Pambansang Third Wheel

DIRECTOR:  Ivan Andrew Payawal  LEAD CAST: Sam Milby, Yassi Pressman, Sam Pinto, Candy Pangilinan, Al Tantay  STORY and SCREENWRITER:  Ivan Andrew Payawal  PRODUCER:  Vic Del Rosario, Jr.  CINEMATOGRAPHY: Cesca Lee  MUSICAL DIRECTOR:  Jessie Lasaten  EDITING: Carlo Francisco Manatad  GENRE: Romantic Comedy  DISTRIBUTOR: Viva Films  LOCATION:  Manila  RUNNING TIME:   97 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V13 (Ages 13 and below with parental guidance)

MTRCB rating: PG

Ilang beses nang nasaktan si Trina (Yassi Pressman) sa larangan ng pag-ibig.  Ngayong lampas-trenta anyos na siya, medyo suko na siya sa pagiging “unlucky in love” at kontento nang maging single hangga’t hindi dumarating ang iginuhit ng tadhana para sa kanya.  Pasok si Neo (Sam Milby) na sa tingin ni Trina’y kaganapan ng pangarap niya, pasado sa sukatan niya, at puwede niyang maging salbabida sa pag-ibig.  Kaya lang, tatay na pala si lalaki—may anak na lalaking 8-years old na isinama ng ina nito sa Canada at ngayo’y nagbalik-Pinas ang mag-ina.  Bumabawi si Neo sa panahong hindi nakita ang anak, pero mahal niya si Trina.  Magsusumamo si Neo kay Trina na mahalin din ang bata at isama ito sa relasyon nila; susubukan naman ni Trina.  Pero babalik ng Canada ang mag-ina, at susundan sila ni Neo na magsa-“sakripisyo” alang-alang sa bata.  Paano na, feeling third wheel na naman ba si Trina?

Pasable si Pressman sa mga eksenang komedya at drama.  Si Milby naman ay nagpasilip ng maturity sa pagganap, pero hindi pa rin sapat para sa hinihingi ng papel niya.  Sa ganitong genre ng pelikula napakahalagang malakas ang chemistry ng dalawang bida—pero hindi ganon ang nangyari kay Milby at Pressman, kaya galingan man nila ang pag-arte ay lalabas pa ring pilit ang emosyon, hindi kapani-paniwala ang kanilang pag-uugnayan.  Sinikap ni Payawal na maiba ang kanyang rom-com sa karaniwan, sa pamamagitan ng pagsaling sa ilang isyu sa mga relasyon.  May mga bagong konsepto siyang ipinasok pero sana’y ipinakita na lang sa halip na isalaysay lamang ang mga ito, total, may mga eksena ring hindi naman kailangan sa daloy ng kuwento, saying ang footage.

Sa likuan ng love story ni Trina at Neo ay ang isang mahapding katotohanang nagsusumigaw na pakinggan: sa paghihiwalay ng mag-asawa, ang pinakamalalim na sugat na ibinubunga ay ang sa puso at katauhan mga anak.  Katulad ng anak ni Neo, si Trina man ay biktima ng paghihiwalay ng mga magulang.  Sa hindi pagkakasundo ng mga magulang, napipilitang pumili ang anak kung kanino siya magiging malapit.  May mga magulang na buong-tapang na susuungin ang single parenthood, ngunit gaano man nila kahusam gampanan ang pagiging kapwa ina at ama sa kanilang mga anak, hindi pa rin ito kailanman magiging sapat o wasto—mayroon pa ring “kulang”.  Punto ng pelikula ay—magtiis ka lamang at maghintay at darating din sa iyo ang taong para sa iyo.  Bagama’t nagbibigay pag-asa ito sa marami (para huwag mag-apura sa pag-big), hindi rin lubos na tama ang pahiwatig nito na ang isang taoý liligaya lamang kung mayroon siyang partner.  Hindi naman pag-aasawa lamang ang bokasyon ng isang tao; may ilan ding may “tawag” sa isang higit na nakatataas na pag-ibig, kung kaya’t wala silang mapusuang nilalang para gawing life-partner.  Palawigin natin ang ating pananaw upang hindi natin sabihing “malas” ang isang tao dahil lamang lagi siyang sawi sa pag-ibig.

