Category: Movies

Jennifer Lopez Shines in “Kiss of the Spider Woman,” Now Showing Exclusively at Ayala Malls Cinemas

Ayala Malls Cinemas proudly unveils Kiss of the Spider Woman, an exclusive theatrical release in the Philippines that brings music, drama, and political tension to the big screen. The film, a bold reimagining of the Tony Award®-winning musical and the acclaimed novel by Manuel Puig, stars global icon Jennifer Lopez, alongside Diego Luna and Tonatiuh, in a story that’s as powerful as it is poignant.

Directed by Academy Award® winner Bill Condon (Dreamgirls, Beauty and the Beast, Chicago), this visually stunning and emotionally charged film is now showing only at Ayala Malls Cinemas across the country.

A Story of Resistance, Connection, and Fantasy

Set in the shadow of Argentina’s oppressive 1983 dictatorship, Kiss of the Spider Woman explores the unlikely bond between two prisoners — political activist Valentín (Diego Luna) and queer window dresser Molina (Tonatiuh). Trapped in a tiny cell, the two clash, connect, and slowly open up to each other, with Molina finding escape through tales of his favorite old Hollywood fantasy: a musical starring the enchanting screen siren Ingrid Luna (Jennifer Lopez).

In a vibrant parallel narrative, Lopez commands the screen as the titular Spider Woman — a mysterious, glamorous figure whose kiss is both beautiful and deadly. Through rich musical sequences, Molina’s fantasy becomes a lifeline for both men, blurring the line between reality and illusion.

Watch the Trailer Here:

A Dream Cast in a Dream World

Lopez brings star power and emotional gravitas to the dual role of screen diva and metaphorical reaper. Diego Luna delivers a nuanced, layered performance as Valentín, while Tonatiuh’s turn as Molina has critics buzzing about a breakout moment.

“Lopez struts and vamps like an A-list champ, Diego Luna oozes gravitas, but everybody – and hopefully some Oscar voters – will remember this “Kiss” as a star-making turn for the fabulous Tonatiuh.”

A Director’s Vision for the Big Screen

With a resume full of musical masterpieces, director q injects Kiss of the Spider Woman with theatrical flair and cinematic urgency.

“Musicals have been having a resurgence since they were first declared dead in 1931,” said Condon, “I think they’ve been resuscitated more often than Dracula. One of the reasons the genre always bounces back is that, as with suspense and horror, musicals are enhanced by the communal experience. In recent years we’ve been searching for reasons to go back to the theater, and musicals, when they work, give you that extra jolt of pleasure.”

From dramatic prison scenes to surreal, glittering showtunes, every frame of the film is designed to captivate — and demands to be seen on a big screen.

Critics Are Caught in the Web

“It’s easy to get caught in the web of ‘Kiss of the Spider Woman,’” said Movieweb in its review.

“‘Kiss of the Spider Woman’ is astounding,” The Film Maven lauded the new adaptation in her review. “If you aren’t a musical fan, will you be in hell? Probably. But for those who enjoy a sweeping musical story, or for lovers of Old Hollywood, you’ll be in Heaven for the next two hours.”

Visually stunning, emotionally resonant, and musically adventurous — this is no ordinary adaptation. It’s a full-body experience made for movie lovers.

Ayala Malls Cinemas: The Home of Prestige Films

Known for its commitment to quality cinema, Ayala Malls Cinemas continues to champion critically acclaimed, artistic films that can’t be found in mainstream releases. With its exclusive showing of Kiss of the Spider Woman, Ayala Malls Cinemas once again proves it’s the destination of choice for those seeking world-class cinematic experiences.

Enjoy this film in comfort with plush seating, immersive sound, and updated screening technology — plus delicious treats from The Movie Snackbar. Booking is easy via www.SureSeats.com or at www.ClickTheCity.com.

Now Showing — Don’t Miss This Cinematic Masterpiece

Whether you’re a fan of musicals, historical dramas, or just powerful storytelling, Kiss of the Spider Woman is a film that demands to be seen. Don’t miss your chance to watch Jennifer Lopez and an outstanding cast bring this iconic story to life — exclusively in Ayala Malls Cinemas.

Follow: @AyalaMallsCinemas on Facebook and Instagram.

October 17, 2025
Killer Monkey Mayhem: “Primate” Delivers Blood, Screams & Applause at Fantastic Fest, Trailer Out Now!
They thought he was family.
He turned out to be their worst nightmare.

From the twisted mind of Johannes Roberts (47 Meters Down, Resident Evil: Welcome to Raccoon City) comes PRIMATE, a gnarly, blood-drenched creature feature that’s already got horror fans howling. Premiering at the genre-celebrated Fantastic Fest in September, the film delivered one savage kill after another—without a hint of CGI.

Meet Ben. He’s Not Your Average Pet Chimp

Starring Johnny Sequoyah, Jessica Alexander, and Oscar winner Troy Kotsur, Primate throws a group of unsuspecting young adults into a waking nightmare when their family’s pet chimpanzee, Ben, succumbs to a violent case of rabies. What starts as a cozy reunion quickly spirals into chaos—limbs are torn, blood is spilled, and survival becomes the only priority.

And the best part? It’s all done with gloriously gruesome practical effects.

