Maryo J. delos Reyes' "The Unmarried Wife" - Lines That Make The World Tremble

If it seems like Angelica Panganiban's high wire act in this flick is analogous to being in a great movie, let's thank the heavens and attribute this to brilliance and insightful performance. In fact, this fantastic actress admits to finding her role easy. Opps! Slip of the tongue? She did say that in an interview.

To be fair, there are situations in the story of Maryo J. delos Reyes' "The Unmarried Wife" that's cunningly relatable. In fact, I texted a friend who reminded me of the protagonist's marital dilemma. But I am getting ahead of myself.

Ann Victorio (Angelica Panganiban) is a fairly successful advertising director of a "morally upright" firm whose battlecry is the rather hypocritical "We take care of families". She's just been promoted so Ann tries to spend her time proving it was her boss' best decision since mankind discovered Skype and viber. But let me backtrack a bit.

Geoff (Dingdong Dantes) met relationship-weary Ann over coffee. Her mother's a screwed up floozy (Irma Adlawan) who has affinity to bad boys and boytoys so most of Ann's growing up years were spent convincing herself she wouldn't end up like her mother. She was ready to brush off romance until Geoff offered her free coffee. After a zippy courtship, Ann falls for the handsome rascal - and they find themselves in a blissful marriage. A son follows thereafter.

Unfortunately, not all fairy tale romances end up with princesses riding into the sunset. Real life happens and we eventually make choices too far removed from lollipops, roses and cotton candy dreams. The busier Ann gets, the more sexually frustrated Geoff becomes - so he finds a way to remedy his needs. But Ann catches him in flagrante delicto. Trouble in paradise. What did you expect?

As if that weren't enough, Geoff does it again just when Ann was softening up her resolve. For awhile, I was enjoying Ann and the mistress' (Maricar Reyes) heated exchange at a cafe. That could be the highlight of this film. But not quite. Angelica really takes command all throughout.

Ann reminds Cristina (Reyes), "Nuknukan ka ng tanga at utu uto." The exchange was too delectable I was ready to see Amor Powers join the fray. She reasons why she wonn't even dare slap the lovely chef,"Ayokong madumihan ang kamay ko. Wala akong dalang panlinis." At this point, I was ready to tap my stilettos and cry, "Bravo!" Cristina was of course bragging about her "bedside manners" but no need to convince us, Maricar. We have "seen" exactly what you're capable of doing. Tee hee.

Ann eventually meets laidback guapito Bryan (Paulo Avelino) who refuses to talk about his own failed relationship. While others try to seek catharsis through a talkfest, our flawless Romeo just wants to love Ann - and be her knight in shining armor. But something's not quite right somehow.

What becomes of Ann's marriage? Will Bryan give her a new lease on love?  

The answers are Facebook status-worthy. Yup, they're complicated. In this rigodon of couplings, a demented lady suddenly emerges from nowhere - Louise (Denise Laurel) who breathes, scratches and screeches like a scorned dragoness. While I realize that this was designed as the story's excuse from predictable triteness, the narrative strain seemed too abrupt and flimsily written. In fact, Louise was unadulterated caricature. She even changes her mind as briskly as shooting stars blaze the sky.


UNSYMPATHETIC

It is rather hard to sympathize with Dingdong's character, to be honest. This is a father and husband who would rather hump on his working day. Come on. Sex is pleasurable but in the real world, there is a time for canoodling and a time to earn your keep. 

So while his wife is busy, there's a slew of productive activities to be had, not the least of which is putting his big hands to good use. Like playiing his organ? Or his piano? Or ukelele. Tee hee. Dingdong Dantes is more than competent, and even intermittently compelling, but his character is rather pre-ordained like a total jerk. When he finally declares that he will wait for "forever", I couldn't help but think, until the next itch comes along? Besides, calamine lotion is cheap noh. Go buy yourself a barrel.

