I kill giants

DIRECTOR: Andes Walter  LEAD CAST: Madison Wolfe, Imogen Poots, Sydney Wade, Rory Jackson & Zoe Saldana  SCREENWRITER: Joe Kelly  PRODUCER:  Chris Columbus & company  EDITOR: Lars Wissing  MUSICAL DIRECTOR:  Laurent Perez Del Mar  GENRE: Fantasy/Drama  CINEMATOGRAPHER: Rasmus Heise  DISTRIBUTOR: RLJE Films  LOCATION: Belgium, China, United Kingdom, USA  RUNNING TIME: 106 minutes

Technical assessment: 3.5

Moral assessment:  3.5

CINEMA rating:  V14

Fifth-grader Barbara (Madison Wolfe), although intelligent, is unable to face the realities of life, especially the impending death of her mother from cancer. She isolates herself—to the point of building an indoor fort in the house the shares with her siblings—making solitary sojourns into the forest or the beach, living in an imaginary world of dragons and giants.  Believing giants are a threat to her and the community, Barbara sets traps in the forest to kill them.  Due to her eccentric ways, Barbara is often bullied by classmates who see her as weird, bummed out, and a loser.  Then a British girl comes along—Sophia (Sydney Wade) who befriends her and listens to her with sympathy, just like the school psychologist, Ms. Molle (Zoe Saldana), who is the soul of patience and compassion in her efforts to help Barbara.

The affecting performance of the 15-year-old newcomer Wolfe as the main character is the strongest asset of the movie.  Wolfe is able to wed vulnerability and spunk in her role, allowing the viewer to suspend disbelief and see the world as Barbara sees it.  The costumes and details in the production set—particularly Barbara’s gadgets and her basement retreat—contribute much to Barbara’s characterization, while Zaldana’s acting provides a worthy stimulus to Wolfe’s.  Some scenes drag, though, reducing the impact of the more powerful sequences, like the final confrontation between Barbara and the giant.  A vital disclosure is made in the last quarter of the movie, making the ending a trifle too abrupt and weakening the denouement.

I Kill Giants is not about computer generated robotic monsters and monstrous robots vying for the oohs and aahs of the audience, but is about how young persons resort to fantasy as an escape mechanism. It shows the value of dedicated school officials who will go an extra mile to save a hurting soul; it highlights the beauty of naivete, and the power of trust to inspire trust in another.   What initially appears as a villain (spoiler coming!) turns out to be the savior, enlightening an angry person and clearing the path to redemption, and eventually, joy.   

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.      

Jumanji: Welcome to the Jungle

DIRECTOR: Jake Kasdan  STARRING: Dwayne Johnson, Kevin Hart, Jack Black, Karen Gillan, Bobby Cannavale,  Nick Jonas, Rhys Darby;  SCREENPLAY: Erik Sommers, Scott Rosenberg, & Jeff Pinkner; STORY: Scott Rosenberg BASED ON: the book "Jumanji" by Chris Van Allsburg   BASED ON: the film "Jumanji" screen story/screenplay by Greg Taylor; PRODUCED BY: Matt Tolmach, William Teitler, Ted Field, Mike Weber

EXECUTIVE PRODUCERS: Dany Garcia, David B. Householter, Jake Kasdan; GENRES: Action, Adventure, Comedy, Fantasy; MUSIC BY: Henry Jackman; EDITED BY:  Steve Edwards, Mark Helfrich;  CINEMATOGRAPHY: Gyula Pados; PRODUCTION COMPANIES: Columbia Pictures, Matt Tolmach Productions, Radar Pictures, Seven Bucks Productions; DISTRIBUTED BY: Sony Pictures Entertainment; COUNTRY: United States; LANGUAGE: English  RUNNING TIME: 1 hour 59 minutes

Technical Assessment: 3

Moral Assessment: 3

Cinema Rating: A14

MTRCB Rating: PG                        

Back in 1996, an old board game, Jumanji, is found on a beach, taken home, and magically turns into a live game. In present day, in this brand new Jumanji adventure, four high school teenagers Spencer, Fridge, Martha, and Bethany (Alex Wolff, Ser’Darius Blain, Morgan Turner and Madison Iseman) discover the old video game console while serving school detention and are sucked into the game's jungle setting, literally becoming the adult avatars of the game characters (Dwayne Johnson, Kevin Hart, Karen Gillian and Jack Black) they chose. What they discover is that they don't just play Jumanji—they must survive it. To win the game and return to the real world, they'll have to go on the most dangerous adventure of their lives, and change the way they think about themselves—or they'll be stuck in the game forever.