Watch the Official Trailer Now:

Festival Reaction: A Wild Standing Ovation

Fresh off showings at Fantastic Fest and Beyond Fest, PRIMATE is already making noise in the horror community.

“Primate does for monkeys what Jaws did for sharks, only with more fur, sharper teeth, and a far greater sense of blood and guts. It’s punk rock horror at its snarling, cymbal-crashing best”
— Bryan Kluger, Boomstick

“PRIMATE is Cujo for chimpanzees, old school nature-gone-rogue creature feature at its most entertaining and morbidly hilarious. The film makes the most of its creative premise of a bunch of young adults trapped in a house with rabies-infected pet chimp. Gnarly kills balanced with some hilarious moments of Ben the chimp, who is actualized with some incredible practical effects. Great start to #FantasticFest,”
— The Holo Files

“An ode to Stephen King & bloody practical effects. A rambunctious audience horror that is as brutal as it is outrageous. Johannes Roberts loves his intense pool scenes. Outstanding puppetry giving every fright emotional weight. Had the whole crowd hollering.”
— Anthony, No Assembly Required

“#PRIMATE at #FantasticFest is a blast of a killer monkey horror flick and reminder that practical FX will always reign supreme. Many shocking kills and crowd inciting moments backed by a fun score. Even when it’s silly, it works bc the movie is smart enough to be in on the joke,”
— JoBlo

“Primate is the creature feature you’ve been waiting for—intense, bloody, and brutal as hell. If you ever needed a reason not to have a pet monkey, this is it. The practical effects are jaw-dropping, leaving me wincing and squirming in my seat from start to finish. Holy sh*t, this was epic. Bodies fly, limbs tear, and there’s absolutely no monkey business here. Johannes Roberts returns with a bloody vengeance, delivering pure carnage,”
— According to Seth

“#Primate is the most fun I’ve had with an animal attack movie since Lake Placid. Intense, creepy, and find plenty of moments for laughs. The score was like a greatest hits love letter to John Carpenter. Oh…and PRACTICAL FUCKIN CARNAGE CANDY!!! Total blast!”
— Cody Leach, YouTube reviewer

What Makes Primate So Killer?
- Practical Effects Take Center Stage – Zero CGI, all real-world gore and puppetry. Every kill is designed to make you squirm.
- Intense, Isolated Setting – A single house becomes the battleground, turning comfort into terror.
- A Cast That Delivers – With rising stars and an Oscar winner in the mix, the performances bring weight to every shriek.
- Smartly Self-Aware – The film knows it’s wild—and leans into the chaos with razor-sharp humor and heart-pounding pacing.
Coming Soon to the Philippines

Prepare to go bananas—literally. PRIMATE is set to open in Philippine cinemas this January 2026, ready to unleash chaos on the big screen.

About the Film:
- Director: Johannes Roberts
- Writers: Johannes Roberts & Ernest Riera
- Produced by: Walter Hamada, 18hz Productions
- Studio: Paramount Pictures
- Cast: Johnny Sequoyah, Jessica Alexander, Troy Kotsur, Victoria Wyant, Gia Hunter, Benjamin Cheng, Charlie Mann, Tienne Simon
- Runtime: 89 minutes
- Genre: Horror / Creature Feature
Mark your calendars. Grab your crew. And whatever you do—don’t feed the chimp.

PRIMATE opens in Philippine cinemas January 2026. @paramountpicsph

_{Photo and Video Credit: “Paramount Pictures International”}
October 17, 2025
Mason Thames and Madeleine McGraw Face The Grabber Again in “Black Phone 2″— Now Showing in Cinemas

The Nightmare Isn’t Over: Black Phone 2 Hits Philippine Cinemas

The shadows are back, and so are the voices. Black Phone 2, the much-anticipated sequel to the 2021 horror hit, is now showing in Philippine cinemas. With Mason Thames and Madeleine McGraw reprising their roles as Finn and Gwen, the film delves into the psychological scars left behind by a serial killer who refuses to stay dead.

Four Years Later: Finn Can’t Escape the Past

In Black Phone 2, Finn has grown older, but the trauma of surviving The Grabber lingers. Mason Thames portrays a darker, more complex version of Finn—one who’s weighed down by memories he can’t shake and a fear he struggles to silence.

“Finn went through something horrific, and while he came out of it strong, the weight of what happened has not left him,” writer-producer C. Robert Cargill says. “He is haunted by the Grabber. He sees him everywhere, and he is using drugs to try to numb the fear. He wants nothing to do with the spirits, with the phone, with any of it. He is trying to shut it all out and live in denial. So, as Gwen starts uncovering this new mystery, Finn is doing everything he can to stay out of it. But of course, life does not let you run forever. Eventually, he will have to face what he has been avoiding.”

Finn wants nothing to do with the black phone or the spirits that once helped him escape. He is living in denial, doing all he can to block out the past. But as Gwen begins to uncover new supernatural clues, Finn realizes that running from the truth won’t save him forever.

Gwen’s Visions Reveal a Terrifying New Mystery

Gwen, played once again by Madeleine McGraw, is no longer the bold and fiery girl we met in the first film. After surviving The Grabber, she is now withdrawn, overwhelmed by visions of a sinister snow-covered camp and three boys being hunted by a familiar evil.