Paulo Avelino's character seems like an afterthought, written like a narrative device used to shift plots. In fact, he only appears 38 minutes into the movie, then disappears again. He resurfaces a good 73 minutes later to fulfill his third wheel duties. Of course I don't mind seeing more of his gorgeous face, but his character could have been fuller.

This takes me back to Angelica Panganiban who transforms a cinematic circus act into a legitimate heroine worth rooting for. For this alone, she validates what could otherwise turn into a mawkish urban melodrama. She is cinematic magic personified.

LINES THAT MAKE YOU GO...

If you love funny, silly, insightful, memorable or just plain droll cinematic lines, there's a cadre of them here. Parloristas and gay beauty contestants, take note! 

Angelica to Dingdong: "Huwag mo akong gawing parausan kasi mawawalan ng silbi ang kabit mo!" Fierce, right? Which husband would want to shag someone as briery?

Dimples to Angelica re:annulment - "Baka hindi kumampi sa yo ang batas at ang mundo." International crime of arbitration? 

Angelica to Denise (when the former was accused of breaking up an already broken marriage) : "Hinihingi ko ang isang bagay na kailanman hindi hiningi ng mga kabit ng asawa ko." Sniff! Sniff!

Bing Pimentel to Angelica (talking as a new employer): "I firmly believe that we are more than our mistake!" Miss Universe Q&A ?

Finally, Martin Escudero delivers his indellible contribution: "Ginagawa nyo kaming mga emotional punching bag para sa mga hanash n'yo sa buhay."

If only for these quotes alone, you ought to bring your pompoms to your nearest cinema and get ready to cheer! Go!

Read our featured post on Cinema Bravo and why we sometimes hate Web Criticism:
- http://makemeblush2.blogspot.com/2016/10/cinema-bravo-film-criticisms-execrable.html


#unmarriedwife   #angelicapanganiban   #dingdongdantes   #pauloavelino   #maricarreyes

Erik Matti's Tiktik: The Aswang Chronicles - Visual Feast

Makoy (Dingdong Dantes) is an unemployed engineer who braves the craggy and tempestuous roads of a remote village to fetch Sonia (Lovi Poe), his pregnant partner who’s had enough of his arrogant ways. Upon Makoy’s arrival, Sonia refuses to see him. Fely (Janice de Belen), Sonia’s mother, is only too willing to drive him away. She would rather see Sonia raise her child alone than wed her off someone like Makoy who unwittingly finds an ally in mild mannered Nestor (Joey Marquez), his prospective father-in-law.

To find his way back to Sonia and Fely’s favor, Makoy volunteers to pay for swine that will be served as lechon for a birthday celebration. Nestor, along with oddball cousin Bart (Ramon Bautista), takes him to the market. Unfortunately, the rates aren't within his financial means. Bart recommends a slaughterhouse run by a nomadic people: “Sabihin n’yo lang pangalan ko, makakamura kayo.” The place, it turns out, is a side show of grim countenance where they encounter street smart kids who eventually offer them the merchandise at half the price. This becomes Makoy’s ticket to the dining table later that night. However, Sonia won’t budge. And Makoy is once again turned away. A man’s ego can only take so much.

Then Nestor starts hearing the peculiar sound that’s getting fainter by the second: “May aswang. Pag malakas ang tunog, malayo pa. Pag humihina, malapit na sila.” In the dark of night, Nestor gets a visitor – his Pareng Antonio and son Abel. Little did they know that the pig they bought has transformed into Kulot (RJ Salvador), the curly haired leader of the street urchins who sold them the pig. The swine monster comes after Sonia, but he gets killed in the heist. But their troubles aren't over yet. The slain monster's cohorts have assembled outside ready for carnage. Before long, Pareng Antonio is devoured like roadkill. More than anything, the hungry pack wants the child in Sonia’s womb. Meanwhile, the embattled family, alongside nosy neighbor Aling Pacing (Rina Reyes), braces to defend themselves – with asin (salt), bawang (garlic), buntot pagi (manta ray’s tail), methanol bombs and a bottle of lana (oil) that boils when tiktiks are nearby. Will Makoy, Sonia and their child survive the impending siege of these folkloric monsters?

