Tag: movie review

MOVIE REVIEW: For the Fans: A Review of ‘Mortal Kombat II’

I don’t even remember the 2021 film Mortal Kombat, which Mortal Kombat II is the sequel. However, this latest release from the franchise leans so heavily into its video game lore and mode that you don’t need to have seen the first film (or even remember it) to follow the story. It’s not completely bonkers that it shifts gears into the level of camp; Mortal Kombat II is not taking itself too seriously, either. It knows its selling points: it has characters to present, action sequences to highlight, and brutal kills to show off that is reminiscent of the video game the whole IP is based on.

The story begins in the past, detailing how Sindel (Ana Thu Nguyen) and Kitara (Adeline Rudolph) joined the side of the Outworld, led by Shao Kahn (Martyn Ford). This piece of history explains how Outworld conquered the realm of Edenia. A decade later, Outworld is after Earthrealm, and Lord Raiden (Tadanobu Asano) gathers his champions to prepare for Mortal Kombat to protect the planet. His champions include returning characters Sonya (Jessica McNamee), Liu Kang (Ludi Lin), Jax (Mehcad Brooks), and Cole Young (Lewis Tan). They travel to Earth to recruit a new champion: washed-up action star Johnny Cage (Karl Urban). While the tournament will decide the fate of Earthrealm, but there are things happening underneath the surface that threaten to change the outcome of the game.

(From left) Ludi Lin as Liu Kang, Mehcad Brooks as Jax, Jessica McNamee as Sonya Blade, and Karl Urban as Johnny Cage in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Mortal Kombat II is a fast-paced fantasy and action-adventure film that feels thin on story, largely because it works too hard to give every character a chance to have their moment. Kitara begins the story and has the character with the clearest goal, yet she lacks a true character arc. Those arcs belongs to Johnny Cage and Kitara’s bodyguard and friend, Jade (Tati Gabrielle). However, the narrative is crowded: Liu Kang gets his moment, Kano (Josh Lawson) is resurrected and he gets a lot of screen time because his character is so fun and there’s a lot of plot going on in Shao Kahn’s group involving Quan Chi (Damon Herriman) and Shang Tsung (Chi Han). Consequently, the film never really feels grounded; Johnny Cage’s character development is often glossed over with a punchline, while Jade’s story is the most developed but her character is relegated to a supporting cast.

Adeline Rudolph as Kitana in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

And because this is Mortal Kombat, we see the return of Sub Zero/Bi Han (Joe Taslim) and Scorpion/Hanzo Hasashi (Hiroyuki Sanada). Of course, they too have to have their moment.

Hiroyuki Sanada as Scorpion in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Since the movie is really meant for entertainment and to deliver fan service, there’s quite a number of logical inconsistencies that I’m willing to forgive. However, what I’m expecting, though, is really good fight scenes which the film delivers inconsistently. I’m not that sure of Karl Urban’s ability to fight but his fight scenes are the ones that are the most heavily edited to try and hide the switching of a stunt double. Many of Rudolph’s fights (except the one with Johnny Cage) and that of Gabrielle were fun to watch but the real gem is the fight scene between Liu Kang and Kung Lao (Max Huang). It is fast, the choreography is stunning, the editing allows the viewer to still see the action, and it was dynamic without being overshadowed by the special effects. It’s this kind of fight scene that I hoped to see more of, yet there wasn’t a lot of it.

Martyn Ford as Shao Kahn in “Mortal Kombat II”
Photo credit: Warner Bros. Pictures

Because the film felt like it was intended for fun and fan service, the finale dragged on for quite a bit as two different storylines. In the form of two different fight scenes, The constant cutting back and forth between these two battles extends the action beyond what feels comfortable. But as one-character bows out, another takes their place, and the scene extends some more. It gets a little out of hand. Ultimately, Mortal Kombat II is chaotic, messy, has a lot of story inconsistencies or easy plot fixes, and the fight scenes are not at all balanced out. However, for serious fans of the lore, there is still a lot here to enjoy. The audience at my screening were obviously fans, taking the time to ask questions about where this character showed up and if what’s mentioned is part of the official story canon or not.

My Rating: 2.5 Stars

The tournament has begun! Grab your popcorn and catch the chaos at a theater near you. Check out the latest Mortal Kombat II showtimes here.

May 13, 2026
MOVIE REVIEW: ‘The Sheep Detectives’ Successfully Juggles Multiple Genres as Comedy, Whodunnit, and Social Commentary at the Same Time

When I first saw the trailer for The Sheep Detectives, I must admit I wasn’t impressed. It looked like a typical family-friendly story of anthropomorphic animals doing human things, in this case, solving a murder. It felt a little far-fetched to me and because the trailer seemed a little over-the-top, the jokes felt expected.

I was pleasantly surprised when I finally saw the film, though. Directed by Kyle Balda and written by Craig Mazin (adapting Leonie Swann’s novel ‘Three Bags Full’), the movie is funny, heartfelt, and engaging. There is an earnestness and sincerity to it that perfectly matches the demeanor of its wooly protagonists.

(L to R) Regina Hall as the voice of Cloud Aroop Shergill as the voice of Daisy, Patrick Stewart as the voice of Sir Ritchfield, Ishi Agrawal as the voice of Pickles, Jasper Ambrose as the voice of Oliver, Rhys Darby as the voice of Wool-Eyes, Bella Ramsey as the voice of Zora, Chris O’Dowd as the voice of Mopple, Laraine Newman as the voice of the Fainting Sheep, Julia Louis-Dreyfus as the voice of Lily, Brett Goldstein as the voice of Reggie and Ronnie and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios | Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

The characters, as sheep, serve as a clever metaphor for the larger societal metaphor the filmmakers intend to discuss, however they never do so in an overt way, allowing the film to maintain its light and whimsical tone.

