Technical assessment: 4.5 ★★★★✬
Moral assessment: 4.5 ★★★★✬
MTRCB rating: V13
CINEMA rating: R13

Christopher Nolan’s The Odyssey follows Odysseus (Matt Damon), king of Ithaca, on his perilous journey home after the Trojan War. What should have been a relatively simple voyage becomes a ten-year ordeal involving monsters, gods, sorcery and temptation. Along the way, Odysseus confronts the consequences of his own choices as much as the dangers of the sea. Meanwhile, his wife Penelope (Anne Hathaway) waits in Ithaca while their son Telemachus (Tom Holland) struggles with his father’s absence. The familiar epic becomes both an adventure and a meditation on the price of war and the meaning of home.

The ensemble cast is uniformly strong, with Damon giving Odysseus a restrained humanity beneath his warrior persona, while Hathaway’s Penelope serves as the film’s emotional heart. Nolan gives Homer’s epic an extraordinary cinematic scale, filmed largely on IMAX 70mm with spectacular practical effects and vast natural landscapes. The cinematography gives the film a tactile, monumental quality, while the score reinforces its mythic intensity. Despite the story’s enormous scope, the nonlinear structure is handled with considerable clarity. But the film’s greatest achievement is its ability to make ancient mythology feel physically real and emotionally immediate.

Beneath its monsters and battles, The Odyssey is fundamentally a story about the meaning of home and family. Odysseus spends years fighting to return to the people and place that give his life meaning. Yet the journey also exposes the terrible cost of war: wounds of the body, burdens of memory, and the transformation of the person who returns. His intelligence and courage are accompanied by pride, violence and choices whose consequences follow him long after Troy.

The film refuses to present heroism as simple triumph — a warrior may win battles and still lose something of himself. Against this, a wife’s fidelity and a son’s longing give another meaning to courage — the courage to wait, endure and remain faithful. The Odyssey affirms that true victory is not conquest but finding one’s way back to what is worth loving. It also asks whether a person can return home without first confronting what he has become. Suffering changes Odysseus and forces him to recognize the limits of strength and cleverness. His long journey ultimately becomes a journey toward home, reconciliation and a different understanding of himself. Its deepest message is simple and universal: After all our journeys, the greatest adventure may be becoming worthy of the home to which we hope to return.

The Odyssey was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 4 ★★★★✩
Moral assessment: 4 ★★★★✩
MTRCB rating: PG
CINEMA rating: PG

The film opens a new chapter for Peter Parker following the events of No Way Home. The world no longer remembers Peter, including the people he once loved, and he has devoted himself entirely to fighting crime as Spider-Man. Four years later, this lonely existence begins to take its toll as a mysterious new threat emerges in New York. Peter is drawn into a conflict involving powerful and dangerous figures, while a physical transformation threatens his very existence. Beneath the superhero spectacle is a more personal story of a young man struggling with isolation, loss and the price of having chosen responsibility over his own happiness.

Directed by Destin Daniel Cretton, the film is energetic, visually polished and impressively choreographed, with the action sequences making particularly good use of Spider-Man’s agility and movement through the city. The cinematography gives the film a more mature, cinematic appearance, while the effects successfully combine spectacle with the comic-book quality expected of the character. Tom Holland remains convincing as Peter, balancing humor with the character’s growing emotional weariness. The film does, however, sometimes feel crowded by its numerous characters and connections to the wider Marvel universe. Its strongest moments are those in which the technology and spectacle serve Peter’s personal story rather than overwhelm it.

At its heart, Brand New Day is about responsibility, sacrifice, and the danger of losing oneself while trying to save others. Peter has chosen to protect people who do not even remember him, which makes his heroism particularly selfless — but also raises the question of whether responsibility requires complete self-denial. The film suggests that being a hero is not simply possessing extraordinary powers; it is continuing to do what is right when there is no recognition or reward. Yet Peter’s loneliness also reminds us that human beings need relationships, belonging and love. Heroism should not mean becoming incapable of receiving love or allowing others to help us. The film’s deeper message, therefore, is that true responsibility is not merely saving the world, but learning how to remain human while doing so.

A note from MTRCB: The movie contains frequent fantasy, action, violence and peril; mildly frightening scenes; hand-to-hand combat, explosions, weapons and superhero battles; occasional mild expletives; and suspense involving supervillains, transformations and threatening situations. Therefore, younger children should have parental guidance/supervision, as the superhero stunts and dangerous acts are fantasy and should not be imitated.

