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Keys to the heart, common sense media reviewers.

Family drama remake has language, violence, bullying.

A Lot or a Little?

What you will—and won't—find in this movie.

Even those who have been deeply hurt manage to fin

An angry man manages to find his way back to famil

Filipino movie with Filipino cast. A main characte

A washed-up boxer is beaten up while sparring with

Infrequent use of "f--k," "pr--k," "s--t," "hell,"

Adults smoke cigarettes and drink alcohol.

Parents need to know Keys to the Heart is a Philippine family drama bringing a struggling, aging boxer back in touch with the mother who left him in childhood when she escaped from his abusive father. Her 21-year-old son who has autism is a virtuoso pianist, and when the two sons are thrown together, both are…

Positive Messages

Even those who have been deeply hurt manage to find forgiveness. Challenges are what make you grow.

Positive Role Models

An angry man manages to find his way back to family and his own heart.

Diverse Representations

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Infrequent use of "f--k," "pr--k," "s--t," "hell," "damn," "balls," "pee," "poop," "fart," "bastard," and "suck."

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Drinking, Drugs & Smoking

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know Keys to the Heart is a Philippine family drama bringing a struggling, aging boxer back in touch with the mother who left him in childhood when she escaped from his abusive father. Her 21-year-old son who has autism is a virtuoso pianist, and when the two sons are thrown together, both are resistant to the mother's hopes for reconciliation of the family. Language includes infrequent use of "f--k," "pr--k," "s--t," "hell," "damn," "balls," "pee," "poop," "fart," "bastard," and "suck." Adults drink alcohol and smoke cigarettes. A boxer is badly beaten in the ring several times. A drunk man is hit by a car. A character is called "retarded" and a "freak" and treated poorly by bullies and adults. Someone has a devastating disease. A young man urinates on his brother's foot and defecates on a sidewalk. The film is a remake of the South Korean 2018 film of the same name. In Tagalog with English subtitles. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

Where to Watch

Videos and photos.

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• Parents say

There aren't any parent reviews yet. Be the first to review this title.

What's the Story?

Is it any good, talk to your kids about ....

Joma seems to change from a bitter and loveless person into one who can feel and give joy. Do you think his transformation seems realistic? Why or why not?

Jayjay is neurodivergent. How do people treat him? How does the movie treat him?

Movie Details

• On DVD or streaming : October 4, 2023
• Cast : Zanjoe Marudo , Elijah Canlas , Dolly De Leon
• Director : Kerwin Go
• Inclusion Information : Female actors, Asian actors
• Studio : Netflix
• Genre : Drama
• Run time : 102 minutes
• MPAA rating : NR
• Last updated : October 10, 2023

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

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Film Police Reviews

A Philippine-based film site, featuring news, essays, interviews, and the leading PH film podcast, Third World Cinema Club.

Bonifacio: Ang Unang Pangulo

B onifacio: Ang Unang Pangulo , a historical drama full of passion, plays differently against other films from different genres for there must be painstaking research involved to portray a realistic depiction of the grand narrative to the minute details of set design and character mannerisms. Thankfully, the movie does its job well consistently and even excels in bringing a terrific experience in the cinema.

Opening with the execution by garrotte of the Gomburza (an acronym denoting the surnames of the Filipino priests Mariano Gomez, José Burgos, and Jacinto Zamora), a grim atmosphere has been laid out through an enriching interplay of delicate lighting, powerful score and a succinct screenplay, giving the three priests distinct personalities in just less than ten minutes. With the introductory scene alone, the film has already set its standards high. The film then brings us to the present-day, in the gymnasium of a Catholic high school with a typical scene of bullying. A graduating student with altruistic values, as played by Daniel Padilla, steps in. It promises an interesting storyline of parallel values but as the saying goes, “promises are meant to broken.” Together with two other students and a curator of a museum dedicated to Bonifacio, they uncover history through documents, to support the accuracy of the claims the film presents. They serve not only as unnecessary narrators but also represent the inspired youth and dedicated historians, as expendable anchors to reality. There is not much progression with these one-shots as they interweave and later interrupt much of the dramatic storytelling, breaking the inertia, and blemishing an already excellent biopic. ( It is the intention of the reviewer to point this out early on so that the reader can opt to tune out these jarring moments, hoping to bring a greater appreciation of the film. )