(L to R) Tommy Birchall as the voice of The Winter Lamb and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

In ‘The Sheep Detectives,’ we follow a herd of sheep cared for by George Hardy (Hugh Jackman), a bit of a loner who is grouchy and dismissive toward the townspeople that live near his farm but pours all his affection into his flock. He cares for them deeply, naming each one and reading them mystery novels at night. In this world, the sheep understand him, enjoy the detective stories, and love him just as equally. After a rainy night, George is found dead under circumstances that point to murder. In such a small town, the only policeman, Tim Derry (Nicholas Braun), is a bumbling fool who misses every significant clue. Now, the sheep, led by George’s favourite, Lily (voiced by Julia Louis-Dreyfuss), must solve the case on their own.

(L to R) Nicholas Braun stars as Officer Tim Derry, Molly Gordon as Rebecca Hampstead, Kobna Holbrook-Smith as Reverend Hillcoate, Hong Chau as Beth Pennock, Conleth Hill as Ham Gilyard and Tosin Cole as Caleb Merrow in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Alex Bailey © 2026 Amazon Content Services LLC. All Rights Reserved.

Balda’s direction is fast-paced and easy to follow, allowing him to juggle the film’s various modes. On one hand, it is a coming-of-age story, as the sheep learn to become more active characters in their own lives and venture beyond the comforts of their farm. It is also a mystery film, hitting all the narrative beats of the genre and effectively playing out the whodunnit form. Then, quite subtly, the film also doubles as a social commentary, with the sheep becoming a clever metaphor for today’s modern society.

(L to R) Chris O’Dowd as the voice of Mopple and Julia-Louis Dreyfus as the voice of Lily in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

In the movie, the sheep possess the power to forget. The moment they encounter something distasteful, uncomfortable, or problematic, they can simply choose to forget it. Their reality and worldview are determined by what they allow themselves to remember. While this is an important story point for The Sheep Detectives, it is also a poignant metaphor for our current society’s inability to remember our history, hence we always find ourselves repeating the same mistakes as before.

Patrick Stewart as the voice of Sir Ritchfield in THE SHEEP DETECTIVES, from Amazon MGM Studios.
Photo credit: Courtesy of Amazon MGM Studios
© 2026 Amazon Content Services LLC. All Rights Reserved.

The sheep are carefree and passive, and why shouldn’t they be? They are well-fed, cared for, groomed, and entertained, with all their needs met. What reason do they have to do anything radical or drastic? It is only when George dies that all this comfort is threatened. Before they can choose to forget to avoid the pain, the only sheep unable to do so, Mopple (Chris O’Dowd), reminds them that to truly love George, they must remember him. It’s an early part of the film that has powerful reverberations throughout the rest of the narrative.

Laraine Newman as the voice of the Fainting Sheep and Hugh Jackman as George Hardy in THE SHEEP DETECTIVES, from Amazon MGM Studios. Photo credit: Courtesy of Amazon MGM Studios © 2026 Amazon Content Services LLC. All Rights Reserved.

There’s a lot that is happening under its 109-minute runtime. Each character is well-developed and fully realised, while the film effortlessly juggles its various genres and themes. It is funny and charming, yet still packs a punch the moment you see the metaphor for what it is.

My Rating: 4.5 Stars

A rare film that manages to be both hilariously whimsical and deeply profound. Will you choose to remember? Don’t miss The Sheep Detectives at your favorite theater, check out the latest movie showtimes here.

May 9, 2026
MOVIE REVIEW: Stylish but Hollow: A Review of ‘The Devil Wears Prada 2’

I wasn’t sure if I ever wanted a sequel to The Devil Wears Prada. To me, the original was already so perfect, one of those evergreen films you can return to over-and-over again. Anne Hathaway’s Andy Sachs served as the perfect foil, played it so well that matched Meryl Streep’s iconic Miranda Priestly, who really could have won an Oscar for that performance.

(L-R): Miranda Priestly (Meryl Streep) and Andie Sachs (Anne Hathaway) in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2025 20th Century Studios. All Rights Reserved.

It was just as enjoyable to watch the banter and barbs flung with precision at perfect timing by Emily Blunt’s Emily and Stanley Tucci’s Nigel. It’s a film I could come back to and the story in itself was so complete that I had no real desire to see more from them because everything that I needed was there.

(L-R): Anne Hathaway as Andy Sachs and Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

So coming into Devil Wears Prada 2 came with a lot of resistance. The trailer didn’t tell me anything other than they were going to be delivering the same level of humor while amping up the glitz and glamour. The story finds Andy Sachs returns to Runway after losing her job due to the layoffs of media workers (and other industries) due to the current capitalist wave.

(L-R) Anne Hathaway as Andy Sachs, Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Twenty years have passed, and Miranda doesn’t even remember her. Miranda herself is struggling to keep the brand afloat amidst the changes and challenges in the field of traditional publishing since the Internet and social media has changed everything.

Andy’s return to Runway isn’t Miranda’s choice and she now has to prove her worth all over again. While the story runs almost beat-for-beat with the 2006 original, the dynamic has shifted quite a bit with Andy more confident and knowledgeable about the world.

Meryl Streep as Miranda Priestly in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The performances are still enjoyable with Meryl Streep given significantly more to do as the film has her on equal screen time and agency as a character than she was in the first film. This is as much her movie as it is Andy’s. They’ve humanized her, the eponymous “Devil” of the film’s title, now left scrambling to keep her budget and her brand alive, and hoping for a promotion for “Head of Global Content” in the publishing company, a position she has spent many years forging.

(L-R): Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo courtesy of 20th Century Studios. © 2026 20th Century Studios. All Rights Reserved.

However, this added storyline and humanizing of her destroys all of the character’s mystery – which some people enjoyed, though I felt lessens her impact on the film – and without that signature coldness, the film feels like it lost some of its signature bite. By grounding Miranda, I felt more inclined to look at the things that the film wants to say.