Tomb Raider

DIRECTOR: Roar Uthaug  LEAD CAST: Alicia Vikander, Dominic West, Walten Goggins, Daniel Wu  SCREENWRITER: Geneva Robertson-Dworet, Alastair Siddons   PRODUCER: Graham King  EDITOR: Stuart Baird, Tom Harrison-Read, Michael Tronick  MUSICAL DIRECTOR: Junkie XL  GENRE: Action, Adventure, Fantasy  CINEMATOGRAPHER: George Richmond  DISTRIBUTOR: Warner Bros.  LOCATION: South Africa, England  RUNNING TIME: 118 minutes

Technical assessment: 3

Moral assessment: 3

CINEMA rating: V13

MTRCB rating: PG

Defying the wishes of her father Lord Richard (Dominic West), Lara Croft (Alicia Vikander) does not destroy his records tracing the location of Queen Himiko’s tomb in a remote island in Japan. The mythical queen is believed to have power over death and life, and Lord Richard in his journal claims the queen is his link to the other world where finally he can reunite with his wife, Lara’s mother who passed away. Lara uses the journal to track her father, gone missing for seven years and presumed dead. With Lu Ren (Daniel Wu), son of the boat owner who disappeared with Lara’s father, they sail to the island. A turbulent storm sinks their boat and they find themselves captive in the camp where Mathias Vogel (Walton Goggins) leads a sinister mission to retrieve Himiko’s remains on orders of a spurious organization. Getting hold of Lord Richard’s journal from Lara, Vogel’s mission becomes as good as accomplished. But Lara gets in the way, and she won’t stop till she finds her father.

You don’t need to know the video game nor the 2001 and 2003 movie series with Angelina Jolie to appreciate this latest release. The movie is about a father-daughter relationship, and Vikander (best actress for The Danish Girl) brings both vulnerability and daring to Lara’s abandoned daughter and conflicted heiress. But Dominic West’s Lord Richard and Goggin’s Vogel are awkward and feigned. The plot is thin and linear, and the movie resorts to a series of flashbacks to deepen the story, using them all too frequently that the story becomes contrived. But give it to Lara Croft—the strong, singular woman surrounded by all men—for the amazing show of stunts and fist-fights. We braced ourselves for special effects true to the tradition of the Tomb Raider franchise, but found none save for some rotating rocks, explosions here and there, and a location set that shows a few shots of the island but for the most part are in the façade of a temple or inside it. The death-defying scenes would have been breathtaking, but they’re stretched all too long they make the suspense evaporate, like the sequence where Lara dashes into the forest or is washed down the river and gets trapped in a rusty plane suspended in a ravine. So we found ourselves not rooting for Lara Croft at all. There’s foreshadowing of more of Kristin Scott Thomas’ Ana Miller if there is a sequel, but we’re not excited for the next instalment given what we’ve seen.

The movie is a father-daughter relationship story and the harrowing choice between family and serving the greater good to save mankind and, choosing to sacrifice oneself to save the world, the father finds himself circling back to the nucleus of that relationship that he holds dear: I gave up my life so that you, my daughter, might live. The poignant message is complicated by opportunistic attempts to use what is evidently harmful (Himiko’s remains or what she represents) for evil ends. The movie is benign, it does not corrupt, but neither does it inspire.  (ME)

The Post

Direction: Steven Spielberg; Cast: Meryll Streep, Tom Hanks; Bob Odenkirk; Story and Screenplay: Liz Hannah, Josh Singer; Cinematography: Janusz Kiminski;  Editing: Michael Kahn, Sarah Broshar;  Music: John Williams; Producers: Steven Spielberg, Kristie Macosko Krieger; Genre: Drama;  Location: USA; Distributor: 20^th Century Fox; Running Time: 136 minutes.