Spider-Man: Brand New Day was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 3.5 ★★★✬✩
Moral assessment: 4 ★★★★✩

Isinulat at idinirek ni Neal “Buboy” Tan, ang Senior Moments ay piagsasama ang tatlong beteranong artista — Noel Trinidad, Tessie Tomas at Nova Villa — bilang tatlong magkakaibigang dating magkaklase noong high school na humaharap sa mga realidad ng pagtanda. Si Primo, isang retiradong pulis, ay nahihirapang panatilihin ang kontrol sa kanyang bahay at ang kanyang kalayaan; si Segunda, isang biyuda at matagumpay na negosyante, ay ayaw maging palaasa sa kanyang mga anak; samantalang si Pilar, isang dating guro na naghahanap ng makakasama sa buhay, ay maaaring sinasamantala ng mga kamag-anak na pinatira niya sa kanyang bahay. Sa magkakaibang kuwento nila, nabubuo ang isang larawan ng buhay ng mga nakatatanda na nakakatawa, nakakaantig, at masakit sa ilang pagkakataon dahil pamilyar sa marami.

Ang pinakamalaking lakas ng pelikula ay ang beteranong cast nito, na nagbibigay ng emosyonal na bigat at kredibilidad sa mga tauhang humaharap sa katotohanan ng pagtanda. Simple at madaling sundan ang paraan ng pagdidirek ni Tan, na angkop sa isang family drama, habang nagbibigay ng maayos na visual na mundo ang cinematography ni Gilbert Obispo at production design ni Cyrus Khan. Pero may mga bahagi ng pelikula na hindi pantay ang pacing at pagkakabuo; mas epektibo ang ilang eksena sa emosyon kaysa sa drama, at hindi lahat ng magkakahiwalay na kuwento ay nabigyan ng pare-parehong lalim. Gayunpaman, mahalagang ambag ng pelikula ang pagbibigay sa tatlong beteranong artista ng malalaki at makabuluhang papel, sa halip na gawin lamang silang pampatawa o mga tauhang nasa laylayan ng kuwento.

Ang pangunahing mensahe ng pelikula ay ito: ang pagtanda ay hindi nangangahulugang kailangang isuko ang dignidad, sariling pagpapasya, o karapatang tratuhin bilang isang taong may sariling mga desisyon. Kasabay nito, ipinapaalala ng pelikula sa mga pamilya na ang pag-aalaga sa matatandang magulang ay hindi lamang tungkol sa pagbibigay ng pagkain, tirahan at pangangalagang medikal; kailangan din dito ang pakikinig, pasensya, respeto, at tunay na malasakit sa gusto mismo ng mga nakatatanda. Sa huli, hinihikayat ng Senior Moments ang dalawang henerasyon na ituring ang pagtanda hindi bilang pabigat, kundi bilang isa pang yugto ng buhay na may dignidad, at karapat-dapat sa pagtuunan ng pagmamahal at pagmamalasakit.

Ayon sa CINEMA: May magandang paalala sa atin sa Leviticus 19:32: “Rise in the presence of the aged, show respect for the elderly and revere your God.” Magkasama ang paggalang sa magulang at pagpipitagan sa Diyos. Kung palagi mong minamata, binabalewala, hinihiya o pinagsasamantalahan ang tumatanda mong magulang, balang araw makikita mo na pinagmamasdan ka na pala ng susunod na henerasyon — ng sarili mong mga anak. Natututo sila mula pagkabata hindi lamang sa sinasabi mo sa kanila, kundi sa ikinikilos mo rin sa iyong mga magulang. Ang makatarungang pagtrato sa mga tumatandang magulang, sa katunayan, ay “pagtatanim” ng mabuting punla tungo sa paghubog ng mga bata. Pagdating ng panahon, mamumunga ito ng kaaya-aya sa mata ng tao at ng Diyos.