“In the first film, we hinted that the kids inherited different parts of their mother’s abilities of speaking with the dead and having prophetic dreams,” writer-producer C. Robert Cargill says. “Gwen got the dream side of it. She can glimpse the future and communicate with the dead through her dreams. Finn, meanwhile, has the ability to hear the dead through the phone, but in this film, he is trying to shut it all out. He is numbing himself and refusing to engage with his ability, but Gwen is embracing hers. She is exploring it, evolving and growing stronger. By the end, she is not just receiving messages, she’s communicating back, asking questions, controlling her dreams, even interacting with spirits inside them.”

Unlike Finn, Gwen is embracing her powers, learning to ask questions in her dreams, decipher messages, and interact with the spirits reaching out to her. Her arc in the film charts the growth of a once-spirited girl learning to carry the burden of her gift—and use it to stop the cycle of violence.

The Grabber’s Revenge From Beyond the Grave

Death was not the end for The Grabber. In Black Phone 2, the killer’s influence has only grown stronger. Gwen’s visions hint at his return, stalking new victims from beyond, as the line between the living and the dead begins to blur.

The siblings must confront the growing threat, with Gwen trying to piece together the puzzle, while Finn resists stepping back into the darkness. But as the danger closes in, they realize the only way out is through.

Returning Stars Deliver Deeper Performances

For Mason Thames, portraying Finn this time around meant digging into a character who has been carrying unspoken rage and trauma for years.

“In this film, we see that Finn has changed,” Thames says. “He has been holding all this anger inside, and he is not the same kid we met in the first movie. Back then, he was already complex, but now he is even more layered. Instead of facing his trauma, he smokes weed to cope. The moment he feels any of that PTSD creeping in, he shuts it out. This film becomes a question of whether he is ready to confront the Grabber again or keep running from him.”

Meanwhile, McGraw approached Gwen’s transformation with intention, taking on a more emotionally layered version of the character.

“One of the most exciting parts of this film was exploring Gwen’s dreams and how much she has changed,” McGraw says. “In the first movie, she was fiery and fearless. Now she feels like an outcast. She is beaten down, getting bullied at school and carrying a lot of pain. It was harder to get into her head this time. In the first film, our personalities were alike. Now, we are kind of opposites. She has become quiet and introverted, and I am more extroverted. But that made it even more interesting to explore who she is becoming.”

Watch the Official Trailer

Catch a glimpse of the nightmare that awaits. Watch the Black Phone 2 official trailer here:

Now Showing in Philippine Cinemas

Black Phone 2 is now showing in theaters across the Philippines. Prepare for a darker, more intense return to the world of The Grabber—where trauma speaks louder than screams, and the past refuses to stay buried. Check showtimes and buy your tickets here.

Follow Universal Pictures Philippines for updates: Facebook: Universal Pictures PH, Instagram: @UniversalPicturesPH, TikTok: @UniversalPicsPH

October 16, 2025
Movie Review — Demystifying the Hero: a Review of ‘Quezon’

The final installment of Jerrold Tarog’s Bayaniverse is a powerful political drama that details the cunning machinations of Manuel Quezon and his bid for being the first Filipino president of the Republic of the Philippines, outside of American colonial rule. ‘Quezon’ unabashedly paints the Philippine president as a manipulator and somewhat of a narcissist, quite adept at playing the political game and creating a system that allowed him to fulfill his agenda at the price of creating today’s patronage political system.

Jericho Rosales is completely transformed as the charming, cutthroat Manuel Quezon. He uses his full superstar onscreen presence to showcase Quezon’s ability to broker deals, convince rivals to join forces, and to outwit the American colonial forces. His posture, his intonation and line delivery is so affected that it almost feels comical, put-on but as the film continues to unfold and the consistency of his performance wins you over, you stop seeing Rosales and he becomes this political mastermind.

Co-written with Rody Vera, director Jerold Tarog makes full use of the medium of film, creating a film within the film to showcase Quezon’s use of the platform to help create a myth of his persona. Tarog employs the character of Nadia Hernando (Therese Malvar), who is a director and puts together Quezon’s propaganda films. The films are so successful that it helps catapults Quezon’s popularity but Nadia and her father, the journalist Joven Hernando (played by Cris Villanueva as the older Joven and Arron Villaflor as the younger Joven in flashbacks), know the truth behind the myth they’ve made.

While the films paint Quezon as a hero, a secret cut of the film made by Nadia shows the truth she and her father know. It details the way Quezon has run circles around the American governor-general Leonard Wood (Iain Glen) and Quezon’s own rival and, later, his vice-president Sergio Osmena (Romnick Sarmenta). It details all the ugly politicking that transpired during the eventual presidential campaign when he goes toe-to-toe with Emilio Aguinaldo (Mon Confiado) for the presidency.

Throughout the film’s 139-minute run time, what we see is the origins of personality politics in the country and the establishing of our patronage system. The veil has been lifted and the story that Tarog and Vera weave is one of dirty politics, all in the name of winning freedom and independence from the colonial hold of the United States.

No matter how charming and effective Jericho Rosales is in his portrayal of Quezon, what really comes to light is how powerful media is in our game of politics, that in order to win in that field one must be willing to do whatever it takes, and like Quezon’s wife, Aurora (Karylle) tells him when he asks her if what he’s doing is right, her response is as honest as it can be: “I believe you believe what you are doing is right.”