Jumanji: Welcome to the Jungle is fun-filled, entertaining spectacle.  The premise may be quite worn-out given that it’s no longer original but the tweak of the story focusing on teenage issues has worked well to make the entire feature an interesting adventure. Central to the film’s overall comedic appeal are the charismatic actors who enthusiastically portrayed complex, juxtaposed characters. The real-life simulation of the game remains to be an interesting handle although the Jumanji games seen from the point-of-view of a gamer may be a mediocre one, but the heart of the story keeps the movie afloat. The twists and the climaxes provide enough thrills and there is never a dull moment in the film.

Jumanji: Welcome to the Jungle is a coming of age film with the adventures of a real-life game simulation as its backdrop. The teenagers’ issues on identity, acceptance and peer pressure are all tackled in the film. It’s good that somehow the movie gives a sensible take on these matters that concern mostly the youth. There are realizations here and there—of one’s worth not being determined by looks and popularity, of one’s identity not depending on others’ approval, and of friendships not being nurtured by benefits. When the conflict of survival comes in, the film goes even deeper and more meaningful. The challenge after the game—the real life being actually more challenging and the bond that is built on trust and genuine care—all these somehow tell that there is hope in the youth only that they should be given a platform to bring out the best in them.  The film also shows that the avatar game characters are neither immortal nor perfect—they die and they have weaknesses. But the focus must be on the strengths, and weaknesses can be an opportunity in disguise. Real-life lessons are learned in the game—the world of the young. And so the film is also talking to the experienced ones that to teach the young, they must enter into their world. The film however still exhibits some portrayals of violence and insinuations of sexual awakening that may not fit the very young. So CINEMA recommends the film as suited to audiences aged 14 and up.—RRP 

The Greatest Showman

DIRECTOR: Michael Gracey  STARRING:    Hugh Jackman, Zac Efron, Michelle Williams, Rebecca Ferguson, Zendaya  SCREENPLAY: Jenny Bicks, Bill Condon  STORY: Jenny Bicks  PRODUCED BY: Laurence Mark, Peter Chernin, Jenno Topping  GENRES: Drama, Musical, Performing Arts  MUSIC BY: John Debney, Joseph Trapanese  EDITED BY: Tom Cross, Robert Duffy, Joe Hutshing, Michael McCusker, Jon Poll,   Spencer Susser   CINEMATOGRAPHY: Seamus McGarvey   PRODUCTION COMPANIES: Chernin Entertainment, Seed Productions, Laurence Mark Productions, TSG Entertainment  DISTRIBUTED BY: 20th Century Fox  COUNTRY: United States  LANGUAGE: English  RUNNING TIME: 1 hour 45 minutes

Technical assessment:  4

Moral assessment:  3.5

CINEMA rating: V14

The father of Phineas Barnum works as a tailor for the upper class Hallett family.   Mr. Hallett notices the fondness between the pre-teens Barnum and his daughter Charity, and makes his objection to this unforgettable by slapping the boy in the face and warning him to stay away from his daughter or else.  Soon sent away to a finishing school, Charity keeps in touch with Barnum, however, and the two marry as adults.  Barnum (Hugh Jackman) and Charity (Michelle Williams) are happy in their humble world, with their two daughters, but Barnum is determined to keep his vow to give Charity the opulent life she was raised in.  With a bank loan a jobless Barnum purchases a museum, which made no money, prompting him to gather freaks and create a spectacular show of oddities that was to become a worldwide sensation.