(L-R) Meryl Streep as Miranda Priestly and Stanley Tucci as Nigel Kipling in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

And while it does mention the changes in the publishing industry – in terms of its business models and being run by billionaires who only care about making a profit and don’t care really about creating something valuable and meaningful outside of economics – it never really gets to go deep and hard into these issues. Maybe it’s not what the film is trying to do but the whole narrative is set on trying to save Runway with a Jeff Bezos-type billionaire character, Benji Barnes (played by Justin Theroux) playing a crucial role in its future, but I felt the film took for granted in showing us what was worth saving in the first place.

(L-R) Stanley Tucci as Nigel Kipling and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

The film still regales us with gorgeous outfits and great styling. It features multiple cameos by real superstars and legends of the fashion world. But in this day and age of a possible global recession and a reevaluation of the true cost of luxury, I end up questioning what the point of all of it is.

Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

In the original film, that amazing monologue about “cerulean” was an important narrative beat to show Miranda’s knowledge in the world of fashion and a turning point in Andy’s discovery of what it is she was truly entering but it was also necessary because it made us realise how high fashion is connected to everything – especially back in 2006. As Andy began dressing the part, looking great, she started to attract good things coming to her. The Devil Wears Prada does not have that same moment – to show us how important and necessary high fashion is to the world today – and thus feels like the film sort of stumbles in what it is trying to do.

Emily Blunt as Emily Charlton in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Yes, we want the characters to succeed because Anne Hathaway, Meryl Streep, and Stanley Tucci are amazing and their performances truly grab at you. Emily Blunt is also great, but her character now runs adjacent to Runway. But there are so many plot points and narrative twists keeping the story moving, yet it never really stops and gives us a moment to rationalize what high fashion means in 2026. It’s all gorgeous to look at, but who can afford a three thousand dollar handbag in today’s economy? The film never showed me why that matters.

(Center – Right) Meryl Streep as Miranda Priestly and Anne Hathaway as Andy Sachs in 20th Century Studios’ THE DEVIL WEARS PRADA 2. Photo by Macall Polay. © 2026 20th Century Studios. All Rights Reserved.

Director David Frankel does a good job at keeping the pace, keeping the plot moving without ever feeling boring, and allowing his actors to shine. We got gorgeous cinematic moments and a lot of good humor reminiscent of the original but I don’t see the same heart that was there that got me to fall in love with the first movie.

My Rating: 3.5 Stars

Miranda doesn’t like to be kept waiting. Witness the long-awaited return of Meryl Streep and the original cast in the cinematic event of the season. Check The Devil Wears Prada 2 showtimes here.

May 4, 2026
MOVIE REVIEW: Poetic and Strange, ‘Mother Mary’ Showcases the Inner Pop Diva of Anne Hathaway

There is a profound embrace of poeticism in David Lowery’s Mother Mary. Amidst the fashionable, glamorous world of a pop star and her former costume designer and creative partner, lies a story of a friendship’s dissolution, one so devastating it leaves wounds capable of summoning specters of unsettled emotions. The film feels almost theatrical, from the dialogue spoken by Sam Anselm (portrayed by the disarming Michaela Coel) to the transitions Lowery uses to bridge the past and present. And as metaphors that take shape within the narrative, they thrust the film into an entirely different genre. It is fascinating as it is visually stunning.

Anne Hathaway stars as the titular pop icon, Mother Mary, who is about to make a comeback after a traumatic onstage accident. Exhausted, frustrated, shaken to her core by waves of emotion, she flies to England to visit the home of Sam Anselm (Michaela Coel), a fashion designer, to ask for a dress for her comeback performance. But Mother Mary and Sam have a tortured past. Sam was once Mary’s costume designer and from rifling through their history, she was more than that: a creative partner, a foundational presence who was there from the beginning, and a friend.

Mother Mary Images courtesy of Creazion Studios

Sam is cold and detached, yet she keeps Mother Mary talking, betraying her need for something from her. She takes on the job; to design and craft a dress in less than four days. And in the process, the two women hash out that moment when their friendship ended, when Mother Mary chose to replace her original circle with a new creative team behind her. It is at that point, an hour into the film, where the film shifts radically as Sam reveals that the pain of that parting led her to a supernatural encounter: a ghost.

Mother Mary Images courtesy of Creazion Studios

For the first hour, the film moves at a slow pace. Lowery focuses his lens on the very nuanced and layered conversations between Mary and Sam.

Mother Mary Images courtesy of Creazion Studios

Mary is visibly broken and desperate for connection, while Sam is keeping her cool, clearly reveling in the power of being needed. Sam’s dialogue are poetic, descriptive, and eloquent. Michaela’s English delivery and sharp English accent cast a hypnotic spell.

Mother Mary Images courtesy of Creazion Studios

In contrast, Anne Hathaway’s Mary is a broken person, her words are unfiltered, messy, and unrehearsed. This first half of the film functions almost like a stage play – a two-hander where the only action is the two characters navigating the past.

Mother Mary Images courtesy of Creazion Studios

Lowery keeps it theatrical, transitioning from present to the past with a movement of the camera to reveal the past right at the edge of the screen, coming into focus, and the character in the moment of remembrance enters into the frame to act out in the flashback. No cuts.

Mother Mary Images courtesy of Creazion Studios

Just one continuing movement allowing time and space to collapse into each scene. Though a decade has passed since their parting, the film suggests that the past is just a camera pan away. It is a visceral reminder that these events are still very real, very present, and very close to both two women.

Mother Mary Images courtesy of Creazion Studios

Occasionally, the film allows Mary to break into full performance, emphasizing that her stage persona is every bit a part of this story. The sharp contrast between the gothic, dark design of Sam’s workshop, and the searing bright lights of Mary’s world and massive crowds – jumping into some killer songs by Jack Antonoff and Charli XCX (with Anne Hathaway herself sharing songwriting credits) – keeps the energy running while expanding the film’s themes into that of art and creation.

Mother Mary Images courtesy of Creazion Studios

The image of the pop artist is just as instrumental as the music and the performance. Sam was taken away from something she helped craft, and Mary, standing at this critical juncture in her career, realizes she must return to the source to truly move forward.