‘Quezon’ is grand and epic in scale and scope. Tarog imagines for us what the campaign during this period would be like: large-scale crowd scenes, gorgeous scenery of colonial architecture, and striking costumes that highlight our American and Spanish colonial roots while interplaying this with that of our folk and local sensibilities when portraying the people whose very nation Quezon is fighting for.

The movie is thrilling, never dawdling. The pace is quick and brutal, and its imagery is playful and dynamic. At one moment, it captures Quezon in mid-manipulation, sly and cunning; in another scene, he comically loses his temper (which funnily enough happens quite a lot). Other times, the backstory is filled in the form of a silent film that Nadia creates for us to see their perception of Quezon’s truth.

But the most powerful thematic idea that really comes to the forefront, is in the midst of fighting for our independence, Quezon gets lost in the battle and makes this about himself; or maybe it has been about him all this time. It underscores that our political history has always been the battlefield of narcissists who crave for power, to direct the course of our nation’s history whether with the best of intentions or not. Watching the film, I’m amazed at its technical flourish, its bravado and ambition. But as the film ends, I’m feeling rage and anger, seeing the root cause of our issues with our government as detailed by the news and social media these past few weeks. The film’s timing couldn’t have been any better.

My Rating:

Catch Quezon on the big screen and witness how history, ambition, and myth collide in Jerrold Tarog’s bold reimagining of Philippine independence. Check showtimes near you.

October 16, 2025
New Movies This Week: Quezon, Black Phone 2, Good Fortune, and More!

Get ready for another big week at the movies! This Wednesday’s fresh lineup offers everything from supernatural scares and historical drama to heartwarming comedies and romantic intrigue. Whether you’re in the mood for a terrifying sequel, a feel-good story about second chances, or a film steeped in Philippine history, the big screen has something special for you. The chilling sequel Black Phone 2 rings in horror fans with Ethan Hawke and Mason Thames returning for another round of supernatural terror. Good Fortune gives us a heavenly mix of humor and hope, starring Keanu Reeves, Aziz Ansari, and Seth Rogen. Meanwhile, Kiss of the Spider Woman brings passion and politics into one unforgettable cell, Quezon continues TBA Studios’ epic “Bayaniverse,” and The Marianas Web spins a dark mystery that will leave you guessing until the end. Grab your friends, book your seats, and get ready for a midweek movie marathon.

Here’s your guide to everything hitting the big screen this week:

Quezon

2025 • PG • 2 hrs 15 mins
DRAMA, HISTORY
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Building on the beloved Bayaniverse from TBA Studios, think crowd-pleasers like Heneral Luna and Goyo. This historical drama spotlights key figures and pivotal eras in our island’s past. Jericho Rosales takes center stage, supported by Mon Confiado and Benjamin Alves, in a narrative of resilience and national spirit. Open to all ages craving authentic storytelling, it’s ideal for family outings or solo reflections on heritage. Local pride beams through every frame, secure seats to join the conversation.

Black Phone 2

2025 • R-16 • 1 hr 53 mins
HORROR, THRILLER
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If the first film left you checking your phone at night, this follow-up amps up the fear factor. Finney Blake, pushing through trauma at 17, teams with sister Gwen as she fields phantom calls and visions of stalked campers. Their quest unmasks a spectral threat tied closer than they think. With Ethan Hawke, Mason Thames, and Madeleine McGraw leading the charge, this horror sequel delivers twists that stick. Horror hounds, this is your signal to rally friends for a thrilling night out, who knows what secrets the trailer teases?

Good Fortune

2025 • R-13 • 1 hr 37 mins
COMEDY, DRAMA, FANTASY
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Ever wonder what happens when heaven meddles in human hustle? Enter Gabriel, a clumsy celestial played by Keanu Reeves, who tweaks the paths of a down-on-his-luck driver (Aziz Ansari) and a high-roller investor (Seth Rogen). Blending laughs, life lessons, and a dash of magic, this comedy-drama-fantasy keeps things light yet thoughtful. Perfect for unwinding with popcorn and friends, it’s a reminder that good vibes can flip any script. Reeves’ quirky charm shines, peek the preview for instant smiles.

Kiss of the Spider Woman

2025 • R-13 • 2 hrs 8 mins
ROMANCE, THRILLER
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Trapped together, a revolutionary and a dreamer forge an unexpected alliance through shared stories of glamour and grit. Molina enchants with recaps of a dazzling musical led by screen siren Ingrid Luna, blurring lines between reality and reverie. Tonatiuh, Diego Luna, and Jennifer Lopez bring depth to this romance-thriller remake, highlighting themes of hope amid hardship. If intimate, intrigue-filled narratives call to you, this one’s a gem. Lopez fans, rejoice, her presence adds that magnetic glow.

The Marianas Web

2025 • R-16 • 1 hr 23 mins
HORRR, SCIENCE FICTION, THRILLER
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Solitude turns sinister for an isolated Italian farmer when a stranger’s odd offering upends his world. Layers of horror, sci-fi, and suspense unfold as hidden truths emerge. Alexa Ocampo, Ruben Maria Soriquez, and Sahara Bernales anchor this chilling tale of disruption and discovery. For those who love atmospheric puzzles that build unease, this import hits the mark. Tip: Pair it with a cozy theater spot, but brace for surprises, the genre fusion keeps you alert.