Director Erik Matti’s “Tiktik: The Aswang Chronicles” is a sumptuous re-imagining of the “aswang” mythology, punctuated by visually succulent images filmed entirely before a “green screen”. With green screen, it's simple to superimpose anything or anyone into any shot. You can transport yourself to the moon, appear in your favorite film, or make a presentation along with all the relevant facts and figures. This is a ground breaking technological splendor in local cinema. I have never seen a film as gorgeous as this since Pedro Valdes’ “Dagim”, though the latter employed a different technology. 

The first half of the narrative is the stuff of cinematic magic. It's almost a fully realized concept. The film creates an atmosphere as stunningly otherworldly as the settings in Peter Jackson and JK Rowling flicks. They stick in your mind like some burdensome nightmare. Briskly paced and peppered with tongue-in-cheek humor, “Tiktik” is a refreshing journey into cinematic netherworld.

Unfortunately, the narrative structure crumbles as climax is being built. The onslaught of monsters soon turns tedious and errr... repetitive. You’d have thought by the time Tatang (Roi Vinzon) arrives, all hell would break lose and the excitement would further escalate into pulse-pounding, nail-breaking tension. At this point, the narrative element plateaus, losing much of its cinematic steam. The baby switching scene is particularly a head scratcher. A powerful flying monster as gargantuan as Tatang could easily take the poor child and the four baby-carriers in one clean sweep. He doesn't have to choose at all. 

During the house offensive, the monsters could have gone straight to the roof knowing fully well they’re salt and garlic-free. The Visayan folkloric “kikik” operates the same way: they find themselves on roofs, drill a hole and insinuate their elongating tongue on a pregnant mother’s engorged belly. Yet the tiktik’s intrusion took forever; a cinematic conceit to prolong the siege surely. 

This aforementioned tack is conspicuous early on. When Pareng Antonio and son arrive in Nestor’s home, they were urgently instructed to run for cover, yet after a painfully long wait, they just stood there waiting for kingdom come; and came it did. You couldn't help but think: “Good for you! You’re too stupid to live.”

How about the events surrounding wife Fely's eventual demise? When Nestor finds his wife being pulled and munched on like a piece of meat in the corner of the room, he stands and pretends to fall – several times – instead of the “fight-or-flight” instinct of protecting a spouse. Is this part of the running gag that perpetuates Nestor’s character – that he indeed doesn't have the balls? Like some bad joke that needed to be told? This doesn't bode well because you don’t build up empathy by providing your audience with idiots who won’t even try to protect their loved ones when they need their help the most. In the scheme of things, idiots die in horror stories. Yet Nestor lives on to see another day. Go figure. It’s more “kainis” than “katuwa”.

Personally, I still believe that horror and comedy are an ambiguous cinematic pairing. These two discrepant emotional entities - fear and joy - are as mismatched as a pair with one piece Crocs and another Louboutin. Can you validly say you shiver with fear then shift easily to a joyous laughter? You have to be twisted to say "yes". If you want to be truly scared, try Ben Affleck's "Argo". I was hyperventilating in my seat waiting for them to board their Swissair plane out of Iran.   

Dingdong Dantes turns in a consistent, albeit solid performance, thus his depiction of a not-so-lovable loafer is valid and believable. He succeeds to make his audience root for him despite his brassy and course demeanor. That, in itself, is a testament to his escalating thespic brio. However, Lovi Poe, though fetching, is hobbled by her underwritten character. Sure, we know she’s the town’s only source of inspiration (the only girl to have graduated  from college - and proceeded to become a teacher) – until she got knocked up. She wasn't given much except look bored or exasperated - and anything between these emotional brackets. This clearly isn't much.