Mother Mary Images courtesy of Creazion Studios

When the ghost story emerges halfway through the film, Mother Mary fully embraces its Gothic mode. The narrative shifts to the horror genre, yet it remains firmly rooted in the one thing that both women are searching for: closure. The ghost is both literal and metaphorical, and the film adopts an air of whimsy that feels entirely earned, the emotions simmering throughout the film seemed destined for this.

Mother Mary Images courtesy of Creazion Studios

Hathaway and Coel are incredible, creating two characters so distinct and lived-in that their relationship becomes the fulcrum of all of Lowery’s storytelling techniques. The theatricality, the extreme close ups, the music, and the seamless transitions – they are all there in service to Sam and Mary’s journey towards liberation. Both actors are so profoundly committed to the film’s whole vision that the narrative never feels silly or over-the-top.

Mother Mary Images courtesy of Creazion Studios

Mother Mary is a strange, little film but if you can ride its out-of-the-box presentation, it is a rare cinematic treat. At the very least, one can simply enjoy Anne Hathaway living her pop-star dreams, proving there is formidable diva within her that has finally found the perfect stage on which to shine.

My Rating: 4 Stars

April 29, 2026
MOVIE REVIEW: What You Don’t Know About Her: A Review of the Spectacularly Unhinged ‘The Drama’

I have to begin by saying that The Drama is one of the most original movies I’ve come across. It features a spectacular script by writer-director Kristoffer Borgli and amazing performances by its two leads, Zendaya and Robert Pattinson. While it is ostensibly a love story, it is the most unhinged romance movie I’ve ever seen, juggling a variety of genres from black comedy to horror while tackling a controversial subject matter in the most complex of ways. Ultimately, it asks the most fundamental of questions: Can you truly love someone unconditionally?

The film opens with Charlie (Pattinson) seeing Emma (Zendaya) at a cafe and becoming instantly smitten. In an attempt to ask her out, he lies about having read the book she’s reading. And this awkward meet-cute, so well executed, triggers a jump to two years later, where the couple is engaged and writing their wedding speeches. The opening serves as a flashback, and through the drafting of their speeches, we get to see the couple through each other’s eyes. With only weeks left to their wedding, and in the midst of the wedding coordination, Charlie discovers something about Emma’s past that sends him on a tailspin. It is rather shocking – an important detail that was left out – and the ramifications in the days leading up to the wedding creates the film’s title: the drama.

Photo credit: Pioneer Films Philippines | A24

What is incredible about Borgli’s filmmaking – both in writing and direction – is how he introduces us into this world in a very ordinary way. Despite the presence of Zendaya and Robert Pattinson, the film and its aesthetic is lacking in gloss and shine. Cinematographer Arseni Khachaturan is excellent at framing the couple, often going in really close or situating them within a space, as if they are trapped in their own minds. While keeping the colors muted, stopping it from bursting out except for red. Charlie and Emma are presented as an ordinary couple, their love story as cute and very much-like an indie movie with the film jumping from one memory to the next until one night, while tasting the menu for their wedding, they enter a discussion with their married friends, Rachel and Mike (Alana Haim and Mamoudou Athie), and then the revelations come.

Photo credit: Pioneer Films Philippines | A24

At this point, the film shifts gears, transforming into a different movie altogether. The tone changes and the upcoming marriage is standing on a knife’s edge as Borgli’s filmmaking moves from a quirky indie romance into that of psychological horror. It’s actually funny, with Pattinson doing an amazing job portraying a man crumble under the confusion of the discovered secret. Relationships are tested, Zendaya’s Emma is desperately trying to hold her footing on stable ground. While the film’s first half sees Borgli and editor Joshua Raymond Lee whisking us back and forth from present to past, but in the second half, the film now shifts us from reality to the characters’ inner worlds. Charlie and Emma would shift into a trance-like states, imagining the worst.

Photo credit: Pioneer Films Philippines | A24

The pacing of The Drama is exquisite, carefully building momentum toward a climax that goes to a place that is packed with tension and energy. Zendaya and Pattinson are doing nuanced work that requires them to show the audience the insecurities and lies they are hoping goes unnoticed. Here, they are not movie stars but feel like ordinary people dealing with an extraordinary circumstance and it’s an acting tightrope that they manage effectively.

Photo credit: Pioneer Films Philippines | A24

While the premise itself feels larger than life in the way that it is presented, The Drama asks a really relevant question in these politically charged, socially aware times: Where do you draw the line between love and morality? The answer isn’t as simple as one might think, and the film dwells in that complexity. It is awkward and oftentimes painful. I found myself saying “oh no” and “don’t do that” loudly several times during the screening. The enjoyment of the film lies in the messy area of human frailty. It is finding comfort in watching someone unable to easily define the lines. It’s an amazing movie and I do hope that it didn’t come out early enough in the year for it to be left out during award season next year.

My Rating: 4.5 Stars

Get to know Charlie and Emma’s story, catch The Drama on the big screen while you can, this is one performance you’ll want to remember come awards season. Get showtimes here.

April 11, 2026
MOVIE REVIEW: Drama in Search of a Story — Sinag Maynila’s “Desperada”

Directed by Luisito Lagdameo Ignacio and written by Dennis C. Evangelista, Desperada is a film that feels more focused with melodrama than it is about fleshing out its characters and capturing striking images for impact rather than illumination. While the film tackles rather complex social issues, it often relies on transgressiveness to get a reaction rather than to subvert our biases.

