Tag: movie review

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

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

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

Image Source: Official ‘Multwoh’ Facebook Page

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

Image Source: Official ‘Multwoh’ Facebook Page

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

Image Source: Official ‘Multwoh’ Facebook Page

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

Image Source: Official ‘Multwoh’ Facebook Page

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

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

Image Source: Official ‘Multwoh’ Facebook Page

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

Image Source: Official ‘Multwoh’ Facebook Page

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

My Rating: 4 Stars

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

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

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

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

The Fisher | Image Source: Black Cap Pictures Facebook Page

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

The Fisher | Image Source: Black Cap Pictures Facebook Page

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

The Fisher | Image Source: Black Cap Pictures Facebook Page

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

The Fisher | Image Source: Black Cap Pictures Facebook Page

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

The Fisher | Image Source: Black Cap Pictures Facebook Page

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

My Rating: 4 Stars

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

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

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

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

Clayface | Photo courtesy of Warner Bros. Pictures

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

Clayface | Photo courtesy of Warner Bros. Pictures

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

Clayface | Photo courtesy of Warner Bros. Pictures

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

Clayface | Photo courtesy of Warner Bros. Pictures

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

Clayface | Photo courtesy of Warner Bros. Pictures

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

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

My Rating: 2.5 Stars

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

October 22, 2026
Movie Review: Full of Gags, ‘Pee Mak’ Feels Like a Tribute to ’80s Pinoy Comedy

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

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

Image Source: VIVA Films FB Page

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

Image Source: VIVA Films FB Page

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

Image Source: VIVA Films FB Page

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

Image Source: VIVA Films FB Page

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

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

My Rating: 2.5 Stars

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

My Rating: 4.5 Stars

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

October 19, 2026
Movie Review: Not Fully Committing to Its Camp Potential, “Verity” Wastes Fine Performances by Anne Hathaway, Dakota Johnson, and Josh Hartnett

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

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

Verity | Image Source: Columbia Pictures PH FB Page

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

Verity | Image Source: Columbia Pictures PH FB Page

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

Verity | Image Source: Columbia Pictures PH FB Page

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

Verity | Image Source: Columbia Pictures PH FB Page

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

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

My Rating: 2 Stars

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

October 13, 2026
Movie Review: A Straightforward Horror Film, “Other Mommy” Shines Through the Performances of Jessica Chastain and Arabella Olivia Clark

From the very first ten minutes of Other Mommy, we are immediately thrust into the terror. It’s a straightforward horror film that spends no time establishing the first act. Right from the get-go, we meet the titular Other Mommy, and the thrills and frights begin. It’s a really novel way to start a scary movie, wasting no time and going straight into the action. Director Rob Savage and screenwriter Nathan Elston (adapting Josh Malerman’s novel Incidents Around the House) get everything moving right away and it’s a wildly entertaining ride.

The story centers on seven-year-old Bela (Arabella Olivia Clark), who can tell something is not right with her mom and dad, Ursula (Jessica Chastain) and Russell (Jay Duplass). Ursula seems to be the more career-oriented parent, while Russell is the carefree, fun-loving stay-at-home dad. Luckily, or perhaps unfortunately, for Bela, she has a friend: a supernatural entity she calls Other Mommy. Other Mommy wants something from Bela; she wants permission to “be in her heart.” Within the first ten minutes of the film, the entity commits her first violent act and from then on, forcing Ursula and Russell to do whatever it takes to protect their daughter while guarding a dark secret of their own.

Arabella Olivia Clark (Bela) and Jessica Chastain (Ursula) in ‘Other Mommy’. (Courtesy of Universal Pictures)

This film cuts away from many traditional narrative beats seen in movies involving hauntings and children. Ursula and Russell immediately believe Bela. They never question what it is that they see, nor is there a plotline where the parents refuse to believe Bela or what they see. In fact, they remain quite level-headed about it considering they just experienced a paranormal event. It feels deeply refreshing to watch a horror film where the main characters make practical, sensible decisions.

But how do you stop an entity that can shape-shift and move matter at will?

