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

But later on, it breaks beyond the border of obsession; Nikki is constantly at Bear’s periphery. And he tries to rationalize that the novelty toy actually granted his wish, Bear reveals a side of him that was probably always there, but never exposed until the narrative gives him more chances to show his true persona.

Inde Navarrette stars as Nikki in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Obsession does not shy away from visceral blood and gore in this film. The lengths by which Nikki would go to just to keep Bear near her and for him to pay attention to her is frightening. But Barker also gives her some scary movements, almost as if she’s possessed by some unnatural force. She would do things that would push her body’s limits just to prove her devotion to Bear. In some cases, the film leads to some terrifying jump scares that don’t feel cheap because it feels earned by the dramatic situation. Nikki becomes a patient predator, waiting in the shadows, in the sidelines, bidding her time until the best time she can be with Bear. It is surprising and it predicates that the wish has hollowed Nikki out, leaving he a captive host to an insatiable force.

Inde Navarrette stars as Nikki and Michael Johnston as Bear in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Without being too obvious about it, the film can easily be viewed through a feminist lens. It portrays how the wishes of men can sometimes boil down to wanting a woman to be completely devoted to them, even if it is against her will and to the ultimate detriment of her own mind and body. Bear does not automatically try to find a way to break the spell; instead, he only seeks to minimize its harmful effects. Even though she is acting strangely, and is clearly dangerous to herself and to others, he still tries to find a way to keep her, just without the apparent harm. While it is never explicitly emphasized or stated, it is a powerful feminist statement if I ever saw one.

Michael Johnston stars as Bear in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Johnston is incredible as Bear, playing into his soft-boy persona while also being completely overwhelmed by the story’s situation. There is a multitude of emotions running through him, and Johnston allows us to see all of them coursing through his body. It’s an excellent portrayal that demands an immense amount of skill and talent. But this movie is truly a showcase for Navarrette and her unbelievable commitment to the character and the dramatic situation. She is fearless and unpredictable. She’s a force of nature that transcends the film’s horror genre, turning it into a layered dramatic performance of a person whose entire personality has been reduced to the singular, simple wish of “loving someone more than anyone else in the world.” It’s an intensely physical role, one that is totally devoid of ego. And she is in it all the way; a star is born.

Michael Johnston stars as Bear, Megan Lawless as Sarah and Cooper Tomlinson as Ian in OBSESSION, a Focus Features release.
Credit: Courtesy of Focus Features / © 2026 FOCUS FEATURES LLC

Barker’s pacing and direction allow the film to build and build, allowing things to get worse and worse and earns its big finale. It’s one of those movies where the audience in the cinema begins talking out loud to the characters on screen because they simply cannot contain their fear and anxiety over what is unfolding onscreen. This is absolutely a film made for the big screen.

My Rating: 5 Stars

Fearless, brutal, and absolutely unmissable. Obsession is a masterclass in tension that demands to be seen with a crowd. Don’t wait for the spoilers, check showtimes now and witness Inde Navarrete’s powerhouse performance on the big screen!

May 29, 2026
MOVIE REVIEW: ‘Colony’ Boasts Refreshing Twists While Featuring Jun Ji-hyun in a Role She Does Best

From director Yeon Sang-ho, who previously gave us the excellent Train to Busan before veering into the middling territory of Peninsula, Colony emerges as an action-packed horror film that amps up the stakes while containing the chaos inside a high-rise building complex in downtown Seoul to maintain an intimate and intense narrative. By confining the humans inside one location, it often takes the tone and mode of a horror/thriller until the story pushes it towards more action-oriented fare. While the storytelling remains clear, its emotional core is relegated to the supporting characters rather than the protagonist. Nevertheless, Colony is a fun, exciting movie to watch in the cinema as Yeon Sang-ho knows how to utilize the big screen for maximum visceral impact.

Colony centers on a group of people who get trapped within a commercial complex, encompassing a shopping mall, corporate offices, and a convention hall, after a man-made outbreak transforms the population into hyper-aggressive zombie horde operating under a singular hive-mind.