The film opens in a cemetery, where Brenda (Robb Guinto) wanders naked through the darkness, confused and lost. She is found by a woman (played by Sue Prado) who runs a shelter and invites Brenda to stay until she recovers. There, she meets others on the fringes of society, each grappling with their own psychosis and disorders. While this setting offers ample opportunity to talk about how the system has failed the most vulnerable, yet the film chooses to zero in on their fleeting joys and breakdowns. Brenda soon becomes the object of another ward, Hesus (Mhack Morales) while later, Brenda sees a childhood friend and her ex-boyfriend, Lucio (Yasser Marta), who eventually joins them at the shelter. But Lucio is a chaotic force that tests Brenda’s resolve to heal. He’s an addict and is constantly thinking about sex and his presence breaks the relative harmony of the shelter.

Desperada

While there’s plenty of opportunity to get real character work done in this film, Desperada doesn’t do any of the hard work required to flesh out the wards’ dysfunctions or psychoses. Funnily enough, the three characters who enter the shelter – Brenda, Lucio, and a character played by Jorge Guda – arrive broken, screaming, or listless, only to become instantly lucid after a single bath. Hesus is quick to fall in love with Brenda and maintains this affection throughout the film though the movie never really gives us any indication what it is in Brenda that caught his attention.

Brenda’s journey is the only one among the wards that resembles an arc, yet it is so rushed that it lacks the necessary narrative beats to feel fully realized. At the beginning, we her brought into the shelter, plagued by panic attacks; we see Hesus shower her with affection, and then the arrival of Lucio. Her physical desires are manifested, only for her to pull away from Lucio’s destructive force. Eventually, she finds her mother, who has been literally caged like an animal in the slums. She resolves her past quickly with one interaction from her one-dimensionally evil father but yet she can’t seem to let Lucio go. And while all these narrative beats are shown, it’s the steps that happen in-between that would ground this story but all we get is the highlight reel.

Desperada

Aside from Brenda, it is the relationship between Sue Prado’s character and her lover (played by Mercedes Cabral) that really feels the most real. They are given moments to show their character’s good moments and weak moments. They get to have quiet moments to discuss the challenges they face running the shelter out of the kindness of their hearts, with Cabral’s character playing a former nun and Prado an orphan. Because most of their scenes unfod without explosive drama, we are able to truly see their humanity rather than just a mere spectacle of emotions.

At times, Robb Guinto and Mhack Morales have moments when they clearly articulate their character’s reality. Outside of the more seasoned Prado and Cabral, Guinto and Morales show a vulnerability, especially in their less dramatic scenes. In contrast, Yasser Marta and Jorge Guda are always performing at a constant “level 10,” almost at the level of camp. Guinto and Morales show better range and I feel that if the material was more nuanced, more fleshed-out, they would be able to give more in future roles.

Desperada

Despite the screenplay’s weaknesses, the film is rather gorgeous to look at. Cinematographer TM Malones delivers gorgeous shots, especially when playing with darkness. He has a few cemetery scenes, which includes Guinto’s striking opening naked scene, that are visually stunning and the way he lights all of Brenda’s mother caged in a shanty creates an emotional effect which elevates the material away from camp.

Ultimately, Desperada is meant more to be more shocking and entertaining than it is groundbreaking. This is evident with the amount of sex scenes that feel unnecessary, the reliance on coarse language, and the way it uses a queer character for comedy. Lucky that Guinto is an arresting protagonist and Prado and Cabral give the film a grounding element that shows the film has way more potential that it allowed itself to explore.

My Rating: 2 Stars

Today marks the last day of Sinag Maynila Festival. While Desperada remains a provocative addition to Luisito Lagdameo Ignacio’s filmography, it stands as a testament to the festival’s commitment to showcasing bold, local cinema that isn’t afraid to push boundaries. Check the official Sinag Maynila social media pages for today’s final screening schedules and theater locations.

April 1, 2026
MOVIE REVIEW: A Very Bloody Sister-Bonding in “Ready or Not 2: Here I Come”

I wasn’t entirely sure if I wanted a sequel to the enjoyable Ready or Not. Starring Samara Weaving and directed by Matt Bettinelli-Olpin and Tyler Gillett, the original was fun and brutal, and it just seemed like a pleasant, refreshing surprise when it came out during the relatively peaceful times (in comparison to today) before the pandemic. It was a wonderful “little” movie that ended with a punch that left everything to the wild imagination of the audience to play with in their heads. Why, then, do a sequel?

In this updated version, I can’t help but see similarities and parallelisms with these elite families and the real-world discourse surrounding the Epstein Files. The film doesn’t shy away from comparisons to how the rich rule the world – evidenced by a hilarious scene that establishes the Danforth’s control over media and global politics in an earlier scene – and how they own everything, down to the police.

From L to R: Nestor Carbonell, Sarah Michelle Gellar, Shawn Hatosy, Elijah Wood, and Nadeem Umar-Khitab in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

Luckily, Bettinelli-Olpin and Gillett return alongside with screenwriters Guy Busick and R. Christopher Murphy to expand on the world and to really explore the cult that Samara Weaving’s Grace’s in-laws were a part of. To raise the stakes and to really get down into Grace’s character, the sequel introduces her estranged sister Faith (Kathryn Newton) along for the ride. The story picks up exactly where we left off in the first movie: the Le Domas mansion is on fire, and Grace is having a cigarette as the paramedics and police come to the rescue. However, her injuries send her into unconsciousness. She wakes up in a hospital, not a victim, but as a suspect for arson and murder. When her emergency contact, which is Faith arrives, it reopens old wounds. There is a palpable friction between them, a huge rift caused by unsaid words and broken promises. Yet, they don’t get to hash this out properly, as members of the Council, the cult the Le Domas family were part of, arrive to take Grace.

Samara Weaving in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2025 Searchlight Pictures.
All Rights Reserved.

Once again, Ready or Not 2: Here I Come pits the ordinary folks against the elite class; the obscenely wealthy families who run the world and who can get away with anything. Due to a complex set of rules, which adds dark humor while giving Grace a sort of fighting chance. Grace and Faith must survive until dawn as representatives from the five of the six families (the Le Domas line are now gone) try to bring her down as a means to wrestle control for the seat of power. Leading this ruthless charge are Ursula and Titus Danforth (Sarah Michelle Gellar and Shawn Hatosy), the current titleholders for the seat of power.