Savage, alongside cinematographer Lowell A. Meyer and editor John Cutler, manipulates the mise-en-scene and mise-en-shot so that every camera movement and every jump cut becomes a potentially frightening moment. The film is not afraid to use jump scares, but they never feel cheap or unwarranted. Other Mommy is a playful demon. Surprise is part of its strategy. For the audience, though, it keeps you firmly on the edge of your seat.

Jessica Chastain (Ursula) in ‘Other Mommy’. (Courtesy of Universal Pictures)

While Chastain gets top billing – playing both Ursula and the primary form of Other Mommy – she earns every bit of it. She keeps the two characters distinctly separate, but when the music turns up and you realize you are looking at Other Mommy rather than Ursula, Chastain uses her entire physicality to embody the strain required for the entity to assume this human form. As Bela says early in the film, “she’s still new” at this. Chastain uses this raw physical tension to fully show this and it is remarkable to watch.

Arabella Olivia Clark (Bela) in ‘Other Mommy’. (Courtesy of Universal Pictures)

But this film ultimately belongs to Clark. The young actress carries the movie with her delicate portrayal of childhood innocence and being overwhelmed by all that is happening. When she observes her surroundings, she knows exactly the full context of what she is seeing. We understand the entire story through her eyes. It’s an incredible performance from such a young actor and it helps ground the film and gives the audience someone truly worth rooting for.

My only issue is the usual classic American approach to horror. The protagonists feel compelled to fight back, and American exceptionalism comes into play, and it undercuts the fear that is established. It is such an American response that if something is in your way, you have to get rid of it – kill it, even – regardless of what it is. Having watched plenty of Asian horror, where characters simply focus on surviving, Americans have to fight back, and it comes off as arrogant. At the same time, as good as the CGI can be, the overuse of it takes us away from the fear. Fortunately, Cutler is good at keeping the visuals very brief, cutting away quickly before the audience can linger on the CGI effects. Still, by the second half, some of the initial magic established at the beginning is gone.

There is a lot to enjoy in Other Mommy, and it will get the crowd screaming in fright. While it grows a little bit corny by the end, the film delivers enough suspense and thrills to make it well worth the price of the ticket.

My Rating: 4 Stars

Ready to meet Other Mommy? Catch Other Mommy in theaters now, just make sure you know who’s really tucked in at night. Click here for showtimes.

October 9, 2026
Movie Review: Blowing the Whistle: A Review of “The Social Reckoning”

A lot has happened since director David Fincher and screenwriter Aaron Sorkin released The Social Network 16 years ago. The social media landscape has shifted dramatically, and Sorkin was right to feel that there was more than enough material for a sequel. Written and directed by Sorkin, The Social Reckoning functions as a standalone sequel defined as a legal thriller. It follows a whistleblower exposing Facebook’s internal policies, detailing how they pose a danger to its users, and leading up to the January 6 Capitol insurrection.

We follow real-life whistleblower Frances Haugen (played by Mikey Madison) as she is contacted by investigative reporter Jeff Horwitz (Jeremy Allan White), for an interview. Frances, a data engineer who is part of a team that is tasked to create safeguards for Facebook’s social and community interactions, has made several concerning observations. She has been trying to alert management, but no one seems willing to listen. So, she turns to Jeff so her voice can finally be heard. This leads to the discovery that the algorithm of the social media site with over 1.2 billion users has led to the radicalization of many of its users. Running parallel to her story, set three years later, Mark Zuckerberg (Jeremy Strong) prepares for a tense congressional inquiry as the reports begin to surface.

The Social Reckoning | Photo courtesy of Columbia Pictures

The film jumps between two separate timelines. One is independent of the other. Mark Zuckerberg seems unaware of what is happening in the past – where a loyal employee who loves the goal and ambition of Facebook, is talking to a reporter because the management doesn’t seem to care that the company is radicalizing its users. The use of the timeline jump emphasizes the coldness with which Zuckerberg runs his company and that the people above have no idea or care about what is happening on the ground. From the way Zuckerberg is failing the inquiry preparations, we can tell that all he cares about is the bottom line: profit.