No doubt about it—The Greatest Showman is a spectacle to watch, backed up by a strong unequivocal story and heartfelt performances by a meticulously chosen cast.  Jackman is spot on as a life gambler who refuses to sink or be beaten, lightheartedly going through his song-and-dance routines like a pro.  Williams plays the “plain housewife” role with an umistakable touch of class.  Zendaya gives a did-she-really-do-it performance as a trapeze artist, lending the film one of its jaw-dropping moments (in the well-rehearsed choreography with Efron).  Ferguson as “the Swedish nightingale” Jenny Lind is a sight for tired eyes, while the cast of freaks complete with the set, costumes, and animal players ensure the viewer of the show within a show.  The whole movie’s apparent lack of depth is due to its montage-like approach to story telling—its purpose, anyway, is to tell Barnum’s success story in a succession of vignettes, not to vivisect the souls of the characters.  Thus it succeeds both in telling its story while entertaining its audience.

That The Greatest Showman is based on the true story of P. T. Barnum—a name that was to be synonymous with “circus” since the 1880s—should be enough to put the message across to the 21^st century movie viewers that certain values remain strong in the human heart despite socio-cultural differences or personal success.  People do find happiness in the family and fulfillment in marital fidelity.  Despite social prejudice people fall in love, say “I love you”, hold hands in the dark, and defy all odds as they fight for their heart’s desire.

Although the movie is wholesome enough to be seen by young children, there is not enough happy, musical footage to keep them entertained; the adult theme might even bore them, so make sure to explain things to them should you view the movie at home.  Young teenagers can take the story, and might even find good counsel in the example of the Barnum couple who reconcile and mend their marriage (as Barnum lets go of his circus career in order to focus on his wife and children).

Paddington 2

DIRECTOR: Paul King  LEAD CAST: Ben Whishaw, Hugh Grant, Sally Hawkins, Brendan Gleeson  SCREENWRITER: Paul King, Simon Farnaby  PRODUCER: David Heyman  EDITORS: Jonathan Amos, Mark Everson  MUSICAL DIRECTOR: Dario Marianelli  GENRE: Animation, Adventure, Comedy  CINEMATOGRAPHER: Erik Wilson  DISTRIBUTOR: Captive Cinema Distribution, Studio Canal  LOCATION: England, Ireland  RUNNING TIME: 104 minutes

Technical assessment:  4

Moral assessment:  4

CINEMA rating:   V13

MTRCB rating: PG

Paddington 2 brings back the adorable bear Paddington (voiced by Ben Whishaw), now happily settled with the Brown family in a small London neighborhood. He thinks often of his Aunt Lucy who raised him. For her 100^th birthday, he works several odd jobs to get her a pop-up book of famous London landmarks. But the book is stolen, and Paddington is sent to prison when no one—not even eyewitness Phoenix Buchanan (Hugh Grant)—can corroborate his story that a heavily bearded man stole the book. In prison, Paddington befriends the terrifying cook Knuckles McGinty (Brendan Gleeson) who later helps him escape to go after the real thief. Meanwhile, Mary Brown (Sally Hawkins) and the rest of the family discover a link between the stolen book, a missing chest of dazzling jewelry, and a man with many faces.

This live-action/animated film occupies us with its CGI, convincingly merged with breathtaking cinematography of nature and urban outdoors. Then there’s live action and the lead actors’ good acting. We can overlook how the adult actors eclipsed the Brown children’s characterization, who should have been given a more prominent role in this movie meant for children. But all is well, because the screen is undeniably redeemed by the rest of the cast, especially Paddington himself, who is created entirely on CGI. Thanks to Ben Whishaw (of the critically-acclaimed Perfume and The Danish Girl) voicing for Paddington. His voice moves us to tears and his naivete earns guffaws from children and adults in the cinema. Paddington 2 is a skillful mix of technology, direction, script, plot development that holds our attention with its suspense, and a bucket of lessons of disarming good-naturedness.