FAN FAVORITES STILL SHOWING

Missed last week’s releases? No worries, these crowd-pleasers are still packing theaters with action, laughs, and heart. Here’s what’s holding strong:

TRON: Ares

2025 • PG • 1 hr 58 mins
ACTION, ADVENTURE, SCIENCE FICTION
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Good Boy

2025 • PG • 1 hr 11 mins
HORROR, THRILLER
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Chainsaw Man – The Movie: Reze Arc

2025 • R-16 • 1 hr 39 mins
ACTION, ANIMATION, FANTASY
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One Battle After Another

2025 • R-16 • 2 hrs 42 mins
ACTION, CRIME, THRILLER
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Demon Slayer: Kimetsu no Yaiba Infinity Castle

2025 • R-13 • 2 hrs 35 mins
ACTION, ANIMATION, FANTASY, THRILLER
GET SHOWTIMES

That’s your lineup for the week, five films bursting with variety to match any craving. From Black Phone 2’s haunts to Quezon’s heartfelt history, there’s no better time to escape into stories. Swing by ClickTheCity Movies for showtimes and snag your tickets today. Stay tuned for next week’s fresh releases and updates. Happy watching!

October 15, 2025
New Trailer Alert: “The Running Man” Starring Glen Powell Races into PH Cinemas this November
Ready, Set… Run.

What if your survival was entertainment? What if your life was a ratings game? Edgar Wright’s The Running Man isn’t just a movie—it’s a blood-pumping, genre-bending ride into the future of reality TV taken to the extreme.

The brand-new trailer just dropped, and it’s everything fans of suspense, action, and dark satire could hope for. With Glen Powell leading the charge and Wright’s signature style pulsing through every frame, The Running Man is shaping up to be the must-watch thrill ride of the year.

Philippine cinemas, brace yourselves: the game begins November 12.

The Plot: Survive or Be Silenced

In a dystopian near-future, The Running Man is the highest-rated show on television. But this isn’t just a competition—it’s a televised deathmatch. Contestants, known as Runners, have 30 days to survive while being hunted by professional killers. Every moment is broadcast live, feeding a nation obsessed with bloodlust and spectacle.

Enter Ben Richards (Glen Powell), a desperate father pushed to the edge. His daughter is sick, and the medical bills are mounting. With no options left, Ben signs up for the game.

The show’s slick but cutthroat producer, Dan Killian (Josh Brolin), promises riches… if he lives. But Ben’s unshakable will to survive, his sharp instincts, and quiet rebellion make him an unexpected crowd favorite. The more the nation roots for him, the more dangerous the game becomes—for him and the system that depends on people like him losing.

Behind the Scenes: A Killer Lineup

The Running Man is directed by Edgar Wright, the visionary behind Baby Driver and Scott Pilgrim vs. the World. Co-written by Wright and Michael Bacall, and based on Stephen King’s gripping novel, this adaptation reimagines the story for a new generation of viewers—and thrill-seekers.

Cast Highlights:
- Glen Powell as Ben Richards
- Josh Brolin as Dan Killian
- Colman Domingo, William H. Macy, Lee Pace, Michael Cera, Emilia Jones, Daniel Ezra, Jayme Lawson, Sean Hayes, and Katy O’Brian round out this powerhouse ensemble.
Presented by Paramount Pictures in association with Domain Entertainment, this Kinberg Genre / Complete Fiction Production is executive produced by George Linder, James Biddle, Rachael Prior, Audrey Chon, Pete Chiappetta, Anthony Tittanegro, and Andrew Lary. Produced by Simon Kinberg, Nira Park, and Edgar Wright.

The Countdown Is On

Will Ben escape the hunters? Will the audience turn on him—or join his rebellion? And what does it say about a society that cheers for blood?

There’s only one way to find out.

Catch The Running Man in Philippine cinemas starting November 12. Watch the trailer now and get ready for a jaw-dropping, adrenaline-charged cinematic event.

#RunningManMovie
@paramountpicsph
October 14, 2025
Filipino Duos Shine! Winners of “Awiting Wicked: For Good” Chosen by Jon M. Chu, Ariana Grande & Cynthia Erivo
Filipino Talent Takes Center Stage

It’s official! After a whirlwind of vocal talent, friendship goals, and powerful performances, the winners of “Awiting Wicked: For Good” have been revealed — and the judges were no less than Wicked: For Good director Jon M. Chu and stars Ariana Grande and Cynthia Erivo.

Out of hundreds of heartfelt entries, three best-friend duos from the Philippines stood out and are now about to live the dream of a lifetime.

Meet the Winning Duos

These six shining stars impressed with their soulful renditions and undeniable chemistry:
- Fatima Soria (@only_ftma) & Pia Casing (@piazzicato)
- Jezza Quiogue (@jezzaquiogue_) & Nowi Alpuerto (@nowialps)
- Kyle Quinco (kwisssy6) & Tiffany Vistal (@tiffanyshanevistal)
These talented duos are not just fans of Wicked — they’re now a part of its legacy.

Fatima Soria (@only_ftma) & Pia Casing (@piazzicato)

What Happens Next? A Dream Come True

As part of their incredible prize, the winning pairs will:
- Record their own rendition of “For Good”
- Star in an official music video celebrating their friendship and talent
- Fly to Singapore to attend the star-studded premiere of Wicked: For Good
- Meet and greet with Jon M. Chu, Ariana Grande, and Cynthia Erivo in person
Imagine going from singing duets with your best friend to sharing a moment with the actual stars of Wicked. It’s not just a prize — it’s pure magic.