Senior Moments was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 3 ★★★✩✩
Moral assessment: ★★★✩✩
CINEMA rating: V16
Netflix rating: 16

Isang rom-com ang Sosyal Climbers sa direksiyon ni Jason Paul Laxamana. Kuwento ito nila Jessa (Maris Racal), isang real estate broker, at Ray (Anthony Jennings), isang pinto; sila’y magkasintahang malulubog sa utang matapos mabiktima ng scam. Upang makaahon sa utang, magpapanggap silang mayayaman na nakatira sa isang marangyang bahay na ibinebenta ni Jessa, na nasa isang exclusive subdivision. Dito ay malilinlang nila ang kanilang mga kapitbahay na pawang mga “sosyal” at paniwalang panila sa kanilang pagpapanggap. Habang lumalalim ang kanilang panloloko, mahaharap sila sa mga komplikasyon na sumusubok sa kanilang relasyon at moralidad.

Kapansin-pansin ang mahusay na cinematography na nagpapakita ng kaakit-akit na mga tanawin, na nagbibigay ng masayang atmosphere sa pelikula. Ang musika ay nagdudulot ng nostalgia at nagpapalakas ng emosyon sa bawat eksena. Bagama’t ang kwento ay sumusunod sa mga karaniwang tema ng panloloko at ambisyon, dinadamitan ito ng sariwang pananaw ng mga pinagsamang elementong Pilipino, kabilang na ang pagkasilaw sa salapi at ng pakikialam sa buhay ng may buhay.

Ang pangunahing mensahe ng pelikula ay ang pagtalakay sa mga panganib ng labis na ambisyon at ang kahalagahan ng pagiging tapat sa sarili. Ipinapakita nito na ang pagnanasang umangat sa lipunan sa pamamagitan ng panlilinlang ay mapanganib at nagdulot ng mas mabigat na problema. Ang leksiyon ng pelikula ay “Kung magaling kang mangloko ng kapwa, meron pang mas magaling sa iyo.” Pero sa dulo, nasusukol din kahit ang pinakatusong mangloko. Mensahe ng Sosyal Climbers na pahalagahan ang katapatan at integridad, at ang pagtanggap sa tunay na estado ng buhay nang walang pagpapanggap.

LEAD CAST: Maris Racal, Anthony Jennings, Ricky Davao, Carmi Martin, Cheska Inigo, Bert Guingona, Marissa Sanchez; DIRECTOR: Jason Paul Laxamana; CINEMATOGRAPHER: Tey Clamor; EDITOR: Mai Calaardo; PRODUCTION DESIGNER: Eero Yves Francisco; ART DIRECTOR: Zara Jerisha Loayon; MUSIC: Ammmie Ruth Suarez.

ENGLISH VERSION:

Sosyal Climbers is a romantic comedy directed by Jason Paul Laxamana. It tells the story of Jessa (Maris Racal), a real estate broker, and Ray (Anthony Jennings), a painter — a couple who find themselves drowning in debt after falling victim to a scam. To recover financially, they pretend to be wealthy and move into a luxurious house that Jessa is selling, located in an exclusive subdivision. There, they deceive their “elite” neighbors, who fully believe their façade. As their lies grow deeper, the couple faces complications that test their relationship and moral compass.

The film’s impressive cinematography stands out, showcasing charming visuals that create a cheerful atmosphere. The music evokes nostalgia and heightens the emotions in each scene. While the plot follows familiar themes of deception and ambition, it is presented with a fresh Filipino perspective — highlighting obsessions with wealth and meddling in others’ lives.

The central message of the film tackles the dangers of excessive ambition and the importance of staying true to oneself. It shows that the desire to rise in social status through deceit is risky and often leads to bigger problems. The film’s takeaway is: “If you’re good at deceiving others, there’s always someone better than you.” In the end, even the most cunning tricksters are caught. Sosyal Climbers ultimately delivers a message about valuing honesty and integrity, and accepting one’s true life situation without pretense.

Sosyal Climbers was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: ★★★★✩
Moral assessment: 3 ★★★✩✩
CINEMA rating: V13

Wicked is a revisionist retelling of L. Frank Baum’s The Wizard of Oz, focusing on Elphaba Thropp (Cynthia Erivo), born green-skinned, disowned by her parents, and grows up to be the misunderstood girl who becomes the Wicked Witch of the West. The story, both in Gregory Maguire’s novel and the hit Broadway musical adaptation, explores Elphaba’s troubled childhood for being “different”, her moral convictions, her friendship with Galinda (Arianna Grande), her self-affirmation by Madame Morrible, the Dean of Sorcery Studies (Michelle Yeoh) and the talking goat Dr. Dillamond (Peter Dinklage), and her descent into infamy.