There is however one point in the story that needs adult guidance: Paddington and friends’ prison break is uncomfortably glorified. The rest of the plot—including Paddington being suffused with grief thinking the Brown family has abandoned him, later he nearly drowns, and there’s the brutishness of life—are all within the context of the story and there is redeeming value. Conflict is resolved in the end, to the point, in fact, of being too explicit about it. CINEMA considers Paddington 2 a clean wholesome film, well-made, with outstanding lessons to impart: manners-manners-manners, gratitude, believe in the goodness in people, unearth them and stubbornly believe in them even if the people themselves don’t, because eventually people have a way of redeeming themselves. The movie draws us in, and we leave the cinema with an overwhelming sense of goodness, and the world bending to receive it.

Maze Runner: The Death Cure

DIRECTOR:  Wes Ball  LEAD CAST:  Dylan O'Brien, Kaya Scoldelario, Ki Hong Lee, Will Poulter, Ami, Ameen, Thomas Brodie-Sangster, Blake Cooper, Jacob Latimore, Dexter Darden,  Rosa Salazar,  Patricia Clarkson & Giancarlo Esposito  SCREENWRITER: T.S. Nowlin  PRODUCER:  Wyck Godfrey  EDITOR: Dan Zimmerman  MUSICAL DIRECTOR:  John Paesano  GENRE: Action/Sci-Fi  CINEMATOGRAPHER:  Gyula Pados  DISTRIBUTOR: 20^th Century Fox  LOCATION: South Africa  RUNNING TIME: 152 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

Staging a daring train rescue operation, Thomas (Dylan O'Brien) and companions Newt (Thomas Brodie-Sangster), Frypan (Dexter Darden), Brenda (Rosa Salazar), and Jorge (Giancarlo Esposito), brave death to free young people from becoming guinea pigs in the organization WCKD’s experiments to find a cure against the Flare virus.  They discover, however, that their fellow “Glader” Minho (Ki Hong Lee) is not among those they have rescued.  Feeling certain that Minho has been taken by WCKD—led by Ava Paige (Patricia Clarkson) and her sinister right hand Janson (Aiden Guillen)—Thomas decides to leave their base camp and go on his own to search for Minho.  Newt and Frypan join him; soon they encounter Gally (Will Poulter) whom they had thought to be dead, but who helps them enter the Last City.  Gally tells Thomas’ that his love interest Teresa (Kaya Scodelario) is now one of the WCKD scientists; captured, Teresa reveals to them that Minho is indeed being used in WCKD’s experimental search for the “death cure.”

Based on James Dashner’s novel The Death Cure the movie—the conclusion of the Maze Runner trilogy—features heart pumping chase scenes that almost never stop—whether the chaser is a giant beetle, the zombified characters called Cranks, or the enemy’s flying machine guns and foot patrol.  Acting and characterization are adequate, with the exception of Scodelario’s somewhat robotic Teresa.  Janson (Guillen, Game of Thrones’ Little Finger) should have been given more screen time to show bigger and meaner fangs as the villain.  Throughout the dystopian milieu, the characters project flashes of vulnerability, justifying the plot’s twists and turns.  However, (spoiler alert!) the too frequent resorting to deus ex machina as a salvation device diminishes the story’s credibility and realism.

Maze Runner: The Death Cure’s redeeming factor is the innate goodness of the young people in the story.  The greater good is the glue that binds all those young people together in spite of past offenses and misgivings.  Friendship, forgiveness, loyalty to ideals, repentance, and courage in the face of danger are values highlighted in the film.  Aristotle once wrote, “He is courageous who endures and fears the right thing, for the right motive, in the right way and at the right times.”  It is the kind of courage that the characters displayed here, and the script is clear enough about how evil deeds are dealt with in due time.  The ending implies that it is these young people who will populate the earth anew, inspiring one to hope they will create “a new heaven and a new earth.”  