It’s actually Janice de Belen and Rina Reyes who shine in their limited screen moments. De Belen was feisty and funny. Reyes was restrained when she could have gone to town as the "town tsismosa". Now imagine what Irma Adlawan could have done for the same role? I shiver at the thought. The street urchins – Mike Gayoso (as Ringo), LJ Reyes (as Hilda), RJ Salvador (as Kulot), Cris Pastor (as Mutya), et.al. were also adequately sinister. In fact, the throng reminds me of Joel Schumaker's “Lost Boys” – or even the gang from "Twilight". They were wonderfully conceived and executed. If only a more legible second half of the narrative was ironed out adequately.  

But all these quibbles are moot and academic. The fact is, this is a groundbreaking visual feast and has to be appreciated and patronized so that the think tanks of the industry can consider making more in the same cinematic constitution. It’s not a perfect film, as other critics would make you believe, but it isn't run-of-the-mill either. There isn't much emotional pillar to hang on to so you leave the theater disconnected from any of the film's character. But the movies are a visual medium, and "Tiktik" succeeds in this aspect. Michiko Yamamoto, the film’s script consultant, could have tweaked its script to a more compelling finish.  

Lastly, the limited nationwide screenings of "Tiktik The Aswang Chronicles" can only harm the production's chances of making money (although it's said to have grossed P10 million since its opening). In Cebu, for example, Ayala Cinema doesn't carry this title in their four-cinema movie house. SM Cebu, on the other hand, only screens "Tiktik" from 4 PM onward - thus they only have 3 screenings per day, as it is in several SM cineplexes in Metro Manila (In Megamall, it shares a theater with "V/H/S"). Same is true in Davao City (no "Tiktik" in Ayala's Abreeza Mall either) where "Tiktik" shares a theater with another ("Looper").

This makes you wonder. Isn't "Tiktik" produced and released by GMA? You can't get more mainstream than a horror film headlined by Dingdong Dantes and Lovi Poe, can you? Or is GMA's cinematic reach and influence really limited - thus incomparable to the seemingly boundless dominion of ABS-CBN's releasing arm? This dilemma made GMA's "Just One Summer" a fly-by-night wonder. In fact, it got swatted and disappeared in infamy after just 2 days in cinemas - all over the country (except SM North Edsa)! 

GMA has been trying to produce films of considerable narrative heft so it's sad how they're faring badly at the box office. Is this why they're peddling the entertainment network for any willing buyer to the tune of P100 Billion? Manny Pangilinan didn't bite. Why is it being sold if it's really the number one network? Do the math! I just hope the ship doesn't sink. 

        

A beautifully conceived netherworld of nomads, vagrants and immigrants in their own swine market.

Kimmy Dora and the Temple of Kiyeme - Diminishing Comic Returns

Kiimy and Dora’s latest caper takes to light the origin of the Go Dong Hae’s fortunes. This time around, the discrepant twins get hounded by their patriarch’s unsavory past.

Kimmy and Dora (Eugene Domingo) have to take a trip with their father Luisito (Ariel Ureta) to Seoul to pay their respect for their fallen grandfather now entombed in a temple backyard. But little did they realize that there was more to this ruse than meets the eye. In fact, Kimmy is betrothed to the son of the Sang family instrumental in jumpstarting the business that has more than thrived in the Philippines (they even own and operate a new airline company).

As a young man in Korea, young Luisito’s (Ryan Bang) family was hard up but perseverance in the family’s kimchi stall soon pays off. With the Sang family’s financial succor, opportunities flourish and business grew exponentially. Luisito meets Kang Kang (Alodia Gosiengfiao), the Sangs’ favorite daughter, who fell head over heels in love with the amorous Luisito. When doors open for Luisito to study in Manila, the young entrepreneur grabs his chance, conveniently abandoning the heart broken Kang Kang who, through the years, has grown as bitter as her sagging wrinkles. When she eventually learns of Luisito’s marriage (though at gun point) to a Filipina lass Charito (Kiray Celis), the scorned woman dies – but not without a curse and an acrimonious spell that shall even out an unjust romantic field. Kang Kang shall claim whoever loves Luisito and Charito’s offspirings!