Technical assessment: 4

Moral assessment: 4.5

CINEMA rating: V14

The Post talks about the true story of the Pentagon papers involving the US government’s knowledge of things but were not revealing to the public.  A few years after the Vietnam War, former military analyst Danuek Ellberg (Rhys) leaks some confidential documents to the reporters of the New York Times. Katherine Graham (Streep), the new publisher and owner of The Washington Post arranges for its stock market launch in order to strengthen its financial health. However, she faces a group of chauvinistic men who feel she is not fit for the job. McNamara (Greenwood), her friend and the Secretary of Defense, complains that another newspaper, The Times, has been writing negative stories about him and one of her editors discovers Ellberg as the source of the materials.  Bradlee (Hanks), the Post’s editor-in-chief, decides to match Time’s scoops sets up a team of Post reporters to weed through the documents they also get from Ellberg. The paper’s management agonizes whether to come out with the story or not as it is either a choice between social responsibilities or a possible repercussion from the Nixon government. Graham decides to run the story and inspires papers across America to support their expose.

It is undeniably a very timely movie given the government-media climate in most parts of the world – the Philippines included. Hence this is a movie that will become timeless in the years to come given the brilliant choice of focus of Spielberg. The direction takes us between the realism and drama. For instance, we see the intensive effort in gathering facts and publishing a story on time during those days on the one hand and the inner conflict of the people at the crossroads of running a story or not. The real strength of the movie is in the formidable performances of its leads—subdued, enthralling and passionate. Streep’s acting is almost musical. Spielberg masterfully paces the narrative with quick history and immersing drama. The movie is a tightly articulated account of the Pentagon Papers and the struggle for integrity and truth.

In a time where fake news proliferates unceremoniously and the public naïve about the manipulation and deceit of media – whether mainstream, social or alternative, The Post offers a reminder that truth is the underlying foundation of journalism. The movie’s theme heavily centers on the struggles of print media for freedom of the press. A struggle still fought to this day if media is to remain faithful to its obligation to keep,the government in check and serve to the public unbiased and relevant information. The movie should be understood as a reminder not only for government to respect media’s purpose and task but also for media itself to remember what they are here for.

Black Panther

DIRECTOR: Ryan Cooler  LEAD CAST: Chadwick Boseman, Lupita Nyong'o, Michael Jordan, Danai Gurira, Martin Freeman, Daniel Kaluuya,  Andy Serkis, Letitia Wright, Winston Duke  SCREENWRITER: Ryan Cooler, Joe Robert Cole  PRODUCER: Kevin Feige  EDITOR: Michael Shawver, Claudia Castello  MUSICAL DIRECTOR: Ludwig Goransson  CINEMATOGRAPHER: Rachel Morrison  DISTRIBUTOR: Walt Disney  GENRE: action, science fiction, fantasy  LOCATION: United States  RUNNING TIME: 145 minutes

Technical assessment: 4

Moral assessment: 4

CINEMA rating: V14

MTRCB rating: PG13

T'Challa a.k.a. Black Panther (Chadwick Boseman) returns to Wakanda in Africa to assume the throne of his late father King T'Chaka. Not long after being crowned King, T'Challa is faced by challenges to protect his homeland from the bad elements in the outside world and to stop the irresponsible sharing of its very own vibranium technology. T'Challa together with Okaye (Danai Gurira) and Nakia (Lupita Nyong'o) launch the South Korea mission when he learns that his American cousin Killmonger a.k.a. Erik Stevens (Michael B. Jordan) in connivance with Klaue (Andy Serkis) is due to sell the stolen vibranium-made weapon artefact to American CIA Everett Ross (Martin Freeman) in Busan. The plan to intercept the deal turns into a high speed car chase that takes Klaue into federal custody. Killmonger breaks into the compound and frees Klaue. The confrontation seriously injures Ross for saving Nakia.  The  mission team brings him to Wakanda where he is cured. Killmonger kills Klaue and takes his body to Wakanda as an offering to the tribe elders. He challenges T'Challa for a fight to claim the throne that he eventually wins and throws the comatose body of T'Challa into the waterfalls. Killmonger takes the liberty to inject the heart-shaped herb to gain the powers of the Black Panther and to start his greed mission to distribute the Wakandan weapon to the whole world.

