Movie Review: Ang Pambansang Third Wheel Charges Forward With Charm But Doesn’t Know When to Stop

TL;DR: Ang Pambansang Third Wheel (The National Third Wheel) charges forward with charm & energy, but that proves to be its greatest strength & weakness.

Trina (Yassi Pressman) has never had it easy when it comes to love. She’s the eternal third wheel; cheated on by men multiple times & constantly surrounded by her friends who have their own romantic relationships, as if rubbing her singlehood in her face. She finds hope when she meets the handsome Neo (Sam Milby), an aspiring applicant in the marketing agency she works for. She’s immediately smitten to his charms, but they don’t get along easily due to her stubborn nature & her bitter view of relationships. Once she starts to open up, they become a couple; with Trina celebrating that she’s finally stopped being the third wheel. That celebration is short-lived when Neo reveals that he has a son Murphy (Alonzo Muhlach) from his ex-girlfriend Monica (Sam Pinto). At first, she’s mad that Neo didn’t reveal he has a son & scared at the prospect of becoming a stepmom, but once she decides to continue dating Neo, she finds herself trying to adapt to Neo’s complicated family arrangement.

What makes Ang Pambansang Third Wheel (The National Third Wheel) notable is its pacing. It zips by with the help of Trina’s narration; allowing her to comment about the events unfolding in her life, & at times, cut away to her fervent imagination. It makes for a bouncy, energetic movie that gives life to well-worn tropes, & pushes the movie towards more interesting material; exploring the various ways one can be a third wheel & the different dynamics of a separated family. Unfortunately, it doesn’t know when to stop. It’s apparent in the latter half, where it continues to push forward without giving it time to breathe. While it makes a bit of thematic sense & it never forces its characters to act unnaturally, it feels like the movie contorted itself towards its inevitable conclusion.

Thankfully, the cast keeps it from spinning out of control. This is a total showcase for Yassi Pressman, whose bubbly energy & prickly nature doesn’t belie how stranded she is when trying to ingratiate to Neo’s family. Sam Milby isn’t just here to display his charm & his beautifully sculpted abs either. He gets to shine as a man trying to atone for his past mistakes, but finds himself stuck between two priorities. Sam Pinto isn’t painted as Neo’s spurned, vengeful ex, but as a smart, responsible single mother who finally gets a shot at achieving her dreams. And while Al Tantay gets an undercooked subplot, he’s a warm presence as Trina’s father, & their paternal pairing is the best relationship in the movie. It’s not a slight against the movie nor its charming leads, but their loving, supportive relationship is endearing & provides the movie a fascinating way to view Trina’s circumstances.; especially when it leans into this by the end. This would’ve helped it resonate more, but Ang Pambansang Third Wheel has moved so fast at that point that it ends up as a fizzy confection with fascinating layers, never coalescing into a satisfying whole.

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Movie Review: Ang Dalawang Mrs. Reyes is a Funny, Empathetic Beginner’s Guide to the LGBTQA+ Community

https://www.youtube.com/watch?v=LGrpUw4-MZY

TL;DR: Ang Dalawang Mrs. Reyes (The Two Mrs. Reyes) turns a problematic premise into a funny, insightful look at sex, gender & the LGBTQA+community.

Filipino mainstream film studio Star Cinema’s first movie for 2018 – co-produced with Quantum Films & The IdeaFirst Company – has two cishet women receiving a crash course on the complexities of sex & gender in the worst way possible, after they found out their husbands are in a romantic relationship, bolting out of their lives & leaving them alone to pick up the pieces.

It’s not like their marriages were perfect to begin with. Lilian Reyes (Judy Ann Santos) is a successful owner of a plastic surgery clinic, who barely has any time with her husband Gary (Joross Gamboa) & her daughter Macy (Andrea Brillantes). She suspects Gary is cheating on her with a busty colleague, which pushes her to have breast implants. Cindy Reyes (Angelica Panganiban) is a loving wife who will do anything to please her husband Felix (JC de Vera). She also wants to be more sexually intimate with him, especally since her annoying mother-in-law (Carmi Martin) wants to have a grandson, but Felix rarely reciprocates her advances, spending more time with his cat rather with his wife.