Meanwhile, upon the Go Dong Hae’s arrival in Seoul, Kimmy is obliged to meet her would-be groom who turns out repulsive, obese and child-like. Kimmy’s surly and antagonistic behavior towards the younger Sang repels the latter that he turns his sight to the saccharine-sweet Dora! Things get worse because Barry (Zanjoe Marudo) has actually proposed to Kimmy, while Johnson (Dingdong Dantes) has popped the question to Dora. Heck, even pet Micky is looking forward to marching down the aisle. All these complications become precursor to the spell earlier cast on the patriarch. 

In calculated stages, Sang Kang Kang sequesters the souls of Barry, Johnson and Luisito, while eternally badgering Kimmy with auditory hallucinations (she hears an ominously beating drum) and Dora with visual phantasms (she sees a ghost dressed as a witch). Suddenly, the Go Dong Hae’s world is in shambles. Will the twins get through this diabolical patch in their lives?

Trust scriptwriter Chris Martinez to come up with a valid story that imbues sense and narrative nuance to an otherwise preposterous, if droll chronicle. Unfortunately, there’s no getting around an inane material. Silly is silly. It’s like partaking ampalaya (bitter gourd). No matter how you garnish it to dilute its bitter taste, you will never rid of its sensory piquancy.

The main culprit is the briskly dwindling comic quotient of director Joyce Bernal who once again resorts to her feeble, diarrheic humor. Remember “Mr. Suave”, “D’Anothers” and “Agent X44”? Sure, she had “Booba” and “Kimmy Dora: Kambal sa Kiyeme”, but their levity were mostly attributive to their naturally rambunctious leads (Rufa Mae Quinto, Eugene Domingo). What’s more telling is how this story didn’t even make it to the final list of 7 at the 37^th Metro Manila Film Festival (2011) – a spurious film movement that’s actually churned out slightly-better entries last year! The sequel is akin to a cinematic runt, i.e. “latak”.

Johnson (Dingdong Dantes) saves Dora (Eugene Domingo) from drowning?

CG work is patchy and takes us back to the technology of the 90’s: whenever a special effect is employed, the screen dims, giving you an incommodious prodrome of things to come by way of poorly realized effects.  Some are great (a witch flying over the Go Dong Hae household), but most are run of the mill. Besides, Korean witches don’t necessarily take the form of Western Witches with disfigured faces, extended and crooked noses, long frizzy hair garbed in black pointed hats and Cimmerian flowing gowns – riding on a flying broom. When did Sang Kang Kang evolve into a western miscreant? Why not play around the Hanbok, the traditional Korean costume? Maybe in her old age, Kang Kang turned to watching Hollywood freak shows?

It also doesn’t help that some of the supporting cast need lessons on maintaining accents like Kimmy and Dora’s attending physician (Alexander Cortez) who vacillates between British (“He is in a prolonged state of sho-k”) and Visayan English – and something in between. I cringe every time he’s on screen. Kyle (my BFF) whispered that Cortez is actually the artistic director of Dulaang U.P.  which begs the question: why is a supposedly well-placed thespian this hammy? Shivers! Someone give him remedial lessons in elocution and delivery – fast!

But all’s not lost really. The film takes you to scenic Korea – you shall see the Namsan Tower, Gyeongbokgung Palace, and the festive Myeongdong (a commercial, pedestrianized street littered with shops), among other places. If you like exotic scenery, you can check this filmic criteria. If you’re easily taken by a constellation of stars, there are quite a number here: Kris Aquino (who blurbs and refers to the film as “pang pamilya…may puso” – and you’re suddenly curious if she was indeed talking about “Kimmy Dora”. The silliness of people who speak first and think later just makes you puke, doesn’t it?); Piolo Pascual, Erik Santos, John Lapus, Jason Gainza, Maricar Reyes (resplendent as a flight attendant), Richard Poon, Marvin Agustin (playing Jose Rizal), Kean Cipriano, Mura, Tim Yap, Slater Young, Divine Smith, Jinggoy Estrada, Liz Uy, Raymond Gutierrez, et.al.