The Black Panther has a well-developed plot. The story progresses to climax as it unravels secrets and characters of the movie. The director did a good job in giving a light treatment to a supposedly hardcore action sci-fi genre. This helps the viewers to focus on the story and its message.  The fight scenes and the stunts including those by women actors bring excitement and the dialogue in African accents is commendable. The power cast showcases the pool of excellent acting skills especially Boseman. The cinematography gives significant shots in different locations and scenes that blend well with applied advanced technology. It has an impressive production design that puts together the elements of tribal culture and science fiction. Equally notable are the sounds, lights music and the amazing visual effects. Overall, the film is entertaining and watching it is worth one’s time and money.

Sharing is a noble act.  However, just like any well-meaning gesture, this can be manipulated by bad elements in society and may result in more harm than good. This is the dilemma of the character of T'Challa. While this issue is all male orchestrated, woman power comes to the rescue and support of the male leader who is on the side of truth. Hence, there is value in investing and trusting in women’s skills even when it comes to major concerns and serving the national interest. A country, no matter how small and naïve, may possess a treasure in the form of people with values and amazing technologies.

Amnesia Love

DIRECTOR: Albert Langitan   LEAD CAST: Paolo Ballesteros, Yam Concepcion & Polo Ravales  SCREENWRITER: Albert Langitan  PRODUCER:  Vic del Rosario, Jr.  EDITOR: Mark Cyril Bautista  MUSICAL DIRECTOR:  Immanuel Verona  GENRE: Comedy  CINEMATOGRAPHER:  Journalie Payonan  DISTRIBUTOR: Viva Films  LOCATION: Oriental Mindoro, Philippines  RUNNING TIME: 96 minutes

Technical assessment: 2.5

Moral assessment: 2.5

CINEMA rating:  V14

Sumpungin at may pagka-spoiled brat ang baklang si Kimmer (Paolo Ballesteros), na nakatakdang ikasal kay Macky (Polo Ravales).  Isang araw, habang namamasyal sa beach si Kimmer kasama ng kanyang yaya, nahulog siya sa gulod nang pilit niyang abutin ang isang bulaklak.  Natagpuan siya ng mga batang naglalaro na walang ulirat sa dagat at itinuloy siya sa bahay ng kapitan ng barangay, kung saan matutuklasang may amnesia siya, at walang matandaan sa mga pangyayari, kahit ang kanyang pangalan.  Aarugain siya ng kapitan at ng kanyang maybahay, habang inaasahan nilang babalik ang pag-alala ni Kimmer. Pagkat ang soot niya nang matagpuan siya at isang t-shirt na may nakasulat na “Macky” sa dibdib, papangalanan siyang Macky ng isang batang lalaking naging malapit sa kanya. Di kalaunan, makikilala ni Kimmer/Macky si Doray (Yam Concepcion) ang anak na dalaga nila kapitan, at dito sisibol ang isang kakatwang relasyon sa pagitan ng isang matalinong dalaga at isang baklang hindi maalala na siya ay bakla.   

Hindi kinailangan ng Amnesia Love ang katangi-tanging film-making techniques pagka’t ang sinakyan nito ay ang daloy ng kuwento. Bilang komedya, hindi ito nakakatuwa pagkat ang pagpapatawa nito ay uminog sa kapangitan ng asal ni Kimmer na idiniin pa ng kabastusan ng kanyang pakikitungo sa may-edad niyang yaya.  Tila kinailangan pa ni Kimmer na mabagok para magkaroon ng modo.  May mga parte na nakakainip ang pelikula at pinahahaba ang eksena nang hindi naman kailangan.  Hindi rin “pantay-pantay” ang kalidad ng pagganap ng mga pangunahing artista: minsa’y ayos, minsa’y pilit, tuloy nagmumukhang artipisyal ang mga tauhan.

Isang bagay na hindi inaasahan ang nagbigay kulay sa Amnesia Love: ang pagpapakita ng pang-araw-araw ng buhay ng mga naninirahan sa isla: ang kapayakan ng kanilang pamumuhay, ang kaayusan ng komunidad, ang kanilang likas na kabutihan (na hindi pa nababahiran ng makabagong kaguluhan ng lungsod), atbp. Ngunit sa pagtatapos ng pelikula, hindi mapigil ng CINEMA na magtaka kung ano ba talaga ang tinutumbok nito.  Bakit pinagsabong ang katusuan ng babae at ang katapatang magmahal ng bakla?  Hindi patas. Tila ba idinisenyo lamang ang kuwento para palabasin na mabubuting tao din naman ang mga bakla kaya dapat lamang na ibigay ang hinihingi nila—same sex marriage.  Pero di ba kataka-taka na sa islang yaon—na ni hindi pa nga maabot ng cell phone signal—ay wala ni isa man lamang batang magtatanong sa magulang kung bakit dalawang lalaki ang ikinakasal?   

