October 1, 2026
Sheryl (Xyriel Manabat) had been the only girl in the Bunga family ever since her mother walked out on her and her two brothers KC (Viggo Franco) and Bunso (JM Salvado), and left them with their father Dido (Bombi Plata). Sheryl was working as an attendant in a local nail spa called Salon Fast. One day, a call came in to order a home service. However, instead of Cynthia (Renzie Aguilar) who got the booking, Sheryl got picked up instead.
It turns out that that call was in fact part of an elaborate plot to murder the customer, identified to be Max de Dios (River Joseph). So when Sheryl interfered, the group who organized the hit led by funny-sounding Kanye (Roger Naldo) wanted her to complete the job, or else they will have her family terminated. Sheryl was surprised when Max turned out to be the handsome guy she once ran into at a bar on whom she had a serious crush.
This loud and silly crime comedy was directed by Mikko Baldoza, "Haplos sa Hangin" (2025). The two writers credited for the screenplay were also film directors -- Arden Rod Condez and Sonny Calvento. The idea of cuckolded husbands getting together to fund a hit against the gigolo who stole their wives might have been funny on paper, but this big screen execution turned out to be a noisy, garish and mostly ridiculous mess.
The prolific lover boy was played by neophyte River Joseph, who did not offer the movie anything much. His good looks only go so far. His line delivery was dry and unconvincing, and his comic timing was mostly off and awkward. His character was supposed to have been an uber mysterious, powerful and dangerous man, but it would turn out that there was really nothing much inside. Even the chemistry between his Max and Sheryl felt forced.
The only saving grace of this film was Xyriel Manabat in the central role of Sheryl. She was well aware that the success of this film lay squarely on her shoulders, and she fully committed to carrying that load from beginning to end. I am not really a fan of shrill performances, yet I have to take an exception to this one. I really appreciate Manabat's boundless energy here which was the prime factor that kept the film afloat to deliver its feministic message. 4/10.
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