Some have pointed out the mawkishness of ‘Rental Family’ — too sentimental, people-pleaser, and even unrealistic. But these points, the wholesomeness, and its ability to shed a tear make it great, easy to appreciate, love, and rewatch.

In a sea of forgettable thrillers dumped on streaming platforms, a handful of films survive the streaming curse and are still being released in theaters with the same quality as these made-for-streaming films. For the case of ‘The Housemaid,’ while scenes from this film are something you would see posted over and over again on Facebook reels or TikTok, and the film’s ‘Gone Girl’-esque approach was done way too many times now, there’s a charm to this film that makes it worthy to sit through. 

‘It Was Just An Accident’ is both a bold, remarkable feat of powerful performances and filmmaking precision, and an angry, passionate protest against state oppression.

Through its artistic eccentricities and a vast alteration of the franchise's textual and tonal DNA, 'Return to Silent Hill' is surprisingly one of the more viscerally experiential pieces of genre filmmaking under the guise of translating a video game property to the big screen.

If we bare them down to their simplest forms, a lot of the ideas in ‘28 Years Later: The Bone Temple’ shouldn't mesh together at all. Except it really does.

‘Primate’ is a brisk, riotous picture that delivers what you’d expect from its synopsis, and does so with striking visual aptness and a whole lot of blood.

Rian Johnson captures magic for a third time in a row with the newest installment of ‘Knives Out,’ led by a superb Josh O’Connor and Daniel Craig. Faith, forgiveness, and locked rooms all collide to make something surprisingly tender and relevant.

Maraming gustong gawin ang ‘Love You So Bad.’ Ang malaking kaso nga lang, masyadong mabilis ang pagbabahagi ang lahat ng relasyon, karakter at storyline. ‘Di man lamang hinimay-himay, basta bato lang ng bato; bahala na sa audience kung sasapul ba sa ulo nila o hindi. Nung umalis nga ako sa sinehan, wala akong dala-dala na galing sa pelikula, maliban lang sa naririndi kong mga tainga. 

‘Scarlet’ is a volatile picture in more ways than one, settling for operatic bombast but still desiring to be a reconstruction of the Shakespearean tale with only a slither of the finesse.

‘The Ugly Stepsister’ is a bold social commentary on how women are not born with a criterion for perfection in mind, but instead are deliberately instilled for ages.

‘Call Me Mother’ demonstrates that motherhood transcends gender and is not defined by birth or blood. It comes in many forms, each leaving a meaningful impact on a child’s life.

‘Unmarry’ by Jeffrey Jeturian explores annulment as a grueling negotiation with law, memory, and selfhood. Anchored by strong performances, the film is restrained, compassionate, and at times, heartbreaking.

At the end of the day, I would have loved for ‘Shake, Rattle & Roll: Evil Origins’ to explore more of colonial horror and how it haunts generations, but it barely gives us anything to work with.

The Gawad CCP Para sa Alternatibong Pelikula at Video, commonly referred to as Gawad Alternatibo, remains a testament to the enduring power of alternative cinema as a space for voices that push, question, and reimagine. Across narrative, experimental, documentary, and animation short films, this year’s lineup brings together works that move away from familiar formulas and instead sit with stories that are often overlooked, uneasy, or hard to pin down. These films are grounded in lived experience, shaped by personal, political, and social realities, and made with an intent to question how stories are usually told. For 37 years, the Gawad Alternatibo continues to champion alternative filmmaking as a form of resistance.

‘Bar Boys: After School’ follows former dreamers who have already crossed the finish line they once chased, only to find themselves facing a different kind of uncertainty. Ten years pass, and the film places licensed lawyers beside struggling students, showing how ambition does not vanish with success but takes a new shape. The film carries familiar lives forward and opens the story into a reflection on fatigue, compromise, and a form of hope that persists within a system that fails to meet people halfway.

‘Manila’s Finest’s’ posturing of a distinct personal experience during a pivotal moment in Philippine history belies a more minutely bleak, complex, and gut-churning deconstructive narrative.

Krystel Go and Earl Jonathan Amaba lead with charm in this romantic film, where two persons with Down Syndrome find love and grow up. ‘I’MPERFECT’ roots for them like we do, but tells their story while holding our hands more than it needs to.

Even the endearing performances of Paul Mescal and Josh O’Connor, along with their undeniable chemistry, are not enough to rescue ‘The History of Sound’ from being a dull period drama. It is such a pity that it was wasted by a very boring execution.

Overall, the story of Leon Le’s ‘Ky Nam Inn’ is beautifully executed with such care for Vietnam's culture and history.

Sana Sinabi Mo’ proves that love and religion are a game of tug-of-war. Even when faith tests loyalty, love persists across time and distance.