Ang pag-aasawa ay panghabang-buhay na pag-iisang dibdib ng isang lalaki at isang babae, upang maganap ang kalooban ng Panginoon na magpatuloy ang lahi sa pamamagitan ng mga supling na ibubunga nito.  Huwag nating hayaang malito ang ating mga anak—lalo na ang mga musmos—at tanggapin nila nang walang tanung-tanong ang mga paniniwalang lihis sa itinakda ng kalikasan.

I, Tonya

DIRECTOR: Craig Gillespie  STARRING: Margot Robbie, Sebastian Stan, Allison Janney Julianne Nicholson, Bobby Cannavale  PRODUCER: Tom Ackerley, Margot Robbie, Steven Rogers, Bryan Unkeless  SCREENWRITER: Steven Rogers  MUSIC: Peter Nashel  CINEMATOGRAPHER: Nicolas Karakatsanis  EDITOR: Tatiana S. Riegel  GENRE: Biography – Drama  PRODUCTION COMPANY: LuckyChap Entertainment, Clubhouse Pictures, AI Film  DISTRIBUTOR: Neon  COUNTRY:  United States  LANGUAGE: English  RUNNING TIME: 119 minutes

Technical assessment:  3.5

Moral assessment:  3

CINEMA rating:  V16

I Tonya is a biopic of American Olympian skater Tonya Harding. The movie employs “mockumentary” breaking of the 4th wall techniques to lighten the tragic fate of the protagonist. The movie follows Tonya as she wades through her abusive mother molding and training her to become a figure skater through negative reinforcement. Through rigid training, Tonya becomes the best female figure skater but her social status and unconventional choices prevent her from being acknowledged as one. At 15 or 16, she marries 18 year old Jeff Gillooly who seems to confuse her with a punching bag. Meanwhile, Tonya diverts her pain to perfecting her craft. She becomes the first figure skater to complete a triple axel in the competition. She qualifies for the 1994 Olympic competition, but an half-witted plan of her husband and her bodyguard to disable her competitor, Nancy Kerrigan, backfires.  Nancy finishes 2nd while she lands in the 8th place, her husband and cohorts are arrested and she, banned from figure skating, resigns to her fate shifts to boxing.

The tragic life of Tonya is somewhat lightened by the style Gillespie has taken. But the laughters are not sustained as the discomforted audience choke a bit every time Tonya breaks the wall in an effort to annotate her pain through witty sarcasm. The story is not unique but the story telling is. It is almost embarrassing to be entertained by Tonya’s life knowing that more than half of it is real. But the biggest success of the film is Robbie’s explosive personality and dynamic performance (some scenes could not keep up with her).  This movie not only chronicles one of the most controversial scandals in figure skating history but also leaves a dent in our consciousness that audiences will remember long after the end credits roll. Mostly because it does not try too hard to shove the truth to the audience but explores the different sides of the truth without melodrama but with more impact.

Pain damages and breaks people. But it is the emotional, not the physical pain, that leaves deeper scars. From the beginning, Tonya was in pain—her mother’s verbal abuse, the discrimination of the figure skating environments and her husband’s violence. Eventually that pain defined her self-worth that she needed to resort to nonconformity to redefine herself. The very structure that needed to support a person’s dignity and growth were the very ones that destroyed them. Perhaps this is a strong reminder for all of us. As part of the structure, our role is to be the nesting ground for a person to discover, to form and to strengthen his humanity. We need to be the healer of pain not the creator of wounds. We need to build bridges with acceptance and respect, not walls that segregate and divide.  As individuals, we need to discover our worth in our hearts and souls regardless of what the structure offers. We need to realize that the first aid to the pain of rejection, abuse and violence is the love we give ourselves. The movie needs mature and discerning audiences to understand the layers of meanings between scenes.