On a certain level, Bonifacio: Ang Unang Pangulo is a symbiotic ménage à trois among Andres Bonifacio, played by a subdued Robin Padilla until the character goes in fits of rage and control is lost; Gregoria ‘Oryang’ de Jesus, suited by Vina Morales, whose story relevance grows in time; and the country, particularly the nation’s persecuted masses. The first part cements their common love for justice and social upheaval. Further tribulations in family affairs in the latter sections gave their love story an alluring kind of sadness as unfortunately; this has been Andres’s only rock in his untimely demise. For this layer alone, it already provides a compelling drama, the beef in the burger patty. This patty becomes heavier and juicier with the other meatier layers and astounding audio-visual elements that gives its distinguishing flavor.

The personal and historical highlights can be arranged to three chronological sets of discovery. Bonifacio’s active involvement in the movement stems from his spirit grown from the seeds left by the death of the Gomburza, and a fellow nationalist, Dr. Jose Rizal, exemplary enlivened by Jericho Rosales from line delivery to deft hand gestures. A beautifully lighted meeting between the imprisoned Rizal, radiating in blue hue, and Bonifacio, in orange, not only intensifies their opposing actions and philosophies but also foreshadows the first act’s end where Bonifacio steps up as the leader of a new movement set on a more violent approach to freedom. The endearing cinematography is also introduced with a uni-directional camera work zooming out from Rizal to a long table filled by intently listening members of La Liga Filipina, an early protoypical movement that failed to set off, signifying his influence and magnitude of his intellect. This is contrasted near the end of the act with a circular directionless round table discussion, stopping with Bonifacio, as he assumes responsibility, gaining power from the trust of his peers. This kind of camera trail to display the influence of a notable hero is again used with Aguinaldo prior to the third act as he draws much of his power from influence by his peers, illustrating a different Aguinaldo that is neither pure good nor demonic evil.

As with men who cannot control the two masturbate, even at inappropriate times, peeps that can’t stop considering about it – somebody who was really ticked off and sent an angry email on to someone (who forwarded it to the top of corporate ladder. viagra stores Gokhru has order cialis canada strength improving diuretic and aphrodisiac properties. It repairs damaged tissues and tadalafil discount also promotes generation of new cells and tissues. Quitting smoking and alcohol will help with initial testing and screening cialis vs viagra of the problem. The first act culminates on natural daylight as the Katipunan emerges from the shadows of the caves of Montalban, where they are not just individual sources of light but now a force to reckon with. Interspersed with this scene, a digital vector animation of the myth of Bernardo Carpio is played, as an homage to the Filipino grassroots inspiration of Katipunan and also as a warning for the future Andres to face. The pattern of light encompassing not the characters’ personas, then progressing to break the monotonous dark atmosphere is a consistent flawless style, repeated throughout the next two acts, with the second leading to the iconic Sigaw sa Pugad Lawin (Cry of Pugad Lawin), which wages battles of life and death and not just mere propaganda for the minds.

For the final act, a well-choreographed night ambush, a quasi-climax that is a Pyrrhic victory in retrospect, gives the necessary energy for the painstakingly emotional yet horrifying death that comes to our hero whose only mistake is loving too much and being busy in seeking the light amidst the personal agendas who claim to seek the same. A reverse of the setup on light and dark further emphasizes the dreadful truth, with the reflection of the light from the moon punctuating the ironic somber ending. The third act may have ended in the past but its continuation in the present shows the results of the revolution. A well-illuminated world, as opposed to the foremost gloom in the initial scenes, is a product of the blood-drenched revolution that is not yet over. Soon after, the narration poses a question and some insights that would again boil down to the final scene of rising action that takes place in the heart of the revolution.

With the skillful mingling of chiaroscuro as part of its cinematography, fascinating marriage of screenplay and drama, subtle political machinations and societal factors trapping our forlorn hero, Bonifacio: Ang Unang Pangulo is a layered tragic love story to the country that will always be relevant in the age of revisionism. A good metric of this is how it is able to move individuals, people, a nation with or without the recognition of passion more than a century after offering an incomparable sacrifice.

P.S. Stay put until after the credits for a tease on something epic coming in six months. The revolution lives on.

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• Saturday, 30 March 2024

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Bayan o Sarili: Heneral Luna Film Review

Sa pagbukas ng pelikulang Heneral Luna ni Jerrold Tarog, muling balikan at buksan ang kwento ng kagitingan ng isang heneral at ng iba pang kontrobersyal na bahagi ng kasaysayan.

