Movie Review: DOTGA: Da One That Ghost Away is a Silly, Uneven Spoof Unworthy of Its Cast

TL;DR: This silly, slightly bawdy, spotty spoof of horror movies never gels into something special, but the cast makes it tolerable to watch.

Just taking a look at DOTGA: Da One That Ghost Away’s plot gives off the impression that it’s needlessly complicated than it should be. And you’re absolutely right.

Carmel (Kim Chiu) & Jeje (Ryan Bang) are close childhood friends working as fake exorcists, tricking their clients into thinking they’ve driven away the evil spirits lurking in their homes; which is probably an unintentional swipe at the Warrens, whose supernatural claims are dubious at best. What really happens is the rest of their crew dresses up as ghosts & ghouls they supposedly dispelled from their client’s house, & show the footage to them afterwards. She wouldn’t be doing this if the supernatural powers she inherited from her grandmother has awakened within her. Carmel is only doing this to provide for her grandmother (Marissa Delgado) & her stepsister Serrah (Maymay Entrata).

They will need that money soon. If they don’t pay their overdue debt soon, they will be kicked out of their house. Luckily, a rich, handsome, talented man named Jack Colmenares (Enzo Pineda) asked Carmel’s help to purify his house for the exact amount of money they need. She agrees since it will help them get out of their financial mess, but Jerald is very skeptical of Jack. Carmel & most of their crew were unfazed by the danger – since they really need the money – so they decided to accept the deal & host another fake exorcism. But once they arrive, the phony horror they had set up is set aside for real horror, as they try to survive the vengeful spirits attacking them in the middle of the night.

But that’s not all! Jerald still hasn’t told Carmel that he loves her & Jack’s arrival puts Carmel at the center of a love triangle. There’s also the blossoming relationship between Serrah and her childhood friend Chire (Edward Barber).

This is par for the course with the work of Tony Y. Reyes; a prolific comedic director who blends elements of romance, action, or fantasy & using broad, vaudeville-inspired humor to tie everything together. He has frequently worked with longtime comedians Tito Sotto, Vic Sotto, & Joey de Leon throughout his long, fruitful career – including the highly divisive Enteng Kabisote series – who shares the same sensibilities as the trio. He wants us to have fun & be entertained, giving us everything we want & using every opportunity to crack a joke.

Even without his usual collaborators, DOTGA: Da One That Ghost Away fits nicely in his expansive oeuvre. It isn’t interested in creating a fruitful balance between comedy, horror, & romance & it shows in the broad, ramshackle plot allows it to make a ton of jokes, but the whole story doesn’t add up to a satisfying whole. In trying to to reach the widest audience possible, he ends up with a movie that is sloppy & inorganic, overstuffed with stories that end up being tangential to each other – even the ones that are supposed to be correlated – which dilutes the impact of some of the surprises the movie has in store.

This wouldn’t be a problem if the plots are strong on their own, but none of them rise above mediocrity; especially if it focuses on everyone’s romantic entanglements. The blossoming romance between Serrah & Chire is the weakest story of the bunch, because even if Maymay Entrata & Edward Barber gets a chance to throw a few zingers & show off their chemistry that exists, it’s disconnected fron the main plot that the movie drags whenever it focuses on their trials. Jerald’s unrequited love for Carmel & Jack’s role in the love triangle doesn’t go where it typically might have, but it undercuts it by the end.

Even the movie’s jokes are hit-or-miss. It is loud, obvious, & casually offensive, relying on bad puns, mean-spirited insults, & witless references rather than funny jokes. These are more apparent at the beginning, where the weak jokes combine with terrible exposition. Some of the jokes are dirty – as dirty one can be in a PG-rated film in the Philippines – & it revels in it with glee like a child who realized he can get away spouting swears & sexual references; which is oddly endearing. One notable example is Jack Colmenares* – say it aloud at least three times – whose name is repeated ad nauseum until it is sucked bone dry of any humor. At one point, the name is written on a whiteboard as “JACK COLmenares” for those who couldn’t get the joke.

It becomes more fun & interesting once Carmel, Jeje, & the rest of their crew set foot inside the haunted house, because the movies exerts more effort than it did before. It tries to mock or subvert horror movie tropes within Reyes’ sense of humor & it often succeeds, because it taps into a richer vein of material in order to further its own absurdity. It’s still hampered by its worst impulses – one example is a woman with long hair wearing a white dress who crawls out of the TV & gets stuck because she’s fat, get it? – but the movie becomes tolerable to watch compared to where it was before. It helps that this might be Tony Y. Reyes’ most gorgeous film to date, aping the creepy atmosphere of horror movies within its wacky, slapstick vibe & it makes it even funnier.