The Shape of Water

DIRECTOR: Guillermo del Toro  LEAD CAST: Sally Hawkins, Octavia Spencer, Richard Jenkins, Michael Shannon, Michael Stuhlbarg, Doug Jones  SCREENWRITERS: Guillermo del Toro, Vanessa Taylor  PRODUCERS: J. Miles Dale, Guillermo del Toro  EDITOR: Sidney Wolinsky  MUSICAL DIRECTOR: Alexander Desplat  GENRE: Fantasy, Drama  CINEMATOGRAPHER: Dan Laustsen  DISTRIBUTOR: Fox Searchlight Pictures  LOCATION: Ontario, Canada  RUNNING TIME: 123 minutes

Technical assessment: 4.5

Moral assessment: 3

CINEMA rating: V14

MTRCB rating: R-13

Imagine tale as old as time Beauty and the Beast. Only that the beauty, Elisa Esposito (Sally Hawkins), is mute and is not stunningly beautiful. The fish monster (Doug Jones) never transforms into a handsome prince. The setting is the 60s with America and Russia in a race for global domination. Colonel Richard Strickland (Michael Shannon) captures the amphibious creature, calls it the Asset, and wants him cut open for research. Elisa is a cleaner in this secret government research facility, and in the most lyrical and romantic way, connects with the Asset, through music and eggs, because though mute, she is not deaf, and her boiled eggs become the monster’s favorite dish. She rescues the Asset with the help of coworker Zelda (Octavia Spencer), next-door neighbor Giles (Richard Jenkins), and a surprising ally Dr Hoffstetler (Michael Stuhlbard) who is actually a Soviet spy.

The Shape of Water is a love story with political undertones. Director Guillermo del Toro of the much-loved Pan’s Labyrinth (2006) assembles an alliance of all that the bigotry in Colonel Strickland hates: Elisa is mute, Zelda is black, Giles is gay, and Hoffstetler is a migrant. They’re all marginalized and lonely, and they set free another lonely creature, the captive monster. Del Toro, who also made the screenplay together with Game of Thrones writer Vanessa Taylor, says he made the story simple so he could make the characters complex. Hawkins’ Elisa benefits the most from this approach. Her face speaks a range of emotions: disgust, rage, tenderness, amusement. She loves, she cannot speak, and for director del Toro who wins a Golden Globe for this film, that’s what love means: love renders us speechless. If the theme and acting don’t mesmerize you, the visuals will. Can anything be more graceful than water, or people in water, and the music (another Golden Globe winner) that flows smoothly with every motion and emotion in the story. We note that The Shape of Water takes time to digest. In the cinema, it’s best appreciated for its visuals and acting. It has adult content, with nudity, some gore, and cusswords, as called for in the story. It’s on hindsight that the message dawns on you, sticks to you, and you are magnetized.

The story happens in the turbulent 60s, when US President Kennedy is assassinated, Martin Luther King leads the civil rights movement, there’s the Vietnam War, and anyone who dissents is branded a communist. We don’t see these in the film. Instead, we hear the voiceless Elisa and we see the marginalized Zelda, Giles, and Hoffstetler saving the strange creature from death by vivisection. The film is a political commentary with so much hope. Indeed, the film’s message of social justice is a fulcrum to the Church’s uncompromising respect for life and its condemnation of summary killings. Cardinal Tagle in his homily during the mass in “Walk for Life” in Manila on February 24 said that life, however ugly it may seem (like the Asset or disabled like Elisa), is a gift from God. We all must protect that gift from the Colonel Stricklands of this world who seek to extinguish life. It’s been three years since Pope Francis came to the Philippines. Mercy and Compassion for the poor in the periphery, which was the theme of that Papal Visit, rings ever loudly today. The Shape of Water echoes that theme.

