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. 

‘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.

‘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.

So much of Angry Son is defined by its breadth and sincerity, and yet, the film falters for it.

What Firefly speaks well to its audience is a form of sincere storytelling that fully evokes the ageless feeling of adventure.

For a film that tries to come off as having Christian values and even haphazardly throws in a silly portrayal of Jesus for extra points, its message is shockingly nihilistic.

For a piece of history that, outside of the academe, is not discussed in depth, the film treats its audience to a story accentuated by convincing production design and great performances from its ensemble cast, titular trio aside.