Hindi lubos na mauunawaan ang kasalukuyan kung hindi babalikan ang kasaysayan. Kaya sa pagbukas ng pelikulang Heneral Luna ni Jerrold Tarog noong Setyembre 9, 2015, nabuksan sa madla ang kwento ng kagitingan ng isang heneral at ng iba pang kontrobersyal na bahagi ng kasaysayan. Naging usap-usapan ng mga netizens ang pelikula at mistulang naging viral pa ang posibleng maagang pagkakatanggal nito sa mga sinehan. Muli nating hawiin ang kurtina at tanawin ang kasaysayan sa likod ni Heneral Luna.

Mapangahas at puno ng tapang ang grupo ni Direk Jerrold Tarog sa pagnanais na ibunyag ang madilim na bahagi ng kasaysayan. Ang kasaysayang kinagisnan nating mga bayani ay may kinalaman din sa kontroberysyal na krimen ng pagpatay sa kapwa Pilipino. Umiikot ang istorya sa panahon ng pananakop ng mga Amerikano at kung paano lumaban ang mga Pilipino upang hindi tuluyang masakop ng mga dayuhan at makamit ang soberanya.

Pilipino Laban sa Pilipino

“Mayroon tayong mas malaking kaaway kaysa mga Amerikano, ang ating sarili,” isa sa mga matalinhagang linyang binitawan sa pelikula na sumasalamin sa madilim na lihim ng kasaysayan. Hindi man direktang ipinakita ay tila palaisipan ang matagal nang isyu na si Presidente Emilio Aguinaldo rin ang nagpapatay kay Heneral Luna gaya nang nangyari kay Andres Bonifacio. Naging tahasan din ang pagsasalaysay ng totoong kaganapan sa pagitan ng mga Pilipino noong panahon ng mga Amerikano. Kahit sa pagitan ng mga miyembro ng militar o pulitika ay hindi nagkaroon ng kasunduan ang mga Pilipino sa pagdedesisyon.

Napapanahon Kahit Kahapon

Maikukumpara na magpahanggang ngayon ay nangyayari pa rin ang pagsisiraan sa pagitan ng mga Pilipino lalo na sa ating gobyerno. Kung sa pelikula ay makikitang pinatay si Heneral Luna ng kapwa Pilipino, ngayon ay wala pa ring nababago gaya nang patuloy nating nakikita sa mga balita at maging sa pulitika. Ang mga salitang ginamit ay nababagay rin sa modernong panahon lalo na ang mga punchline upang lagyan ng bahagyang komedya ang timpla. Bagaman makabago ang salita ay hindi nasakripisyo ang kwento at takbo ng istorya dahil sa katunayan, maging ang paggamit ng f imbes na p sa salitang familia ay kapansin-pansin din. Maging ang mga linya ay sadyang may laman na mas pinatindi pa ng batuhan ng mga dekalibreng artista gaya ni John Arcilla .

Atensyon para sa Suhestiyon

Talagang isa ang pelikulang ito sa mga maituturing na masterpiece sa larangan ng Philippine Movie, hindi lang dahil sa magandang storyline kundi maging ang cinematography . Makakakonekta ang lahat ng uri ng manonood sa ganitong klaseng pelikula dahil sa pagkakatalakay nito sa ating mga paaralan simula nang tayo ay nasa elementarya. Sadyang iba ang nakikita sa nababasa mula sa nilalaman ng libro kaya mas mainam kung sa susunod ay ipapalabas ito nang may subtitle upang masundan din ng mga manonood ang mga linyang tumatatak sa puso. Bagaman mayroon nang mga naunang pelikula patungkol sa ating mga bayani, maganda rin kung ang mga susunod na pelikulang tungkol sa kasaysayan ay gawing sequel style o tahiin ang mga istorya ayon sa pagkakasunod-sunod sa kasaysayan upang hindi nakalilito at mas madaling magamit bilang material sa pagtuturo sa mga paaralan. Noon pa man ay may kakaiba nang alab ang puso nating mga Pilipino gaya nang ipinakita ng isa sa ating mga bayani. Nakakalungkot lamang na isiping tila nakakalimot tayo at pati sa simpleng pagsuporta ng sariling atin ay mistulang mabibigo pa tayo. Sa bawat pagkakataon na iniisip natin ang ating kapakanan, isaalang-alang din natin ang ating bayan. Wala mang kapa o anumang costume gaya ng mga superheroes ang ating mga bayani ay umukit sa kasaysayan ang dugong kanilang ibinuwis. Sana’y huwag tayong magbulag-bulagan sa nagaganap sa ating bansa at gaya ng sinabi sa pelikula, “hindi panlalait ang pagsasabi ng totoo.” Kaya sa mga pulitiko, pulis, estudyante at maging pedicab driver , “negosyo o kalayaan, bayan o sarili, mamili ka.”