From a technical standpoint, the musical is an impressive production. The score by Stephen Schwartz is powerful and memorable, with standout numbers like “Defying Gravity”, “Something Bad”, and “For Good.” The set design, costumes, and choreography all contribute to a rich visual and emotional experience. Performances of the two leads — Elphaba and Glinda — are often nuanced and compelling, bringing depth to characters that could easily fall into stereotypes.

Rather than a clear tale of good versus evil, Wicked invites the audience to question the labels we assign to others and how society, power, and prejudice can distort truth and justice. CINEMA thinks Wicked offers both valuable insights and some problematic messages. On the positive side, it champions compassion, the dignity of the marginalized, and the courage to act according to conscience, even when unpopular — values deeply resonant with Catholic social teaching. However, it tends toward moral relativism: traditional notions of good and evil are deconstructed without offering a clear path toward truth or redemption. The show’s skepticism toward institutional authority (represented by the Wizard and even religious or magical orders) invites critical thought but may risk promoting cynicism if not balanced by a framework rooted in absolute moral truths. Catholics can appreciate Wicked as a cautionary tale about the dangers of judgment and the importance of integrity — but with discernment, and parental guidance for younger audiences.

DIRECTOR: Jon M. Chu LEAD CAST: Cynthia Erivo, Ariana Grande, Jonathan Bailey, Peter Dinklage, Michelle Yeoh, Jeff Goldblum; SCREENPLAY: Winni Holzman and Dana Fox; CINEMATOGRAPHY: Alice Brooks; EDITOR: Myron I. Kerstein; MUSIC: John Powell and Stephen Schwartz; PRODUCERS: Marc Platt and David Stone

Wicked was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

When film often shapes public perception more powerfully than any textbook or catechism, it becomes necessary to reflect critically on how cinematic portrayals of religious institutions can dangerously mislead even the faithful. This is particularly true when it comes to the inner workings of the Roman Catholic Church — an institution often cloaked in mystery, yet grounded in centuries of doctrine, tradition, and canon law.

One of the most egregious examples of this distortion is found in the The Two Popes, which dramatizes a fictionalized relationship between Pope Benedict XVI and then-Cardinal Jorge Bergoglio, now (deceased) Pope Francis.

While the film may appeal emotionally to viewers for depicting “humanized and relatable popes”, its portrayal of the papal conclave process is not only misleading but is in direct contradiction to the actual procedures set forth by the Church, particularly as codified in Universi Dominici Gregis.

The Two Popes constructs a narrative in which Benedict and Bergoglio meet in private to discuss their theological differences and, more dramatically, to orchestrate the resignation of one pope and the election of the other. Such scenes imply an informal, even democratic process, where ecclesiastical succession is a matter of personal conscience, mutual agreement, or ideological compatibility. This is far from the truth. In reality, the conclave — the process by which a new pope is elected — is governed by the apostolic constitution Universi Dominici Gregis, issued by Pope John Paul II in 1996 and still in effect today. This document establishes strict procedural norms to safeguard the spiritual integrity and independence of the papal election.

According to Universi Dominici Gregis, the cardinal electors are sworn to secrecy under the gravest of obligations. They are secluded in the Sistine Chapel and forbidden any outside contact. There is no room in this process for campaigning, collusion, or political maneuvering — activities implicitly or explicitly suggested by films like The Two Popes. In fact, any attempt to influence the conclave by external pressure or private negotiation is not only illicit but incurs automatic excommunication. The very idea that a sitting pope could confer in secret with a potential successor to discuss the outcome of an upcoming conclave is anathema to Church law and ecclesiology.

This fictionalization becomes especially dangerous when it concerns matters of ecclesial authority and papal resignation. Pope Benedict XVI’s abdication in 2013 — the first in nearly 600 years — was a moment of historic gravity and deep theological reflection. Yet the film reduces it to a kind of emotional surrender, encouraged by the humble wisdom of his presumed successor. This emotional rendering may resonate with modern audiences, but it blurs the distinction between spiritual discernment and popular sentiment, between ecclesiastical truth and narrative convenience.

The broader danger here lies not only in misrepresentation but in the erosion of ecclesial understanding among the faithful. When films like The Two Popes replace liturgical reality with artistic license, they foster a vision of the Church as a malleable human institution rather than the mystical Body of Christ guided by the Holy Spirit. Such portrayals suggest that doctrine is negotiable, tradition is outdated, and authority is just another form of personal opinion — all ideas fundamentally at odds with Catholic teaching.