Alodia Gosiengfiao, who plays the scorned Sang Kang Kang, commands a strong presence, thus this should usher more films for the lovely cosplayer. Miriam Quiambao (the loony former beauty queen who turned infamous for her spaced out utterances: “Homosexuality is not a sin but is a lie from the devil”) does a great Gertrude, Kimmy's much abused secretary. She was fantastic in the first film so I half expected more screen time here. It’s too bad she was given scenes too menial for her promising character. Instead, spotlight shone brightly (albeit in heavily diffracted and broken luminescence) on Moi Marcampo – oddly billed as Moi Bien in the film. She awkwardly graces the screen as the Go Dong Hae's maid Elena - an abomination that further drags down the less-than-hilarious moments. Marcampo speaks like a somnambulist’s assistant so you do wonder why some people think of her as an actress worth hiring (aside from the fact that her boss is Spring Films' executive producer, Papa P). I even read a piece that referred to her as, and I quote: “a natural comedian whose presence and few lines are enough to make one roll a laugh”. I smell drugs. I sense dementia. I speculate on delusion. Roll a what? J Is it like rolling a dice or rolling weed? Or did the writer really mean Moi was laughable?

BRILLIANT

This takes us to Eugene Domingo who is expectedly brilliant. But there are no surprises here. She continues to amaze us with her thespic intuition as she masterfully delineates not just two, but three characters: the disagreeable and ill-tempered Kimmy; the coy but winsome Dora, and the nurturing Charito (the twins’ mother). However, at some point, Kimmy’s whiny demeanor – she has protracted scenes that stretch out for 15 straight minutes – grates through your senses and tries the heck out of your patience. Kimmy Dora, like “Ang Babae sa Septic Tank”, is a highwire act. Domingo’s hard work is so palpable that at some point you get exhausted looking  at her manic energy dripping throughout the narrative hyperboles. She has to be zanier than Mila (“Septic Tank”), needier than Aida (“My Househusband… Ikaw Na!”), more impertinent than Rowena (“Enteng ng Ina Mo”) and flakier than Mrs. Montano (“Zombadings 1…”) I’d surmise it’s a tall order to outshine yourself.

There are disparate moments of utter conjecture with punch lines that don’t quite make the scenes. I was baffled why laughter was few and far between. Was it just me? While making my way out of the cinema, I overheard comments: “Medyo nakakatawa din pero kulang”. In fact, I felt that these laughs were mostly episodic, albeit intermittent: two-second chuckles where there should be convulsive bursts of laughter. This is probably due to a contrived back story that complicates and dilutes the entertainment quotient of the film. Moreover, horror and comedy just don’t make comfortable bed fellows. 

Alodia Gosiengfiao: strong presence!

Ryan Bang and Alodia Gosiengfiao play Luisito and Sang Kang Kang respectively.

Eugene Domingo and director Bb. Joyce Bernal

Fairytale Romance in You To Me Are Everything

Yes, Taylor Swift, it is a fairy tale!

In Mark Reyes’ “You To Me Are Everything” (YTMAE), reality takes a back seat to give way to a rom-com yarn designed to showcase a popular loveteam. The think tanks from GMA conjured a cauldron filled with clichés.