So when both of their partners left without any warning, only to find out they’ve been in the closet for their entire lives, it was a devastating blow that left them reeling for answers. It took a while for them to talk to their husbands to clarify the situation or at least try to put things back to the way it used to be, but when they did, it got even more confusing for them. Gary is came out as a trans woman attracted to men, while Felix is heteroflexible cis man. They’re trying to take things in stride, but can’t get over the fact that they were cheated on, so what do they do: they’re going to split them up as a form of revenge before they get married in Taiwan.

It’s a very tricky premise that could easily go south, but director Jun Robles Lana handles it delicately. It’s not a surprise if you’re familiar with his work, since he’s directed a lot of classic queer Filipino films like Bwakaw & the surprise hit of Metro Manila Film Festival 2016 Die Beautiful; the latter of which is about the wake of a transgender woman & her friends trying their best to give her the funeral she wanted, while it flashes back from her complicated life to the grim present. But what he does here is nothing short of astounding. He lays out the nature of these two marriages, even before their husbands come out.

And once it does, the movie never turns the two Mr. Reyes into the butt of the jokes. They have a genuine relationship that is treated with utmost respect & nuance. It’s still chaste – which I assume is because our ratings board can be very harsh on queer movies – but it isn’t depicted as perfect either. They’re clearly in love but they have fights just like any other couple.

But the movie’s main focus is on our titular characters processing their unusual circumstances. They are at a loss as they are forced to understand the nuances gender identity & sexual orientation; especially once they start pulling off their plan to split them up. This might be the first Filipino fictional film to acknowledge the existence of other sexual orientations outside of gay & lesbian — such as pansexual & heteroflexible – & to mention LGBTQQIP2SAA with an explanation of what that means. They do mean well, even if they are don’t know what it means to be trans.

However, it also understands that they are coming from a place of sadness, confusion, & anger. It knows that their revenge, while juvenile & mean, is rooted in being shoved aside as their husbands form a new life without them. It even acknowledges how their duplicitous marriage is partly caused by a homophobic society that forces people to hide in the closet & lead unhappy, double lives to survive discrimination & violence. But it never loses sight of how horrible their plan is, especially once the two Mr. Reyes fears are suddenly realized.

Still, it doesn’t let the two Mr. Reyes get off the hook easily either. They did depart their wives without any proper explanation or time to process the news, & cheated on them, even if they aren’t heterosexual. That doesn’t mean they deserve hatred for coming out or because of their sexuality. They just completely mishandled the situation that left their wives wondering what went wrong.

What’s arresting is how Judy Ann Santos & Angelica Panganiban portray the complexity of what Lilian & Cindy go through with ease. Judy Ann Santos & Angelica Panganiban are great conspirators who find friendship through heartbreak. Panganiban is lively, snappy, & full of seething rage. Santos is less lively compared to Panganiban, despairing over the fact that an aspect of her life is now over, but she’s still capable of lashing out. Their different energies complement each other & it shows in their fast, comic banter.

And it is gut-bustingly hilarious! This is one of Star Cinema’s raunchier efforts – as raunchy one could get in the Philippines – yet it never relies on vulgarity alone. It is smart, silly, & at times slapstick, culminating in a memorable scene involving Lilian’s breast implants. Yet, it never loses sight of what all of them are going through.

That’s because Ang Dalawang Mrs. Reyes has huge empathy for all of its characters, even as it puts them through ridiculous situations. What’s impressive is it maintains a light comic touch even as it tackles the plight of the LGBTQQIP2SAA community through the eyes of two cishet females. As Lilian & Cindy learn, we should accept & allow them to live & love fully. Love is a beautiful thing that chooses no boundaries. Why bother getting in the way?