The Social Reckoning | Photo courtesy of Columbia Pictures

It also helps that Jeremy Strong plays the older Zuckerberg almost like a robot: emotionless, cold, and guarded. He trusts no one. He is used to getting his way and treats everyone around him like they are there as subordinates. It is a calculated portrayal meant to make him feel culpable of all the things the film is blaming him for, and it does its job of creating a frightening villain for this take on the narrative.

The Social Reckoning | Photo courtesy of Columbia Pictures

While Jeremy Allen White does an amazing job as Jeff Horwitz, cool and composed as he goes about his job; he’s a real pro, not investing in the people and keeping his distance because he knows this can get ugly. But the few moments that he can show that he cares, it’s so evident. But the real heavy lifting comes from Academy Award winner Mikey Madison, who is at the center of all of this. She’s the spark that changes everything. Portraying Haugen as socially awkward and without a filter, Madison embodies someone who is accidentally funny yet completely relatable. She serves as the heart and soul of this film, and she carries it without breaking a sweat.

The Social Reckoning | Photo courtesy of Columbia Pictures

These great performances ground the film. True to Aaron Sorkin’s signature style, the dialogue comes packed with rapid-fire technical jargon line delivery, but you have to take it on faith that it will all make sense later. His world is real because he doesn’t dumb it down for the audience, he never sacrifices his world building for the audience who doesn’t pay attention. Instead, he writes his scripts in a way that allows a moment for everything to be explained and to be clear. Halfway through the movie, we understand what is at stake and there’s a lot that is at stake here.

The Social Reckoning | Photo courtesy of Columbia Pictures

This is a movie that encourages us to start asking questions about what we are exactly seeing online, how much of it is random and how much of it is intentional. It informs us that these social media sites are designed to keep us engaged, regardless of the negative effects they may have on our lives. Their goal is to make a profit out of this at the expense of our mental health and the integrity of our social fabric.

The Social Reckoning | Photo courtesy of Columbia Pictures

I really hope people get to see this film. If not to truly understand how insidious these social media platforms are doing to our society, then at least to witness the fantastic performances from its cast. Mikey Madison delivers a standout lead performance, and Betty Gilpin makes full use of her limited scenes to stand out in every scene as the editor of The Wall Street Journal. It’s a well-crafted film that hits all the right notes and delivers a hopeful ending, that is only undercut by the reality of what continues to happen today.

My Rating: 4 Stars

Powerful, timely, and driven by incredible performances from Mikey Madison and Jeremy Allen White, The Social Reckoning is a sharp, necessary piece of cinema that demands to be seen, not just for its outstanding lead performances, but for the essential questions it forces us to ask about the digital world we live in. Don’t skip this one. Check showtimes here.

October 8, 2026
MOVIE REVIEW: A Friendship That Feels Filipino: A Review of Forgotten Island

There are some animated features nowadays that seem tailor-made for the idea that younger audiences have shorter attention spans, so the film is directed loud and frenetic. Something is always happening, a gag or an action sequence, anything to grab the focus of an audience that might get bored if things slow down even a little bit. Maybe it’s my age, but I find it exhausting. Forgotten Island, the new animated feature from DreamWorks Animation directed and written by Joel Crawford and Januel Mercado, fits that exact mold. Centered around two teenage Filipina girls who find a portal to a mystical island inhabited by engkantos, all that energy and fast-paced storytelling can sometimes overshadow the film’s biggest asset: the friendship story of the two leads.

Jo (voiced by H.E.R.) and Raissa (voiced by Liza Soberano) live in an island province in the Philippines during the ’90s. They become instant best friends over a shared love of Philippine lower mythology, especially the manananggal.

(from left) Little Jo (Kailey Crawford), Lola (Dolly De Leon) and Little Raissa (Kayla Teruel) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.

They grow up inseparable, finding themselves a bit like outcasts in the typical Filipino world they have known all their lives. But as graduation approaches, Raissa gets an offer to study abroad, putting their friendship to the ultimate test. When they discover a portal to bring them to Nakali, the mythical island of the engkantos, they jump in for one last adventure.