This is the modern Cinderella story of an Igorot lass Iska (what a name! – played by Marian Rivera) who is bequeathed a sizable fortune (try P100 million) from her estranged father. As a consequence, she has to uproot her comfortable existence from the mountains of Benguet in order to honor the memory and will of her departed father. Meanwhile, cocksure Rafael (Dingdong Dantes) suddenly finds himself stripped of material wealth when his Congressman-father is suddenly convicted of corruption, and all of their assets have been sequestered. High society’s golden boy finds himself grasping for straws! With dad in prison, Rafael finds himself in a spare apartment that doesn’t even have its own electricity. One drunken night, he ends up at Iska’s room – the same house he vacated! Sparks fly - and he lands a convenient deal to become fairy godfather to the nouveau riche, albeit clueless Igorota beauty! Rafael Inigo Benitez III becomes Iska’s financial consultant cum fashion guru! Will romance find its way into Iska and Rafael’s hearts?

We were never a fan of director Mark Reyes. In fact, in our book, Director Reyes leads GMA 7’s stable of film directors who continuously churn out mediocre works. They have some of the best visual artists who produce eye candy music videos and fan-pleasing television shows, but they’re also among the country’s most mediocre film artists! Consider the following films and try not to wince: “I.T.A.L.Y. (I Trust and Love You)”, “Eternity”, “My Best Friend’s Girlfriend”, the gag-worthy “Angel of Love” segment of Angel Locsin-produced “Angels” (with Jennylyn Mercado and Patrick Garcia). I can go on and on but the easy denominator would be the amateurish awkwardness of this lackluster, logic-challenged body of work.

BUT – “You To Me Are Everything” is surprisingly decent. The giggly-manipulations work pretty well with the audience, buoyed by the refreshing allure and spirited spunk of Marian Rivera who makes a lovely fish out of water! I do not follow most of Rivera’s TV works. In fact, I find her rather jejomonish in her public discourses. For the most part, this turns off her audience. Not the least of which are those prima donna antics that intermittently mushroom from whispery grapevines. To be honest, Marian was particularly compelling in “Nieves: The Engkanto Slayer” (Shake, Rattle & Roll X). And in YTMAE, she is great as the good-natured Francisca Carantes aka Iska! She carries the film’s featherweight moments with on-spot candor and charm! In fact, those kilig-fueled scenes with Ding Dong (“Hindi ako marunong humalik!) are golden cinematic moments of romantic bliss! Naturally charming, perfectly choreographed! Made me blush!

As was stated early on, the premise is pretty fantastical, and some of the situations defy common sense. If you find a stranger in your room, would you really allow him to sleep over – even share those intimacies while he is heavily inebriated? You would, if you’re stupid. If you finally get to confirm that your consort is indeed after your P25 million more than your heart, and even overhear his callous phone conversations (“Di ako matitiis nun, in love yun sa akin eh.”), would you still invite him home to meet your family? Once again, only an idiot would! Even some lines are as mechanically cheesy as those age-old melodramas: “To me, you’re just a fat juicy cockroach that I’m going to step on!” Move over, Cherie Gil!

The supporting cast is curiously bad. Most rom-coms would be littered with indubitable supports to give their reed-thin storylines adequate flesh! ”You To Me…” does the opposite! Fabio Ide, for example, (as Rafael’s friend Miko) does awkwardly. So do the “evil stepsisters” acutely wanting of the crucial gravitas to pull off as memorable contravidas! They essayed nothing more than elementary pursuits, I was tempted to buy them rotten tomaties! They would have acquired a more interesting screen presence with tomatoes sliding down their moribund articulation!

Production design is above par, and employing the perfect place (Sitio Cayoco of Itogon looked serene and heavenly) help depict a fairytale atmosphere. Unobtrusive music score helped the light treatment of the narrative. They even used “Ngiti” which was sung as a duet by Ronnie Liang and Francheska Farr. I wonder if Liang has crossed the other side.

To my mind, this would be GMA Films’ first “better” rom-com in years! And Mark Reyes finally learns a thing or two about movie making! Of course, this is not to say that "You To Me Are Everything" is a superior film. Mainstream film productions have long stopped being ambitious. But there's not a lot of pretensions either. They have learned to coast on what's easy, simple, and doesn't require a lot of brain activity!

Iska and Snowy

Itogon, Benguet