Sin Island

DIRECTOR: Gino Santos  LEAD CAST: Coleen Garcia, Xian Lim, Natalie Hart, TJ Trinidad  SCREENWRITER: Keiko Aquino, Jancy Nicolas  PRODUCERS: Olivia Lamasan, Malou Santos, Charo Santos-Concio, Carlo Katigbak  EDITOR: Noah Tonga  MUSICAL DIRECTOR: Cesar Francis Concio  GENRE: Erotic thriller, Adult drama  CINEMATOGRAPHER: Mycko David  DISTRIBUTOR: ABS-CBN Film Productions  LOCATION: Philippines  RUNNING TIME: 106 minutes

Technical assessment:  3.5

Moral assessment:  2.5

CINEMA rating:  V18  

MTRCB rating: R-16

Flight attendant si babae, photographer si lalaki. Parehong seksi, parehong good-looking.  Bagay na bagay, inlab na inlab, at tipong magha-honeymoon hanggang 90 years old na sila sina Kanika (Coleen Garcia) at David (Xian Lim).  Pero isang araw, kukulimlim ang langit nila nang—dahil sa isang “aksidente”—ay babagsak ang wedding photography business ni David.  Sabay na maglalaho ang mga kliyente at ang self-confidence ni David, made-depress ito, lalo na’t laging naiiwang mag-isa ng asawang lumilipad sa ibang bansa. Samantala, sumisimple naman kay Kanika ang pilotong si Captain Stephen—may asawa din pero napipinto ang pagihiwalay—at di maglalaon, hindi na maitatago ang umuusbong na attraction nila sa isa’t isa.  Pagkatapos ng isang matinding confrontation nila Kanika at David, magpapalamig si David sa Sinilaban Island—a.k.a. “Sin Island”—at dito siya madadarang sa init ng panunukso ni Tasha (Natalie Hart) na malaki pala sira sa ulo.  Dito na rin mag-uumpisa ang kahindik-hindik at madugong parte ng istorya.

Kapuna-puna na dumarami nang mga pelikulang Pilipino ang nagtatampok ng magagandang tanawin sa Pilipinas, tulad ng Siargao atbp.  Naipakita din ng Sin Island ang ganda ng kapaligiran ng lugar, kaya lang, wala naman totoong “Sinilaban Island” sa Pinas—inimbento lang kung baga, para magkaroon ng “Sin Island”.  Catchy nga naman bilang title, biruin mo, isang  Pulo ng Pagkakasala!  Dahil sa pamagat na “Sin Island”, agad maiisip ng manonood ay “Siguradong bomba ito.”  Meron ngang “bomba”, pero dahil maayos ang kuha noon ng kamera, hindi naging salaula ang bed scenes sa Sin Island.  Tuloy, hindi nito nasapawan ang kwentong tiyak na mahahanapan ng magandang aral ng mga manunood.  Bagama’t makatotohanan at nagpapakita ng maturity ang pagganap ni Lim at Garcia, lalo na sa mga pag-aaway nila, medyo nagkulang naman ang characterization ni Tasha bilang kontrabida—hindi isinasalarawan ang ugat ng kanyang murderous streak, tuloy maiisip mo sa simula, “Tinotopak lang ba ito o talagang me dugong mamamatay-tao?”

Bagama’t makatuwiran ang pagtatapos ng pelikula, ang Sin Island ay para lamang sa mga may hinog na isipan, at sadyang makaka-relate sa kuwento ang mga may asawa na (o nagbabalak mag-asawa pa lang) pagka’t ipinapakita nito kung anu-anong mga bagay ang nagiging dahilan para magkatabangan ang mga dati’y maiinit magmahalan. Nandiyan ang pisikal na pagkakalayo, ang pambubuyo ng mga kasamahan, ang kahinaan ng ibang tao, at higit sa lahat, ang kakulangan ng tunay na pagkilala at pagtanggap sa sarili.  Ang malalim na pagsusuri at pagkilala natin sa ating pagkatao—anuman ang estado natin sa buhay—ang mag-aakay sa atin tungo sa matalinong paglutas ng kahit anong suliraning ibabato sa atin ng pagkakataon.  Ang pagkilala din sa tunay nating pagkatao—sa liwanag ng kaalamang tayo ay nilikha kawangis ng Lumikha—ang magbibigay lakas sa atin upang mapaglabanan natin ang laganap na mga pag-uugaling nakakalason sa ating isipan at manatili tayo sa wastong landas na magbibigay-buhay sa atin at sa ating kapwa tao.