Jezza Quiogue (@jezzaquiogue_) & Nowi Alpuerto (@nowialps)

The Story Continues: Wicked: For Good

“And now whatever way our stories end, I know you have rewritten mine by being my friend.”

After enchanting audiences around the globe and earning a dazzling 10 Academy Award® nominations, the cinematic saga of Wicked returns with its emotional final chapter: Wicked: For Good.

Directed by Jon M. Chu, and bringing back the powerhouse performances of Cynthia Erivo as Elphaba and Ariana Grande as Glinda, this sequel delves into the aftermath of their estranged paths — a story of consequences, courage, and the unbreakable bond of friendship.

The original film, Wicked (2024), grossed USD 750 million worldwide, winning Oscars® for Costume Design and Production Design — cementing itself as the most successful Broadway-to-screen adaptation to date.

Kyle Quinco (kwisssy6) & Tiffany Vistal (@tiffanyshanevistal)

Mark Your Calendars: November 19 in PH Cinemas

The wait is nearly over! Wicked: For Good opens in theaters across the Philippines starting November 19.

Get ready for a story that will tug at your heartstrings, sweep you into the land of Oz, and remind us all why friendship is the most magical force of all.

Follow the Magic Online

For exclusive content, behind-the-scenes sneak peeks, and ticket updates, follow: Facebook: Universal Pictures PH, Instagram: @UniversalPicturesPH and TikTok: @UniversalPicsPH

Stay connected. Stay inspired. And don’t miss your chance to witness the grand finale that fans have been waiting for.
October 13, 2025
Movie Review — Cinemalaya XXI: The Rewards of ‘Cinemartyrs’ Are Immense If You Can Get Through Its Digressive Experimental Narrative

The conceptual conceit of Sari Dalena’s ‘Cinemartyrs’ creates a fantastic moment of catharsis at her film’s end that sort of rewards the audience from being able to muster the labyrinthine first half of her film. It’s a personal essay, a narrative historical rumination, and an artist’s statement about the power of film, all rolled into one experimental movie. The film meanders and strays from its plot, building a world that picks up all the elements it juggles into the air and creates a collision that can leave you breathless. It wasn’t an easy film for its first hour but once we reach the point of intersection, the film becomes a celebration of all that is wonderful about film and filmmaking.

‘Cinemartyrs’ follows Shirin (Nour Houshmand), a young filmmaker shooting a documentary that reenacts massacres from the Philippine-American war. When she shows her progress to the grant-giving body, they belittle her and the footage she has presented calling it incomplete.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

She is then asked to include historical events that happened in Mindanao and Shirin takes her small crew to Jolo to document and revisit an American surprise attack on a Tausug village during a wedding. But as she begins filming on site, she touches upon something profound and metaphysical.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

‘Cinemartyrs’ is an experimental film that uses the medium to remember fragments of history that is lost, to comment on them, and at the same time, make a commentary on the medium itself as a convergence point of history, geography, and culture.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

Time operates differently in the film, such as a wonderful scene showing Shirin’s mom (Raquel Villavicencio) working on research about Filipina directors and screenwriters from the early days of the Philippine film industry.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

She is rediscovering them, engaging with them and their contributions to Philippine cinema and thus is able to bring back their spirit and have a conversation with them. This scene occurs within the first hour and diverts the narrative plot but becomes an essential element that plays on hard later on in the film.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

But there are many digressions such as these in the film that can make the viewing of it a bit strained. It starts and stops and sometimes it works marvelously, like the scene of Villavicencio, but it can also appear indulgent and unnecessary as when Shirin and her husband, Kevin (Cedrick Juan) meet and have a sit down with Kidlat Tahimik (playing himself) talking about the duende, which Tahimik has discussed in many venues. Its repetition in the film feels out of place, so ordinary in a film that’s operating in the realm of the metaphysical.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

Things don’t fully come together until the third act, when Shirin and her small team arrive at the Tausug village to reenact the massacre, and that’s when the film’s thesis finally comes into play. All the disparate subplots and digressions start to come together to create a climax that’s as visually stunning as it is profoundly moving.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

The past is thrust into the present, the present is engaging with the past in a way that may be impossible and in the final scene of the film, the future is made clear. At the center of all of this is the medium of film as a gateway for this intersection.

Cinemartyrs | Photo courtesy of Cinemalaya / CCP Corporate Communications Division’

The film is definitely a personal one, with certain character interactions and dynamics feeling less universal and more distinct and unique; an inside joke we are made privy to but not included in. But what Dalena ends up creating is a love letter to Filipino women filmmakers who have paved the way in the industry and the way that they continue to break boundaries. Their very existence – and in the process of remembering them – is an opposition to the patriarchal hold of oppression our colonial past has left us. This is an immense work that requires a lot from its audience but also gives back tenfold.

Cinemartyrs is showing on the big screen. Check cinema showtimes near you and grab your tickets today.

This year, don’t miss Cinemalaya 21: LAYAG sa Alon, Hangin, at Unos happening from October 3-12, 2025! Witness another stellar lineup of stories that will move you and showcase the brilliance of Philippine cinema. Follow the Cultural Center of the Philippines and Cinemalaya for updates.