(from center left) Jo (H.E.R.) and Raissa (Liza Soberano) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.

There, they encounter all kinds of supernatural creatures and find themselves running from a manananggal whose wings they accidentally stole during a night of drinking. Through all the chaos, will Jo and Raissa be able to save their friendship when they get back home… and if they can even get back at all?

Manang (Lea Salonga) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.

The best parts of the film really revolve around the relationship between Jo and Raissa. The two characters could not be any more opposite. Jo is literally incendiary, with a love for firecrackers and explosives, and she has a strong tendency to act spontaneously and recklessly. Raissa, on the other hand, is more cautious and book- smart, with little doubt that she will make her dreams come true with an American education.

Forgotten Island | Photo Credit: Universal Pictures

Yet there is something in the way they are written that makes you truly believe these two girls are best of friends. A wonderful first-act setup cements that friendship, and H.E.R. and Soberano do an excellent job bringing these two characters to life with their voice acting.

Forgotten Island | Photo Credit: Universal Pictures

We see how their friendship gets tested as Nakali becomes an unexpected place for them to finally tell each other things they have kept hidden, whether out of fear of hurting each other or looking and acting foolish. It is the core of a great coming-of-age story, and against the backdrop of a fantastical land, the potential is endless.

Forgotten Island | Photo Credit: Universal Pictures

I am not personally a fan of the film’s fast-paced narrative pacing, but that comes down to a matter of taste. Crawford and Mercado do a great job of keeping things moving while directing their animation team through some truly gorgeous set pieces and artistic designs. The manananggal, voiced by Lea Salonga no less, is rendered in a way that is so different and delightfully twisted that it feels refreshing and new. As a viewer and someone who has deeply studied the lore of this specific aswang, seeing such a unique take was genuinely exciting.

Forgotten Island | Photo Credit: Universal Pictures

What holds me back is how westernized a lot of the other lore has become, for what maybe accessibility for a western audience or for not scaring little children. The kapres do not smoke, the duendes and the tiyanak are sanitized into cute mascots, and they even introdued a were-dog named Raww (voiced by Dave Franco), a creature I am not familiar with in all my studies of Philippine lower mythology. There are sigbins, sure, but they do not shape-shift into human.

Forgotten Island | Photo Credit: Universal Pictures

For a film set in the Philippines in the 1990s, much of the Filipino culture feels more like an aesthetic accessory than something that really pushes the story forward. The culture elements can be interchangeable with any other setting, and core story would still stand. There is no question that the movie is exceptionally well-made, but I am wary of turning our heritage into a surface-level commodity rather than treating it as something integral to the narrative’s themes.

(from left) Bungi (Manny Jacinto), Raww (Dave Franco), Raissa (Liza Soberano), Jo (H.E.R.) and Prince Mermahn (Kevin McCann) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.

That is why the story of the two protagonists is the one that truly grounds this film, because that’s truly cultural with us: losing a friend or even a family member due to distance. Whether it is moving from the province to Manila or migrating from the Philippines to another country for education or work, this separation is a genuine concern for many relationships here. That is the part of the culture that feels so powerfully Filipino in this story, whereas everything else could easily be substituted.

(from left) Little Jo (Kailey Crawford) and Little Raissa (Kayla Teruel) in DreamWorks Animation’s Forgotten Island, directed by Joel Crawford and Januel Mercado.

Maybe I am just being territorial or possessive. I hope the film does well, but I have my serious reservations for the Filipino-American point-of-view for a story set entirely in the country. The two leads and all the engkantos speak with a westernized English accent, while every other local characters speaks English with a thick Filipino accent. What is with that othering? It is the exact question that kept popping into my head as I watched this work unfold.

My Rating: 4 Stars

Ready to watch Liza Soberano and H.E.R. trigger total mythical chaos while Lea Salonga unleashes her dark side? Round up your best friends, check showtimes, and get your tickets to Forgotten Island today, just try not to lose your wings on the way in!