Daniel Beirne, David Cronenberg (portrait) Shawn Hatosy, and Sarah Michelle Gellar in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

Their vast wealth makes them inhuman, portrayed by their lack of respect for any other human being other than those of the family and their idiosyncrasies and individual indulgences. Strangely enough, they only abide by the Council’s rules because a supernatural force holds them at bay. They only respond to a higher power.

Kathryn Newton and Samara Weaving in READY OR NOT 2: HERE I COME. Photo courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

But the film is never political. It’s there in the imagery and in the drama of Grace and Faith, two orphans from the foster system, trying to stay alive as the elite hunt them down like sport. Instead, the film is centers on whether Grace and Faith can resolve their rift long enough to see the dawn. It is a film focused on brutal and bloody fight scenes, massive explosions, and darkly humorous takedowns. One hilarious fight scene between Grace and Francesca (Maia Jae), the daughter of a rival family and was the fiancee of the Le Domas son whom Grace married instead. Both dressed in wedding gowns – Grace wearing hers for practicality’s sake while Francesca wore hers as a symbol of her rage – they go at it in full force at an empty ballroom, using anything they can get their hands on, and with a handicap (I won’t spoil it here but it’s hilarious).

Kathryn Newton and Samara Weaving in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

Samara Weaving is in fine form as Grace. Exhausted and frustrated, yet emboldened by her previous survival, she is unafraid to be brutal, delivering a performance with her entire body. She gives it enough seriousness to make the world believable, while simultaneously camps it up to match the film’s overall tone. Kathryn Newton serves as a great counterpoint to Weaving, allowing Faith to be completely overwhelmed by the proceedings but quickly matches her sister’s ferocity at a believable pace.

Elijah Wood in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

Meanwhile, Sarah Michelle Gellar and Shawn Hatosy offer an interesting brother-sister dynamic. With Hatosy going full-on rich boy psychopath, while Gellar, as expected, finds a nuanced approach. Allowing Ursula a little more texture and layers that makes her interesting, even if the script never digs too deep into it. Gellar truly makes fantastic work of the limited material she’s been given.

Samara Weaving and Kathryn Newton in READY OR NOT 2: HERE I COME. Photo by Searchlight Pictures/Pief Weyman, Courtesy of Searchlight Pictures. © 2026 Searchlight Pictures. All Rights Reserved.

Ready or Not 2: Here I Come doesn’t necessarily do anything different from the first movie; instead, it expands the world, makes the enemies tougher and crazier, and provides Grace someone who brings out more of her character. The film is hard rebuke of a world where billionaires can get away with anything and everything, yet it does it by having a lot of bloody, brutal violent fun in the process. It is a riotous survival story that remains funny all the way.

My Rating: 3.5 Stars

The hunt is back on. Ready or Not 2: Here I Come is currently slashing through theaters nationwide. don’t miss Samara Weaving and Sarah Michelle Gellar in this year’s most wickedly fun thriller, horror-comedy. Check showtimes here.

March 27, 2026
MOVIE REVIEW: “Project Hail Mary”: An Untimely Fantasy

There’s something about Project Hail Mary that makes it feel better suited for a different time. Based on the novel by Andy Weir, the same novelist who also wrote the book for Ridley Scott’s 2015 hit The Martian was based on, there are many similarities between both films. It’s a science fiction movie where the science is made fun and comprehensible for the average viewer, maintaining a tone that’s light-hearted, feel-good, and inspiring. With directors Phil Lord and Christopher Miller and a screenplay by Drew Goddard, the film is really in good hands. With Ryan Gosling as the lead, there is simply no reason for this film to fail.

And for the most part, it doesn’t. Project Hail Mary’ tells the story of Dr. Ryland Grace (Gosling), who wakes up on a spaceship en route to the star Tau Ceti. He initially doesn’t remember who he is nor why he is the only crew member on the ship to survive. As his memories start to return, we discover that a cosmic event has brought an alien organism – dubbed “Astrophage” – through space, which has begun to “eat the sun.” Dr. Grace is part of a global team of scientists who try to understand Astrophage and how to stop it before it destroys all life on Earth. Only one star doesn’t seem to be affected by Astrophage and that’s the star Tau Ceti. On his way to complete his mission – investigate Tau Ceti and why it isn’t being consumed by the cosmic microorganism, Grace discovers another alien species also trying to investigate Tau Ceti. Despite the language barrier, the two figure out how to communicate, and Grace and “Rocky” join forces to save both their planets.

Ryan Gosling stars as Ryland Grace in PROJECT HAIL MARY, from Amazon MGM Studios.
Photo credit: Jonathan Olley
© 2026 Amazon Content Services LLC. All Rights Reserved.

The film is a lengthy 156 minutes, with the first forty minutes detailing the specifics of the mission and how Grace – a disgraced molecular biologist, who is teaching in middle school – becomes part of the space mission. There, he interacts with the project commander, Eva Stratt (a magnificent Sandra Huller), as he tries to understand the science to get them into space.

Ryan Gosling stars as Ryland Grace and Sandra Hüller as Eva Stratt in PROJECT HAIL MARY, from Amazon MGM Studios. Photo credit: Jonathan Olley © 2026 Amazon Content Services LLC. All Rights Reserved.

Then the following act focuses on how Grace and Rocky (voiced and lead puppeteer James Ortiz) establish first contact and form their bond. Finally, the last forty minutes or so bring the mission to its conclusion. It’s a very loaded film, but the pacing is extremely quick and a lot of things are happening that it never feels boring.