October 12, 2025
Movie Review: The Future is Pretty but One-Dimensional: A Review of ‘Tron: Ares’

Set in an unspecified near future where tech companies now have the technology to transfer programs from a virtual, computerized world and give it physical form in the real world, ‘Tron: Ares’ creates many reasons for and against the future of AI technology but never really saying any one thing conclusive about it. It opens a lot of questions and points of discussion, but seems more interested with its gorgeous visual effects and a tedious, overcomplicated plot revolving around an errant AI program and a tech CEO determined to save the world.

The film is billed as a “standalone sequel” to ‘Tron: Legacy,’ which came out 15 years ago. You don’t have to see the last film (or the first) to pick up what’s going on. I’ve seen both ‘Tron’ and ‘Tron: Legacy’ and barely remember much of both but didn’t really need that info to follow ‘Tron: Ares.’ What’s established is that there is a virtual world called The Grid, which a human was able to enter in the first two movies.

Jared Leto as Ares in Disney’s TRON: ARES. Photo Courtesey of DIsney. © 2024 Disney Enterprises, Inc. All Rights Reserved.

But in the third installment, two rival tech companies are competing to find a code that can make programs they laser-printed from The Grid into the real world permanent.

(L-R) Arturo Castro as Seth Flores and Greta Lee as Eve Kim in Disney’s Live Action TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

Eve Kim (Greta Lee), CEO of ENCOM, wants to use the code improve human civilization while Julian Dillinger (Evan Peters), CEO of Dillinger Systems, wants to transfer programs from The Grid to make weapons and soldiers to sell for defense contracts with the government.

Hasan Minhaj as Ajay Singh in Disney’s Live Action TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

Jared Leto as Ares in Disney’s TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

In the midst of this rivalry, Julian creates a program, Ares (Jared Leto), and trains it to be the best and sends it to follow and capture Eve Kim as she seems the closest to finding the permanence code. But in the process of research about Eve, Ares develop sentience and veers off his programming, setting out on his own agenda.

Evan Peters as Julian Dillinger in Disney’s Live Action TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

The permanence code becomes the film’s McGuffin, the object everybody wants and needs to complete their task and goal. It’s what brings Ares and Eve cross paths and join forces while the maniacal Julian sends more and more programs after the two even against the wishes of his mother, Elisabeth Dillinger (Gillian Anderson).

Gillian Anderson as Elisabeth Dillinger and Evan Peters as Julian Dillinger in Disney’s Live Action TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

Almost all the characters here feel incomplete and one-dimensional. Eve wants to fix the world through this technology because of a promise she had with her sister, Julian is taken straight out of the evil villain trope, acting loud and proud for the work his programs do (not for anything he did in particular), while Ares wants permanence to continue his curiosity about living. None of these storylines ever fully develop, as the film moves from chase sequence after the next, showing off one gorgeous special effect after another.

A scene from Disney’s Live Action TRON: ARES. Photo Courtesey of DIsney. © 2025 Disney Enterprises, Inc. All Rights Reserved.

While the story is paper thin, what makes ‘Tron: Ares’ watchable is the gorgeous CGI effects that bring these programs into the real world. There’s a bike chase sequence that’s high-speed and high-stakes.

A scene from Disney’s TRON: ARES. Photo courtesy of Disney. © 2025 Disney Enterprises, Inc. All Rights Reserved.

The bikes from The Grid leaves a trail that takes physical shape and the choreography that director Joachim Ronning employs allows for excellent visuals. Later on in the film, they introduce planes and drones with a similar effect, and on 3D IMAX, the imagery is gorgeous. Amplified by a thrilling soundtrack of Nine Inch Nails, and there are some moments in the cinema that feel quite lovely to watch.

Greta Lee as Kim in Disney’s Live Action TRON: ARES. Photo Courtesey of DIsney. © 2025 Disney Enterprises, Inc. All Rights Reserved.

But the story is so thin that even some of the best actors in the movie don’t seem to know what to do with their characters. I love Lee since ‘Past Lives’ and ‘The Morning Show,’ but she feels so out of place here, working with a character without any real depth.

Evans is chewing scenery and looks like he’s having fun, while Anderson is able to create some level of layer in Elisabeth but even, she seems lost in all of this. I’m not a fan of Leto or his offscreen persona and identity, so it was hard to watch the film with him as the lead knowing this but even his acting talents (he did win an Oscar, after all) couldn’t do much to make Ares an interesting character.

Jared Leto as Ares in Disney’s Live Action TRON: ARES. Photo Courtesey of DIsney. © 2025 Disney Enterprises, Inc. All Rights Reserved.

Leto looks unsure about how sentient Ares could be. He tried stoicism, but the script forces him to try and attempt at humor. He seems interested in Eve Kim but is struggling to find out how that appears on a program turned real. Leto’s uncertainty makes Ares the least interesting character in the film, and this is strongly noted when his character finds himself separated from the main plot and you realise you’re not interested in his side quest.

(L-R) Jared Leto as Ares and Jeff BRidges as Flynn in Disney’s Live Action TRON: ARES. Photo by Leah Gallo. © 2025 Disney Enterprises, Inc. All Rights Reserved.

