MMFF 2018: Mary, Marry Me is a Fun Romp That Loses Itself in the Wedding

TL;DR: Mary, Marry Me is too distracted by hijinx to effectively deliver a lovely story between estranged sisters.

Putting real-life sisters Toni & Alex Gonzaga in the same movie is already a great idea on its own. If done right, their sisterly bond can be easily translated onscreen with no trouble, and their different comedic personas will result in hilarious interplay. Adding Sam Milby in the mix by putting him at the center of a love triangle between the two, somewhat reviving his successful love team with Toni Gonzaga during the last decade, and you have a possible crowdpleaser that’s sure to entice any Gonzaga superfan. To be fair, Mary, Marry Me knows this & tries its best to mine the talents of everyone involved & turn it into something special. However, the end result is so sloppy it ends up undermining the whole film.

Ever since they were young, Mary Jane (Toni Gonzaga) has always been protective of her younger sister Mary Anne (Alex Gonzaga). They may bicker once in a while, but they always remained close. But when both of their parents die in a car accident, Mary Jane decides that the best thing to do is to accept her aunt’s offer to petition Mary Anne to America. Neither one of them want to be separated from each other, but Mary Jane believes this will give her sister a chance at a better life. She promises her sister that she’d visit her in America, but she never did.

They would be reunited decades later, but not in the way they expected. Mary Anne is returning to the Philippines to get married in her home country, with Mary Jane – now a successful wedding planner – organizing her sister’s wedding. What Mary Jane didn’t know is Mary Anne’s fiance is Pete (Sam Milby), Mary Jane’s ex-boyfriend. Mary Jane was initially concerned about their setup, but she was reassured by both Mary Jane & Pete that this wouldn’t be a problem. However, Mary Anne still has feelings for Pete, which she knows will not only jeopardize the wedding, but her already fraught bond with her sister.

It’s a setup that could devolve into a clichéd, misogynistic mess almost immediately, in the grand tradition of bridal movies about women’s supposed inability to stay sane in a wedding & retain healthy relationships with other women. But outside of a single critical instance of slut-shaming, it mostly sidesteps this by focusing on the unresolved tension between the two sisters. It’s a smart decision, since not only is it more compelling than watching two women fight over a man, the film creates a complicated dynamic caused by their long separation that is sweet & touching.

The fact that the Gonzaga sisters are paired together helps a lot too. Each scene between them are crackling with energy, with Alex Gonzaga putting her hyperactive, heightened persona to good use, giving a much needed jolt to already funny jokes, while Toni Gonzaga acts as the straight man who can fight back with grace while befuddled at the situation she’s trapped in. Their obvious affection for each other shines throughout the film, adding a layer of poignancy even in the film’s smallest moments; like when Mary Anne & Mary Jane goofing off as they go through their old stuff.

It’s too bad it clashes with the broad romantic comedy it’s built out off. Not because it’s terrible! Some of the jokes may be stale, but they are funnier & sharper than it has any right to be, even if it can be mean-spirited at times &. The rest of the cast, including Melai Cantiveros, Bayani Agbayani, Milo Elmido Jr., & Moi Marcampo can sell any joke through their delivery alone. Sam Milby is a fantastic foil for the two women. He’s charismatic & has great chemistry with both of them, especially with Toni Gonzaga, whose time-tested chemistry is on full display here.

It just couldn’t find a way for these two tones to mesh naturally. Instead of providing a wacky backdrop for the sisters’ emotionally loaded relationship, it becomes a distraction. The movie keeps circling around to the broad hijinx afforded by its premise to setting up Pete’s romance with both Mary Anne & Pete. Those moments are delightful on its own, but it stalls an already complicated story from moving forward. It’s frustrating, since it reduces the emotional impact of the movie’s final scenes, where everything comes to a head. Mary, Marry Me may have its eyes on the altar, but the real relationship it needed to focus on isn’t on the church aisle.

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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Metro Manila Film Festival 2017: All of You Focuses Too Much on the Rut

TL;DR: All of You could’ve been a layered examination of cohabitation or a slow breakdown of a mismatched couple, but it gets too dour & repetitive to make it work.

Two years after breaking off with her fiance, Gab (Jennylyn Mercado) tries online dating for the first time while researching for a business venture in Taiwan. She matches up with Gabby (Derek Ramsey), a businessman on vacation who co-owns a bar called “Neverland” with his friends. They’re both attracted to each other & quickly hit it off after their first date, continuing to see each other in the Philippines for months. When Gabby asked Gab to move with him – even though their relationship is so young they’ve only been together for less than a year – she agrees, but what they didn’t expect is how living together would be harder than they thought.

This isn’t unfamiliar territory for Dan Villegas, who continues to mine mature stories out of couples trying to navigate the modern world without breaking themselves apart. It starts out with so much promise, with Dan Villegas, Melissa Mae Chua, & Carl Chavez showing off their ability to create realistic, engaging dialogue between two people falling in love. As usual, Jennylyn Mercado & Derek Ramsey are irresistible as a couple, whose romantic sparks just fly off the screen, but this time, they have more intimate scenes compared to their previous movie English Only, Please that further their bond.

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But once they start living together, the movie slowly reveals how incompatible they are for each other, their personalities & habits clashing frequently. This would’ve made for a fascinating romantic drama about the pleasures & pitfalls of cohabitation, but the movie slightly shifts its focus at how their inability to compromise & match their priorities will slowly erode whatever love they have for each other. The movie presents this descent with the same grounded tone Villegas is known for. Jennylyn Mercado & Derek Ramsey get a chance to stretch their acting chops as a couple trying to hold onto their relationship, even as their frustrations get the better of them. And throughout the movie, Dexter dela Peña’s simple yet eye-catching compositions shine through.

Unfortunately, it focuses too much on the descent. The whole movie turns into a bleak look at the main couple, without offering any respite from the doom & gloom, that whatever pleasures or insights that can be gleamed are drowned by its bitter, repetitive tone. Not too mention it ends on a false, abrupt note that, while plausible, feels like it shrugged off everything that happened during their relationship since we weren’t privy to the changes that happened leading up to it & it’s a betrayal of what the movie is about: love just isn’t enough to make a relationship work. Just like its central couple, the individual elements surrounding All of You could’ve made it great, but it just doesn’t add up to a satisfying whole.

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