Ryan Gosling stars as Ryland Grace in PROJECT HAIL MARY, from Amazon MGM Studios.
Photo credit: Jonathan Olley

The film bombards you with nostalgia as they play very familiar songs, mostly from the ’90s and early 2000s (though I did catch a few older songs as well), while finding heart and humor in the interactions between Gosling’s Grace and Rocky. Their shared need to save their planets has turned two very, very different personalities into great friends. It’s so refreshing, though, to see a world so quick to cooperate; even the idea that the whole world stopped fighting each other to gather their resources and talents to form this project, which they called Hail Mary. For some reason, I find it easier to believe in an alien such as Rocky exists but I am having such a hard time believing in a world coming together to stop ourselves from becoming extinct.

Ryan Gosling stars as Ryland Grace in PROJECT HAIL MARY, from Amazon MGM Studios. Photo credit: Jonathan Olley © 2026 Amazon Content Services LLC. All Rights Reserved.

This is where I feel the film seems to be lost in time. It has fantastic visual effects, creating gorgeous cosmic and interplanetary imagery for Grace and Rocky to inhabit. The action sequences on the spaceship are deeply engaging, and Daniel Pemberton’s score lends a grand, epic scale to the proceedings trying to make it feel as big as it is. In all honesty, every individual part of this film works so beautifully. It is an enjoyable film; I even found myself gasping and holding back tears during two sections because of how well the story unfolds and allows us to really invest in its characters. Gosling is at his most charming, considering the scene partner he spends most time with is an alien puppet and, in flashbacks, the cold and guarded Eva Stratt. Yet, there’s a kindness and hope to the film that feels so tone deaf in a world currently in the throes of World War III.

Ryan Gosling stars as Ryland Grace in PROJECT HAIL MARY, from Amazon MGM Studios.
© 2026 Amazon Content Services LLC. All Rights Reserved.

It doesn’t help that, later on in the film, we discover some very unsavory truths that really begs the question: is the human race really worth saving? Perhaps the film’s ending is Lord and Miller’s way of injecting a bit of cynicism and commentary into the proceedings. By all respects, Project Hail Mary is a really good film. I just wished it had been released earlier, before this global mess we currently find ourselves in. The timing undermines the film’s good intentions. I laughed, I was moved, and I held back tears, but it was the moment I left the cinema, that the film started to feel empty. Instead of being hopeful and inspiring, the film ended up feeling like an escapist fantasy.

My Rating: 3.5 Stars

Is Project Hail Mary the hopeful escape we need right now, or is it just too far-fetched for 2026? Catch it while it’s still on the big screen and let us know: are you team “Science” or team “Cynicism”?

March 21, 2026
MOVIE REVIEW: Hoppers

I love it when Disney and Pixar bring a chaotic energy into some of their animated films. One of my favourites that never really had a chance, having been released at the height of the pandemic was Turning Red. There was a boundless youthful energy to that movie that I really, really loved. Monsters, Inc. also had that spark, and if I go further back, though not with Pixar — The Emperor’s New Groove continues to land all its punchlines even today while still having that lovely, warm beating heart that Disney is known for. I feel that their latest outing, Hoppers, falls into this category. Its premise is deceptive and may seem small and contained, but director Daniel Chong and screenwriter Jesse Andrews (with a story by Chong and Andrews) capture the universality of their protagonist’s love and passion and amplify it until it becomes epic.

Hoppers follows Mabel Tanaka (voiced by Piper Curda), a precocious teen who has been trying to save animals since she was a little girl. A fierce advocate for animal rights and welfare, she is currently in conflict with Jerry Generazzo (Jon Hamm), the mayor of Beaverton, who is running for re-election. The origin of their conflict?

Jerry from Disney and Pixar’s HOPPERS. Photo courtesy of Pixar. © 2026 Disney/Pixar. All Rights Reserved.

Jerry is tearing down a glade to build a highway — the very same glade that Mabel has loved and watched over since she was a young girl.

(L-R): Mabel and Grandma Tanaka in Disney and Pixar’s HOPPERS. Photo courtesy of Pixar. © 2026 Disney/Pixar. All Rights Reserved.

That glade holds a special space in Mabel’s heart, as it is where she and her grandmother often bonded. When Mabel discovers a machine that can put her consciousness on a robot beaver – created by her college professor, Dr. Sam (Kathy Najimy) – Mabel steals the technology, uses it on herself, and enters the animal world in order to help save the glade.

(L-R) Dr. Sam and Nisha in Pixar’s HOPPERS. Photo courtesy of Pixar. © 2025 Disney/Pixar. All Rights Reserved.

From the get-go, Hoppers pushes the boundaries of reality so that we can easily accept the technology that allows the premise to take shape, as well as the way the animal kingdom operates. By allowing the animals to talk, Daniel Chong and Jesse Andrews create a funny world built on cooperation and peaceful cohabitation. As seen in the trailer, they have “pond rules,” which allows for the coexistence of carnivores and herbivores that follow a realistic precept. Outside of feeding, everyone pretty much gets along, with a big focus on beavers and how essential they are to any woodland ecosystem.

A scene from Disney and Pixar’s HOPPERS. Photo courtesy of Pixar. © 2026 Disney/Pixar. All Rights Reserved.

Mabel meets the beaver king, King George (Bobby Moynihan), and a friendship sparks between them. For the first time, the fierce animal activism that has made Mabel isolated and lonely gives way to a feeling of belonging.

(L-R): Ellen Bear, Dragonfly, Loaf, Mabel Beaver, Tom Lizard, King George, Lucy Deer, and Barbara Duck in Disney and Pixar’s HOPPERS. Photo courtesy of Pixar. © 2026 Disney/Pixar. All Rights Reserved.

In her over-zealousness to save the glade, Mabel accidentally rallies the other kings of the animal kingdom (as seen in the trailers), and she must now stop the animal kingdom from taking revenge on Jerry.

Mabel in Pixar’s HOPPERS. Photo courtesy of Pixar. © 2025 Disney/Pixar. All Rights Reserved.

In a way, Hoppers is also a coming-of-age story, as Mabel must discover the consequences of her actions — that good intentions are not always enough — and learn that there are other ways to solve a problem.