For the average viewer, especially those unfamiliar with the Church’s legal and spiritual framework, fiction can become de facto truth. Over time, these misrepresentations embed themselves in public consciousness and influence how even practicing Catholics understand the Church. This poses a subtle but profound risk: when the faithful begin to take cinematic portrayals as accurate depictions of sacred events, their grasp of authentic Church teaching and structure is compromised.

Therefore, while the arts can be a powerful medium for exploring religious themes, they also carry the heavy responsibility of truthfulness — especially when dealing with institutions as sacred and hierarchical as the Catholic Church. The Two Popes, though engaging and skillfully acted, ultimately sacrifices truth for drama, and in doing so, misleads the public in dangerous ways. Catholics and non-Catholics alike must approach such films with discernment, always returning to official Church documents like Universi Dominici Gregis for guidance on what truly happens behind the closed doors of the conclave.

When Hollywood rewrites history was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 2 ★★✩✩✩
Moral assessment: 3 ★★★✩✩
CINEMA rating: V16
MTRCB rating: R-13

Ang Balota, sa direksyon ni Kip Oebanda, ay nagpapakita ng mga hamon sa demokratikong proseso sa Pilipinas. Ang kuwento ay umiikot kay Teacher Emmy (Marian Rivera), isang gurong nagsisilbing poll watcher sa panahon ng eleksiyon. Mapipilitan siyang tumakas sa kagubatan upang protektahan ang huling ballot box ng kanilang bayan mula sa mga tiwaling kandidato.

Bilang Teacher Emmy, nasungkit ni Rivera ang Best Actress Award sa 2024 Cinemalaya Film Festival. Sa teknikal na aspeto, kapansin-pansin ang mahusay na cinematography na naglalarawan ng tensyon at panganib sa bawat eksena. Gayunpaman, mapupunang nagkukulang ang pelikula sa lalim ng komentaryong pulitikal, naging masyadong komedya ito, bagay na nagpahina sa mensaheng nais nitong iparating. (Bakit nga ba permanent fixture na yata sa karamihan ng pelikulang Pinoy ang pagpapatawa o pagtataray ng mga dalahirang bakla? Pwede bang ipakita naman natin sa pelikulang Pilipino ang mga siryoso at kapuri-puring katangian ng mga binabae sa ating lipunan?)

Ang Balota ay nagbibigay-diin sa kahalagahan ng integridad sa proseso ng halalan at ang papel ng mga ordinaryong mamamayan sa pagpapanatili ng demokrasya. Bagama’t may mga kahinaan, ang pelikula ay nag-aalok ng mahalagang pagninilay sa kalagayan ng pulitika sa Pilipinas. Kung ipipikit mo na lang ang mga mata mo sa mga kakornihan ng pelikula, matutulungan ka pa nitong mag-isip isip tungkol sa uri ng mga pulitiko natin. Sana lang, naging mahinahon at kagalang-galang ang ikahuling-wika ni Teacher Emmy, pagka’t kahit anong suklam mo sa mga pulitiko, bilang isang guro ay may pananagutan kang akayin sa matuwid ang mga kabataan sa pamamagitan ng kabutihang asal at pananalita. Bakit ka bumigay, Teacher Emmy, at nagpatangay sa agos ng pagmumura? Nais naming isipin na bihira sa mga guro natin sa kasalukuyan ang magwiwika ng P — — -i — -; bagkus mananaig sa kanila ang hinahon sa harap ng mga nakakayamot na situasyon.

Balota was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 4.5 ★★★★✬
Moral assessment: 2.5 ★★✬✩✩
CINEMA rating: V16
MTRCB rating: PG

The 2024 film Conclave, directed by Edward Berger, adapts Robert Harris’s novel into a dramatic thriller centered on Vatican politics. The story follows Cardinal Thomas Lawrence (Ralph Fiennes), who navigates political and personal dilemmas during a papal election. While Lawrence seeks a leader aligned with progressive ideals, he faces tension with conservative rival Cardinal Tedesco (Sergio Castellitto) and sees himself drawn into unexpected alliances.