September 23, 2026
MOVIE REVIEW: Zach Cregger’s Take on ‘Resident Evil’ Is Scary AF and Funny as Hell

There is really nothing quiet like sitting in a packed cinema while watching a really good horror film. That was what my exact reaction to watching Zach Cregger’s Weapons last year, and he gave me the same experience with his take on the Resident Evil franchise. His film feels like a fresh setup for the wider universe. By intentionally avoiding familiar characters from the games and previous movies – while I have watched people play the game but not for long periods, and so all I know of the franchise comes from the film adaptations – so it’s a way for viewers unfamiliar with the lore to easily get in. He focuses purely on the simplicity of the story so that he can deliver extremely scary moments and absurd situations that elicit screams and laughter in equal measure.

Resident Evil follows Bryan (Austin Abrams), a medical courier who takes on an extra shift to deliver a critical medical package to Raccoon City General Hospital, miles up a mountain in the dead of winter. Motivated by news that his girlfriend might be expecting a baby, he lies about his car being equipped for traveling during heavy snow and embarks on the treacherous drive anyway. What he doesn’t know is that an outbreak has already overtaken the town, leaving the undead creatures of the franchise freely roaming the streets.

Resident Evil | Photo Credit: Columbia Pictures

Abrams serves as an amazing foil for us to follow. Despite his rough, gruff attitude and the failure to communicate properly with his girlfriend over the news makes him difficult to empathize with at first, the moment he accidentally hits a woman on the road, he immediately stops to help her and rush her to the hospital. We all know in our seats that this is a massive mistake. But he does not know that, and while he could easily escape, he stays. From that moment, Cregger and co-screenwriter Shay Hatten have us completely rooting for him. Abrams possesses a wonderful everyman presence that keeps him relatable, delivering a fully committed performance that grounds the character (he really looks and acts terrified when things start happening) but also manages to amplify the comedy. He is exhausted, overworked, and just wants to earn money and to do a good job. As things get progressively weirder and weirder, he stubbornly soldiers on. It is such a clever, well-written character and Abrams plays it to a tee.

Resident Evil | Photo Credit: Columbia Pictures

Cregger then assumes a directorial approach heavily inspired by the video game. Tight, over-the-shoulder camera angles following the sliver of light from Bryan’s cellphone turn every dark corner into a potential jump scare. The score enters and exits with surgical precision, at just the right time that you don’t realise you are being emotionally primed for frights or laughs. When Bryan swerves his light to illuminate a strange noise, the camera lags behind by just a fraction of a second – much like a video game – and the connection to the game is there and makes the whole experience feel really immersive. We are not just emotionally tied to Bryan; we are locked directly to what he sees. We are just as vulnerable as he is.

Resident Evil | Photo Credit: Columbia Pictures

The storytelling moves at a fast-paced, action-packed pace. The rhythm is so good that Cregger and editor Joe Murphy pace the quiet moments with the thrilling ones. They steadily build the tension as we reach Raccoon City, straight into the heart of the infestation.

Resident Evil | Photo Credit: Columbia Pictures

There is no real social commentary or grand metaphor that strikes me as I recall this movie, and for some reason, I don’t seem to mind at all. If anything, it is a realisation that Bryan ends up making about the possibility of him being a father, which happens at just the right moment, to heighten the stakes and the need to survive. What it does, though, the script uses this moment to deepen Bryan’s character, cementing our connection with him but makes no big statements either way.

Resident Evil | Photo Credit: Columbia Pictures

At its core, this is just a straight-up horror film that happens to be wickedly funny. It’s very well-made; the filmmaking is precise and exquisite. It is exactly the kind of movie you really want to experience in a packed theater with your friends, and hope that it’s packed so that everyone is laughing and screaming with you. It’s an experience that should be shared collectively and, honestly, I really don’t mind watching it again. Sometimes a film can exist purely just for fun with no big ambitions for any higher purpose and that’s perfectly okay. It delivers what it promises, and for that, I absolutely adore it.

My Rating: 5 Stars

Packed with visceral scares and side-splitting comedy, Resident Evil is an absolute blast best experienced in a packed theater with your entire barkada. Check showtimes here.

September 19, 2026