The film tries to balance out both sides of the vision of future technology. Eve Kim wants to use this tech to create food, housing and cure diseases, but Julian wants it to build weapons and soldiers he can sell. We already know how damaging AI technology can be to the environment and we can’t imagine the cost to laser-print into existence all the things the film is showing us the future could hold. All that we see in the movie uses up a massive power, but the film takes it for granted, as it is more involved in its plot. It never really makes any sort of stand for whether any of this is good or bad. It gives a “good” AI (Ares) and a “bad” AI (Athena, played by Jodie Turner-Smith) but doesn’t say anything about this other than it seems to push for us to appreciate Ares’ bid for humanity. It feels like a platitude and an attempt to inject some humanity into what maybe an action thriller.

My Rating:

Experience the future like never before. Catch TRON: Ares on the big screen and get lost in its stunning visuals, electrifying soundtrack, and high-speed action. See it now in cinemas and feel the Grid come alive in 3D IMAX!

October 12, 2025
Cinemalaya XXI: The Invisible Craftsmanship of ‘Open Endings’ Makes It a Charming, Loveable Movie

There’s something magical about how natural and organic ‘Open Endings’ feels as a film. There’s a rhythm and flow to this slice-of-life story about four queer women who happen to be best friends while having had some romantic or sexual entanglement with each other at one point in their lives. The fact that they all consider themselves exes at some point is the film’s hook, but ‘Open Endings’ goes beyond a simple rom-com movie by also detailing how these four women navigate adulthood and try to reconcile their rather messy feelings without disrupting their friendship and their own sense of safety.

Director Nigel Santos and screenwriter Keavy Eunice Vicente don’t try to make broad, sweeping generalizations about being a queer woman in the Philippines and by doing so, they manage expectations and go beyond it.

BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

The film’s issues involved become relatable and universal in the treatment of these women as individuals rather than some big allegory about the queer woman struggle. By keeping it personal and intimate, the film feels of this world. The characters become familiar and recognizable, and the audience then finds their own insights about the struggles of queer women today. It’s not force-fed and that’s where I found its charm.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

The film focuses on four queer women – Hannah (Jasmine Curtis-Smith), Charlie (Janella Salvador), Kit (Klea Pineda), and Mihan (Leanne Mamonong) – who gather every Sunday at Hannah’s house while going through their own issues with adulthood. Hannah is ready to move on after two years of grieving her late lover.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

Kit comes off as a player, regularly hooking up with other women, finds herself challenged by a growing tension with the mother of one of her students holds the key to unlocking her own free-spirited nature. Mihan still carries the torch for Hannah, whom she had been with for five years, but has commitment issues. While Charlie begins the story with her newly-formed-relationship having issues with Charlie being friends with her exes.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

Santos, Vicente, along with cinematographer Martika Ramirez Escobar and editor Maria Estela Paiso, keep the film from slipping into the realm of melodrama by avoiding the usual pitfalls of unnecessary overdramatic tropes. Paiso’s editing flows smoothly from one character to the next, never lingering or over-staying in a scene so that it doesn’t emphasize the drama but still highlights the character the conflict.

BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

Escobar’s cinematography pushes in, so we see each character reacting, making decisions, taking all of it in and then pulling out to put them in context of time and space. This world – one which I’m not a part of or privy to – becomes so clear and inviting. I don’t have to be a queer woman to enjoy the humor and the pathos that the film portrays.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

And the ensemble carries a natural charm and comfort in their roles, giving the film a grounded edge that makes the film all the more accessible. Salvador and Curtis-Smith are excellent as Charlie and Hannah, with Curtis-Smith doing that difficult task of not making the nurturing and loving Hannah a stereotypical nice girl.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

As written, Hannah can be the most boring character of the bunch – a grieving woman who loves and takes care of her friends, sometimes to her own detriment – but Curtis-Smith doesn’t make her a caricature or a saint. It’s well done.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

Pineda is a powerful screen presence and manages to go against her gorgeous appearance for some truly funny moments. There’s a silliness that she can tap into that goes contrary to her amazing physicality that creates a nice tension and makes her more interesting to watch.

Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

But while all the performances are great, it is Mamonong who steals the show. She is the most comfortable in her character (despite having the heaviest conflict to portray) and she is the most natural in her delivery of her dialogue and her character’s quirks and eccentricities. It never feels like acting. Mamonong makes Mihan feel like a fully formed person. It’s really a breakthrough performance.

BTS Open Endings | Photo courtesy of Cinemalaya / CCP Corporate Communications Division

There’s so much heart in ‘Open Endings,’ and the way the whole theater reacted to every story beat shows how the film holds down all the technical flourish to allow the story and the humanity of this film rise. Sometimes, the best craftsman are the ones that hide their skill that you only see the thing. All the elements – cinematography, writing, acting, editing, production design, music – just disappears and blends together that all I see is this lovely story of a messy but loveable group of friends navigating adulthood with all its open endings, as the film’s title suggests.

Open Endings is showing on the big screen. Check cinema showtimes near you and grab your tickets today.

This year, don’t miss Cinemalaya 21: LAYAG sa Alon, Hangin, at Unos happening from October 3-12, 2025! Witness another stellar lineup of stories that will move you and showcase the brilliance of Philippine cinema. Follow the Cultural Center of the Philippines and Cinemalaya for updates.

October 10, 2025