Noteworthy is Fiennes’ restrained portrayal of Lawrence’s crisis of faith, enhanced by his interactions with supporting characters, particularly Cardinal Bellini (Stanley Tucci), whose chemistry with Fiennes brings levity amid intense scenes. The production’s striking visual contrasts — such as red-robed cardinals against the Sistine Chapel’s muted interiors — add a sense of solemnity and pressure to the secretive election process. Volker Bertelmann’s score also heightens suspense, though some find it formulaic, sometimes detracting from the film’s tone .

Conclave, however, doesn’t fully explore the theological complexities of Church politics. Its focus remains on secular issues like power and progressivism versus conservatism, avoiding deeper religious themes. For some, this approach misses a unique opportunity to interrogate the interplay of faith and governance, reducing the intrigue that a more nuanced exploration might have offered.

Conclave, however, doesn’t fully explore the theological complexities of Church politics.

Ultimately, while Conclave excels visually and showcases strong performances, its limited exploration of faith may leave some viewers wanting more depth. The film’s dramatic twists and polished design make it a compelling watch but perhaps one better suited for audiences more interested in political thrillers than theological introspection.

A reminder from CINEMA:

While Conclave draws inspiration from real historical events, it is ultimately a work of fiction. Dramatic license is often used to fill in historical gaps, heighten tension, or simplify complex events and personalities for the sake of storytelling. Moviegoers are encouraged to enjoy the film as a compelling narrative, but not to mistake its portrayals for definitive historical truth. For those curious about the actual events surrounding a conclave, independent research or scholarly sources, most especially official Vatican reports, are strongly recommended to separate cinematic fiction from historical fact.

Conclave was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical: 4.5
Moral: 4.5
MTRCB rating: PG
CINEMA rating: PG

King of Kings (2025) is a faith-based animated film that reimagines the life of Jesus Christ through a unique narrative lens. Set in 1850s London, the story follows Charles Dickens (voiced by Kenneth Branagh) as he narrates the story of Jesus to his son, Walter (Roman Griffin Davis), using the boy’s fascination with King Arthur to frame the tale. Through Walter’s vivid imagination, he embarks on a journey alongside Jesus (Oscar Isaac), witnessing His miracles, trials, and ultimate sacrifice. This storytelling approach is inspired by Dickens’ lesser-known work, The Life of Our Lord, and aims to present the Gospel in an accessible manner for younger audiences .

Directed by Seong-Ho Jang in his debut, the film showcases a blend of richly textured backgrounds and striking lighting, creating a visually engaging experience. The voice cast is a standout, featuring Oscar Isaac as a subdued and respectful Jesus, with strong performances from Pierce Brosnan as Pontius Pilate, Mark Hamill as King Herod, and Forest Whitaker as Peter. However, the character animations could benefit from more refinement to match the quality of the backgrounds and voice acting. It is also noticeable that while the Birth of Jesus is depicted with visual grandeur and emotional warmth, the Resurrection is given surprisingly modest screen time and a subdued presentation. We would have wanted this mystery, arguably the cornerstone of the Christian faith, to be the film’s most luminous and awe-inspiring moment.

The best thing about King of Kings is its “story within a story” structure, with Charles Dickens narrating the life of Jesus to his young son whose imagination defies the boundaries set by the walls of their home. This framing device doesn’t just serve as a narrative hook — it becomes a gentle yet powerful tribute to the role of imagination in shaping a child’s moral and spiritual understanding.

As young Walter envisions himself walking beside Jesus, witnessing His miracles and His mercy, the film subtly affirms that storytelling can be a sacred act, capable of planting seeds of empathy and faith. It’s a moving reminder that truth, when told with creativity and love, can come alive in the hearts of the young.

King of Kings at its core emphasizes themes of hope, love, and redemption. The narrative encourages viewers to rediscover the enduring power of faith and the importance of understanding Jesus’ ultimate sacrifice. By presenting the story through the eyes of a child, the film invites children to walk imaginatively with Jesus, reminding us that the greatest stories when told with love can open hearts, illuminate truths, and spark faith that endures. This fresh perspective on a well-known story could bridge generational gaps, make complex theological concepts more accessible, and present the life of Jesus in a way that is both engaging and meaningful for all.

EDITOR’S NOTE: While King of Kings may be an enjoyable and uplifting Easter film for the whole family, CINEMA suggests only children aged 7 and up be allowed to watch, in order to spare younger children from certain scenes depicting cruelty and violence.