Fallen not Forgotten: The Untold Story of the Gallant SAF 44

FALLEN NOT FORGOTTEN: The Untold Story of the Gallant SAF 44 (Documentary) 

In 2015, President Noynoy Aquino authorized OPLAN EXODUS, the Philippines’ attempt to neutralize and capture Marwan, an international terrorist in the FBI’s Most Wanted List, in hiding in Mamasapano, Maguindanao. The mission involved only the SPECIAL ACTION FORCE (SAF) of the police and a few high ranking officials close to the President.  No coordination with the military or local officials in the area was done.

However, the operation, though successful in its objective, suffered heavy casualities—44 SAF men to be exact. Some blame the enemies’ advantage since they were familiar with the terrain. Some blame the miscommunication and lack of coordination.  Some blame the blantant disregard for lives in order to satisfy an agenda.  The question: what went wrong? Could it have been avoided? Was it worth it?  The narrative is told from recollections of the men who survived, officials who were part of the planning, and observers and critics as they try to shed light and answer these questions.

A successful documentary is a perfect balance between showing what really happened and the creative representation so viewers will not only be better informed but be more involved. Fallen Not Forgotten, The Untold Story of SAF 44, does not really provide anything new that one cannot find out online or in the news. After years of controversy, we would have already formed our respective opinions on the issue.  However, hearing the stories of the actual people who were involved in Oplan Exodus lends it more relevance in our reality than just being part of the pages of our history books. The interviews gave a  good perspective and insight from those who were on the ground, those who were part of the planning, those who were just observers and those who critique what happened. Some of the survivors of the Mamasapano encounter actually took part in reenacting some scenes in the documentary and the experience proved to be an emotional moment for the troopers.

One can also appreciate that the presentation did not bank on drama or emotional blackmail to prove a point. Did it point fingers? Probably, but it is inevitable because facts narrated were corroborated by the conclusion. It was necesssary to produce this documentary because at a certain point in our history facts will be forgotten and misinterpreted, thus we lose our chance to learn from mistakes.  There were lapses and loose ends in the production both in the documentaries and the reenactments, but taken as a whole, the film delivered.

Nobody wins in a war. Nobody—even if the objective is achieved and victory is gained. The aftermath of irreparable  trauma, massive destruction, and countless deaths cannot be compensated by political or economic gains. But in this political world, acts of war are inevitable. While there is no humane way to go through it, we expect leaders to exercise outmost compassion and discernment in decision making. The biggest mistake (at least as shown in the film) is the leaders’ incompetent communication before and during the operations, and unimaginable display of insensitivity after.  The documentary also seemed to deliberately avoid echoing the questions in the mind of the public then, such as “Where did the bounty on Marwan’s head go?”   Instead, the film emphasized heroism and commitment to service. As Senator Honasan said, no public servant, other than the police and military, has a social contract to offer or sacrifice his life for the sake of the people. This reminder is timely because after all the stereortyping of the police and military as corrupt and violent brusque bullies, we realize that those—and many do—who have the heart for service willingly lay down their lives for the country’s sake.

Caelestis Productions, Inc.  Executive Producers: ATTY. FELIPE CRUZ, SALLY JO BELLOSILLO  Director/Cinematographer:  ADRIAN BELIC  Director: SALLY JO BELLOSILLO  Co-Director/Edit Producer:  EMILE GUERTIN  Producer: MARICEL REDUCTO  Assistant Director: CHRIS ALMEDA  Editor: CHA ESCALA  Associate Producer: PAMELA CARBONELL   Media Partner: CNN PHILIPPINES 
To view the trailer, please click on the link:

http://cnnphilippines.com/news/2018/01/11/SAF-44-Fallen-not-forgotten.html

Ang Dalawang Mrs. Reyes

DIRECTOR: JUN ROBLES LANA   LEAD CAST: JUDY ANN SANTOS. ANGELICA PANGANIBAN. JOROSS GAMBOA, JC DE VERA DIRECTOR: JUN ROBLES LANA  SCREENWRITER: ELMER GATCHALIAN  PRODUCER:  CHARO SANTOS-CONCIO  GENRE: COMEDY DRAMA  DISTRIBUTOR: STAR CINEMA  LOCATION:  PHILIPPINES  RUNNING TIME:  120 Minutes 

