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.