King of Kings was originally published in CBCPCINEMA on Medium, where people are continuing the conversation by highlighting and responding to this story.

Technical assessment: 3.5 stars

Moral assessment: 3.5 stars

MTRCB rating : R16

CINEMA rating: V16

Based on a true story, In Thy Name tells of the 43-day ordeal of Fr. Rhoel Gallardo, a Claretian missionary assigned in Claret School, Tumahubong, Basilan when he was kidnapped by the Abu Sayyaf in March 2000. The movie portrays the priest as a soft spoken, kind-hearted person with a soft spot for the marginalized. During the kidnapping, there were attempts to present him as a defender of the oppressed which eventually led to him being singled out by the leader and tortured several times. He refused to renounce his faith — which gave strength to the other hostages — but eventually cost him being constantly ridiculed and beaten by the terrorists. Alongside the events in the Abu Sayyaf camp, we witness the heartbreak of Fr. Rhoel’s parents as they watch the news on television as well as the plans and rescue efforts of the Armed Forced of the Philippines (AFP) and the Islam of Basilan. The terrorists and the hostages are forced to escape through the jungle when the AFP decides to attack the camp. The AFP finally catches up with the terrorists on May 3. A crossfire occurs killing several hostages including Fr. Rhoel.

The film demonstrates the meticulous research the production team undertook, faithfully adhering to actual events. Viewers can appreciate the heroic role of the military and the Islamic community who are normally stereotyped as corrupt or violent in most films. Soriano skillfully presents graphic scenes with mindful respect, preserving their impact without resorting to gratuitous violence or emotional distress. Particularly, the sexual abuse of Teacher Theresa and the torture of Fr. Rhoel are skillfully handled, even to the point of appearing poetic and moving. We could imagine the fortitude of the real Fr. Rhoel, of which unfortunately McCoy’s portrayal was a tad weak. It is evident that he was too conscious of portraying the exact opposite of the TV character he is associated with. But commendable is his desire to internalize the rigorous ordeal the priest went through. What McCoy lacked, Confiado, de Vera and Soliman delivered. Even Fernandez’ Teacher Theresa effortlessly steals the spotlight. Fr. Rhoel’s character is gradually developed although needing some more depth and complexity to illustrate his readiness to sacrifice his safety and comfort for the sake of others. A real saving grace is the fact that we know this happened in real life and our hearts bleed at the violence the real Fr. Rhoel had to endure to defend what he stood for. The storytelling manages to be cohesive despite several points of view. being fragmented, seemingly prioritizing the development of Abu Khadaffy and Abu Sabaya. Soriano’s choice to place an Abu Sayyaf character with moral conflict that translates into kindness makes the film human and empathic.

The film’s main intention is to inspire faith and honor Fr. Rhoel’s martyrdom. With the magic of post production (we saw the film in its first edit), the scenes intended to portray his commitment to protecting the abused, his unwavering faith and refusal to renounce God, provided a strong emotional impact — not only to win sympathy but to inspire commitment to love. What could have pushed it further was to see the inner tension where Fr. Rhoel can escape all the suffering but still chooses to ensure it for the sake of his unwavering love and trust in God, in the same manner that Christ became conflicted during the Agony in the Garden. On the other hand, the story’s success in advocating love and hope comes from the conversion in people who were with him==particularly the AFP soldiers who became witnesses of Fr. Rhoel’s martyrdom, the teachers who saw his bravery and the insurgent who empathized with his kindness. Sainthood is also about how his witnessing transforms others to follow the path to God. In the same manner that Christ converted people.

Overall, the production’s heart is in the right place. The core message of hope and resilience shows that unwavering love for God can alleviate even the most profound pain. There only has to be a deliberate effort to highlight the values which will support the intention. The film may not be perfect, but it is what the film society perfectly needs amidst all the hatred and violence happening, to show that faith provides inspiration it badly needs. — PMF

DIRECTOR: Ceasar Soriano and Rocket Ruiz; LEAD CAST: McCoy de Leon, JC de Vera, Mon Confiado, Soliman Cruz; PRODUCED BY: Ceasar Soriano;; PRODUCTION DESIGN:; MUSIC:; GENRE: Historical-fiction; Drama-; COUNTRY: Philippines; LANGUAGE: Filipino; DISTRIBUTED BY: Viva Films; RUNNING TIME: minutes

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