(L-R): Mabel Beaver (voice of Piper Curda), King George (voice of Bobby Moynihan), Tom Lizard (voice of Tom Law), and Loaf (voice of Eduardo Franco) in Disney and Pixar’s “Hoppers,” releasing in U.S. theaters March 6, 2026. Photo courtesy of Disney/Pixar. © 2026 Disney/Pixar. All Rights Reserved.

There’s a beautiful heart that fuels this movie. Aside from the surprising friendships and the value that it puts on these relationships, Hoppers also examines the way humans interact with the rest of nature. It never eases up on its humor, action, or fun, yet it manages to ask serious questions about the cost of urbanization.

King George from Disney and Pixar’s HOPPERS. Photo courtesy of Pixar. © 2026 Disney/Pixar. All Rights Reserved.

It manages to bring up these issues while making you laugh so hard. There’s a scene in the council that had everyone in the movie theater gasp and then erupt into boisterous laughter. This is a film to watch with friends and allow yourself to fully suspend your disbelief as the film takes extreme and dramatic twists and turns, while still leaving you that warm Disney hug by the end of the movie.

My Rating: 4.5 Stars

Don’t miss the wild ride! Watch Hoppers now in theaters and join Mabel on her unforgettable adventure to protect nature, forge friendships, and discover the power of doing what’s right. Check showtimes here.

March 9, 2026
MOVIE REVIEW: The Bride!

From the moment the film starts, writer and director Maggie Gyllenhaal already lets us know that The Bride! is going to be an unhinged, out-of-the-box movie experience. The prologue, shot in black and white, has Jessie Buckley as Mary Shelley, speaking to us like a spectre, fully aware of her legacy as the creator and writer of Frankenstein and how she would want to continue this story.

This dense, articulate monologue, amplified by stylized language allows us to get a sense of Mary Shelley as a person. This is important as Shelley then possesses the body of Ida (also played by Buckley), a woman in 1930s Chicago (the film now shifts to color) with connections to the mob.

The Bride! Christian Bale, Jessie Buckley, and Maggie Gyllenhaal | Photo Courtesy of Warner Bros.

With Shelley inside her, she goes on a verbal rampage that leads to ruffling a mobster’s feathers. She is then killed.

Frankenstein’s Monster (Christian Bale), who is later called Frank, visits Dr. Euphronious (Annette Bening) because she is a leading scientist in “invigoration,” or bringing people back to life using the techniques that Dr. Frankenstein employed a hundred years ago.

Frank is lonely, and he convinces Dr. Euphronious to reanimate the body of Ida.

When she is revived, Ida’s mind is fuzzy and weak, making it easier for Mary Shelley to take control. Frank is smitten with her, and with Shelley mostly in control of Ida’s reanimated body, she causes havoc and chaos wherever she goes. As Shelley, having been in the afterlife, knows things, she calls out men’s behaviour while acting freely and loosely in public.

At a club, she is attacked by three men, whom Frank kills to protect her. Their monstrous appearance leads the press to call them “The Monster Killers,” and Frank and Ida/Mary Shelley make a run for it, causing chaos, creating a movement that empowers women to fight back, while being chased by police detective Jake Wiles (Peter Sarsgaard) and his secretary Myrna Mallow (Penelope Cruz), who is actually a brilliant detective herself.

I use the word “unhinged” when I talk about this movie, and I mean it in the best way possible. Maggie Gyllenhaal, along with cinematographer Lawrence Sher and production designer Karen Murphy, turns 1930s Chicago into a gothic, punk fever dream that sometimes leans into a nightmare. Gyllenhaal is not afraid to get gross, gruesome, and brutal.

The performances are all heavily stylized – Penelope Cruz delivers a magnificent 1930s pulp-fiction persona – and Christian Bale is incredible at tempering Frank’s soft, and vulnerable side with moments of tempestuous fury.

Annette Bening shows off her talents, creating a woman and scientist who seems more interested in the science than the people involved, until something inside her stirs. Her reactions to the amazing, impossible things she witnesses feel spontaneous and grounded.

But the true star here is Jessie Buckley. As Mary Shelley, she is an overwhelming persona, erupting with an explosive vocabulary that she flings like weapons in every scene. When she shifts to Ida, she is caught in a hazy mental fog that denies her full autonomy over her body and senses.

Buckley shifts between these two characters with remarkable ease, and the effect onscreen is mesmerizing. Honestly, if she doesn’t win the Academy Award for her role in Hamnet she could easily win it for her role in The Bride!.

What’s deceptive about this film is how it feels focused on the story, allowing the film to go everywhere – Frank’s obsession with a Hollywood musical star (played by Jake Gyllenhaal), the mobster (Zlatko Buric) chasing after Ida to finish her off, and the surprising connection Ida has with Jake – even providing a spectacular dance number that pays tribute to the 1974 comedy film Young Frankenstein by Mel Brooks.

The number evolves into a madcap performance that makes no real sense but is entirely welcomed into this fray. Meanwhile, on the periphery, a story about women galvanized to fight back against the oppression of men lingers on the outskirts of the narrative. There’s genuine anger here and frustration, and Buckley’s Ida/Mary Shelley becomes the metaphor for this, with her unintended reactions to what is happening to her manifesting in the social change that is happening out in the boundaries of this story’s reality. It also makes sense that Dr. Euphronious is also complicit in the domination and control of women’s bodies, since there are some women who do end up serving the patriarchy as well.

This anger and frustration are wrapped in a gorgeously imagined film that is unafraid to be self-aware, off-kilter, brutal and grotesque, and irreverent. Maggie Gyllenhaal’s sophomore effort is a powerful statement, and I can’t wait to see what she comes up with next.

My Rating: 4.5 Stars

Don’t miss The Bride! in theaters now. Witness Jessie Buckley’s mesmerizing performance, Maggie Gyllenhaal’s daring vision, and a story that’s as wild as it is unforgettable. Check showtimes and experience the chaos and brilliance on the big screen!

March 6, 2026