Buried underneath this uneven movie is a cast who are relishing the opportunity to be in a movie this silly. The performances are pitched higher than they should be, which is exhausting to watch, but the cast makes it work with their talent & enthusiasm for the limp material. It’s been a while since Kim Chiu starred in a comedy that’s not romantic & she fits right at home with the movie’s wackiness. Ryan Bang’s movie roles always end up either playing best friends of the main leads or borderline racist comic relief, but this time he gets a chance to shine on his own, trading quips with Kim Chiu & the rest of the cast. Maymay Entrata & Edward Barber are better at delivering jokes than translating their real-life romance to the big screen. Even Tetay, Lassy Marquez, Chokoleit & Pepe Herrera – who are also comedic actors known for playing sidekicks – are funny, even if they’re not given much to do. There’s a wealth of talent on display here, but the end result is a disappointing comedy that tries to do everything but ends up being tolerable.

*If you don’t understand Tagalog, Jack Colmenares’s name is a bad, dirty pun. ‘Jack Col’ sounds like ‘jakol,’ which means ‘to masturbate.’ Since the next syllable of that is ‘me,’ saying the name out loud is asking people to jack him off. ‘Nares’ doesn’t mean anything.

Movie Review: The Significant Other Gets Too Caught Up in the Tropes of Infidelity Dramas to Work

TL;DR: The Significant Other is a bland infidelity drama that wastes a novel idea, by focusing how the infidelity happened, instead of why it happened.

I wouldn’t begrudge anyone rolling their eyes if they found out The Significant Other is released. Melodramas focused on infidelity have already reached a point of exhaustion, & it looks plain compared to the stylish & trashy Sin Island; which was just released last week by the same studio. But The Significant Other has a nugget of an idea that can make it stand out, if only it wasn’t executed so poorly.

Nicole (Erich Gonzales) is at a beauty pageant when she was scouted by a prominent head of a modeling agency in Metro Manila. She’s delighted, because she aspires to be a famous fashion model just like her idol Maxine (Lovi Poe) & the man who contacted her trained & mentored Maxine. She decides to pursue the opportunity, but her recruiter requests that she visit the cosmetic surgeon Edward (Tom Rodriguez) in order to remove the birthmark in her neck. It’s obvious both are attracted to each other, & soon both of them are in love. But unbeknownst to her, Edward is actually married to Maxine. Maxine disappeared in the public eye for years & raised their son in America. She purposefully hid her marriage to have a quiet life with her family & has no plans to reveal it now that she’s staging a comeback in order to keep the media’s focus on her career. While she’s back at work, she is also in charge of mentoring Nicole to become a successful fashion model like herself. They form a close bond that’s threatened by Maxine’s secret & Edward’s infidelity.

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The movie has an interesting structure that seems to make it different from other infidelity dramas. It tells the story from Nicole & Maxine’s explosive confrontation & flashing back to the past from each other’s point of view to show how it all happened, but unfortunately it doesn’t work. It’s more focused on setting up the infidelity without interrogating the reasons why it happened. So yes, there are catfights peppered with witty remarks & moments of heightened drama that the genre supposedly requires – with a sprinkle of sex scenes – but it’s less interesting when it follows the already trodden path. The movie livens up when it gives us brief glimpses between Maxine & Edward’s marriage & Nicole & Maxine’s blooming friendship, but there aren’t enough of it to create a complicated portrait of their lives. It also muddles the story by not diving deep into Edward’s perspective. He’s the man who created a whole mess of problems for everyone, but he’s almost removed from it. We’re stuck watching two women fight over a man without fully revealing why he cheated on his wife in the first place.

And even when the movie indulges in its campy tropes, it all feels tired & cliched. The confrontations aren’t as witty or memorable as they should be. Even the sex scenes aren’t as titillating as it should be. You could blame the movie’s R-13 rating, but a movie can still be sexy by employing a “less is more” approach through foreplay & knowing glances. However, it doesn’t use this tactic, favoring to show the actors kissing, moaning, & caressing each other’s bodies. These scenes feel rudimentary & lack the passion or verve to arouse audiences. It wastes great performances from Lovi Poe & Erich Gonzales, while Tom Rodriguez tries his best to make his character work. A memorable cameo by Ricci Chan deserves a shout-out, as he pops out of nowhere to deliver a speech so catty & feisty that it’s easy to see why it’s included; even if it’s completely removed from the plot.

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A huge surprise comes from moments of odd ineptitude that somehow made the final cut. There are two notable shots that are out of focus. At one point, you can see a cow’s muscles convulse in front of a camera & release urine from its body during an establishing shot while Edward’s car drives on the road; and of course, it’s not relevant to the plot. It’s flabbergasting to watch this happen in a major commercial release from one of the most notable film directors in the Philippines.

Add an excellent ending that would’ve made an impact if it weren’t rushed, & you’ve got another bland & perfunctory infidelity drama. In spite of its novel narrative structure, The Significant Other runs on auto-pilot & in the process, reveals how minor it really is.

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