Jun Ji-hyun (credited as Gianna Jun, which is her international name) leads the cast as Kwon Se-jeong. a brilliant, tough, and demanding biotech professor who arrives at the building to attend the Chain Bio Conference with her ex-husband, Han Gyu-seong (Go Soo).

While trying to get a job interview with the Chains Bio CEO, Se-jeong witnesses a confrontation between the executive and Suh Yeong-cheol (Koo Kyo-hwan), a disgraced former Chains Bio scientist who was fired because his research had deadly consequences that threatened the fate of humanity’s future.

Determined to take revenge and prove his research would not only improve the human race but help him exact his revenge on everyone who had wronged him. Yeong-cheol injects both himself and the CEO with a bio-weapon virus, now a zombie, unleashing a localized patient zero, an infects other who rapidly turns the entire complex into a claustrophobic house of horrors.

The building perimeter is quickly sealed off as the attacks intensify and trapping a small cluster of survivors within the building. Among them are the complex’s security officer, Choi Hyun-seok (Ji Chang-wook), his sister Choi Hyun-hee (Kim Shin-rok), who needs a wheelchair to move, and a few other desperate civilians.

Trapped in the building, without any exit strategy, the survivors is forced to navigate through the maze-like building, executing tense evasion tactics to bypass a rapidly multiplying, hive-minded horde to avoid detection if they want to make it out alive.

The structural set up is very clear and precise. Yeon Sang-ho, co-writing alongside Choi Gyu-seok, injects a new twist into the zombie genre by adding elements of biotech elements into the mix. Rather than acting on standard rabid instinct, these zombies are patterned from certain parasitic fungus and ants colonies. They communicate with each other and exchange information through pheromones.

Consequently, any intelligence and information gained by a single zombie is shared with another. Se-jeong must use her intellect to try and outsmart the hive-mind horde to find a cure or find an escape route before they all succumb.

Much like Train to Busan, Yeong Sang-ho fills the surviving party with the familiar genre archetypes – the law enforcer, teenagers (including bullies and the bullied), the vulnerable older person, and a rich man who thinks his wealth dictates the value of his life.

And among them is the everyman, in the form of Ji Chang-wook, who actually works as an everyman despite his good looks – but he plays against type and creates new and refreshing dimensions with these characters. Some people are not what they seem and they play out in the survival aspect of the movie in unpredictable ways.

But make no mistake: this is entirely Jun Ji-hyun’s movie. The camera and the world revolve around her, leaving Ji Chang-wook to merely playing support. Yet, it provides the film with a much-needed emotional core with Ji Chang-wook’s relationship with his sister, played by Kim Shin-rok, who is always excellent in anything she does. As a person with physical disability, Kim Shin-rok’s Choi Hyun-hee is initially framed as a liability, however, a beautifully planted character trait completely shifts the narrative landscape later on. It’s their sibling bond that lends the film its genuine heart, but it is ultimately Jun Ji-hyun’s presence as Se-jeong that gives the film forward momentum.

Both Jun Ji-hyun and Koo Kyo-hwan make for strong lead characters – the protagonist and the antagonist – in roles they have mastered in their many dramas and films before this. These characters are types they’ve played before, but it is so fun watching them do it.

Ultimately, Colony is a tight, exceptionally fast-paced, and action-packed ride. It makes full use on the claustrophobic setting to create an exciting cat-and-mouse thriller, that surprises with some twists in the second and third acts that ensure the story remains unpredictable and refreshing. It has dynamic, sweeping camera movements that keeps the action scenes breathlessly kinetic and heart-pounding while the choreography of the zombie horde is distinct and frightening from start to finish.

My Rating: 4.5 Stars

Don’t miss the claustrophobic terror and relentless thrills of Colony. Gather your friends, buy your tickets, and experience the hive-mind horror on the biggest screen possible. Now playing in cinemas nationwide! Check your local theater listings for showtimes.

May 29, 2026