Technical assessment: 3

Moral assessment: 2

CINEMA rating: V14

Parehong nagdududa sa pagkalalaki ng kani-kanilang mga mister ang dalawang Mrs. Reyes na sina Lianne (Judy Ann Santos) at Cindy (Angelica Panganiban). Sa kanilang di inaasahang pagtatagpo ay makukumpirma nila  na bakla nga ang asawa ni Lianne na si Gary (Joross Gamboa) at asawa ni Cindy na si Felix ( JC De Vera). Matutuklasan din nila ang mas masaklap na katotohanan na magkarelasyon ang mga bakla nilang asawa.  Sa tuluyang pag-iwan ng dalawang Mr. Reyes sa kani-kaniyang pamilya ay magsasanib pwersa sina Lianne at Cindy at uupa ng private invetigator upang malaman ang mga plano at ginagawang magkasama ng mga asawa nilang bakla pati ang balak na pagpapakasal ng dalawa sa Taiwan. Magkahalong sakit at galit ang nararamdaman ng dalawang Mrs. Reyes lalo na kapag nakikita nila na masaya ang mga asawa nilang bakla samantala sila ay miserable. Gagawa sila ng mga paraan para magkahiwalay ang dalawa katulad ng pakikisabwatan sa isang macho dancer, pagbubuking sa biyenan at pagpo-post ng open letter na magba-viral sa social media.

Kumplikadong kwento na binigyan ng mahusay na trato ang Ang Dalawang Mrs. Reyes.  Mabigat  ang tema pero naihatid ng magaan. Magaling ang direktor at ang mga artistang ngsiganap lalo na sina Santos at Panganiban. Bagamat maraming eksenang nagpatawa sa mga manonood, epektibo din nahugot ng pelikula ang iba’t ibang reaksyon at damdamin ng mga manonood katulad ng galit, paninisi, awa, unawa at simpatiya. Nakakalibang at nakaka-relate pakinggan ang mga diyalogo. Kuhang-kuha naman ng kamera ang mga emosyon ng mga karakter ng dalawang Mrs. Reyes pati ang mga detalye ng mga ginagawa ng mga asawa nilang bakla na  magkalaguyo. Maganda rin ang mga kuha ng kamera sa isang festival sa Taiwan. Sa kabuuan ay maayos ang mga teknikal na aspeto at nakakaaliw panoorin ang pelikula.  

May kasabihan na sa pagiging totoo sa sarili at pagkatao nagiging malaya ang isang tao.  Subalit may kaakibat na responsilidad ang pagiging malaya. Ito ang hindi isinaalang-alang ng mga karakter na bakla sa pelikula. Sa halip ay ginamit ang pagpapakasal upang subukang makapagtago sila sa katotohanan. Sa kulturang Pilipino na malaki ang pagpapahalaga sa kasal at bilang bansang Kristiyano na sagrado ang turing dito, Ang Dalawang Mrs Reyes ay salungat sa pagpapahalagang ito.  Ang pag-aasawa ay isang panghabambuhay na pagtatalaga ng sarili sa isang relasyon kaya dapat ay buo ang loob at isipan sa pagpasok dito. Kung may isyu sa pagkatao, hindi dapat magpakasal ang isang tao dahil siguradong madadamay ang iba. Sa pelikulang ito biktima ang mga babae na nagmistulang desperado at miserable samantalang nagpapakasaya ang mga dahilan ng pagka-miserable nila. Sa gitna ng kumplikadong sitwasyon ay unti-unting nagkaroon ng pagtanggap, pang-unawa at pagpaparaya sa parte ng mga biktimang babae. Maselan at seryoso ang kabuuang tema na tinalakay sa pelikula katulad ng adultery, deceit, investigative scheme, at same sex marriage. Pawang may mga negatibong epekto ang mga nabanggit na tema sa pamilya at sa lipunan. Nakababahala na tinalakay ang mga ito sa tratong nakaaaliw at maaring isipin ng mga taong may murang isipan na katanggap-tanggap ang mga ito.