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#RewindMMFF: “Rewind” movie review and quotable quotes

• Mark Pere Madrona
• December 30, 2023
• commentary , entertainment

Since I cannot and will not be able watch all the other entries to the Metro Manila Film Festival (MMFF) 2023, I don’t really have strong opinions either way about those who won. However, I think Mae Cruz Alviar’s “Rewind” does not deserve to be snubbed during yesterday’s awards night. This Star Cinema movie should’ve gotten some love!

According to a report from the Philippine Entertainment Portal, “Rewind” is MMFF’s top grosser so far, and that it is not surprising because of its relatable themes and scenes.

For example, I think many of us have experienced being like John (played by Dingdong Dantes) who lashed out against someone at home – including children! – because we had a bad day in the office even though our loved ones have nothing to do with what we experienced.Apart from that, there are countless of women who like Mary (portrayed by Marian Rivera) had to set aside their professional careers for their family. Way too often, we let our work consume too much of our time and energy at the expense of giving ample time for our loved ones and to ourselves. Do you remember the last time you were able to have a heart-to-heart conversation with your parents, siblings, or anyone else at home?

Once we die, our employers will probably just send a message condolences to our bereaved family before posting the vacancy soon after. But to our respective families, we are irreplaceable. Unfortunately, there are no do-overs in life so we just have to nurture our bond with our loved ones every chance we get.

PS: I cried buckets during the numerous scenes where Ben and Ben’s “ Sa Susunod na Habang Buhay ” was played. I know I am not alone!

“Ngayon naiintindihan ko na kung bakit bata pa lang pinagtagpo na tayo, dahil hindi pala tayo sabay tatanda.” – Mary to John

“Consummatum est.” – Lods (Pepe Herrera) to John

“Maniwala ka lang. Magiging ok ang lahat.” – Lods (Pepe Herrera) to John

About Author

The Filipino Scribe (TFS) is managed by Mark Pere Madrona, a multi-awarded writer and licensed professional teacher from the Philippines.

Mr. Madrona earned his master’s degree in history from the University of the Philippines-Diliman last 2020. He obtained his bachelor’s degree in journalism cum laude from the same university back in 2010. His area of interests includes Philippine journalism, history, and politics as well as social media.

Know more about him here: https://www.filipinoscribe.com/about/.

See author's posts

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‘Family Matters’ review: Old tricks, same magic

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This is AI generated summarization, which may have errors. For context, always refer to the full article.

MANILA, Philippines – Going into the cinema for a movie called Family Matters comes off like a gamble precisely because of how wry and bland the title sounds. Fortunately, this family drama clearly knows itself and takes advantage of every material at its disposal – at times, to a fault – making the gamble pay off.

The premise is a no-brainer. Ellen (Nikki Valdez) hopes to fly to the United States for a burgeoning romance, but guilt gets in the way as she frets over leaving her elderly parents Francisco (Noel Trinidad) and Eleanor (Liza Lorena) who she has long taken care of, especially after the patriarch encounters a health scare. 

Ellen then gathers her siblings Kiko (Nonie Buencamino), Fortune (Mylene Dizon), and Enrico (JC Santos) to figure things out. Yet she catches everyone by surprise when she travels to the US without notice, so the three siblings living in the Philippines have to deal with the matter at hand.

Director Nuel Naval hardly reinvents the wheel as the film bears an uncanny resemblance with Leo McCarey’s classic masterpiece Make Way for Tomorrow (1937) and local pieces such as Laurice Guillen’s Tanging Yaman (2000), which was a big hit at the time’s Metro Manila Film Festival (MMFF), and Cathy Garcia-Molina’s Seven Sundays (2017). But its contemporary sentiment separates the film from its predecessors, best captured by the third act in which the family attempts to disconnect from a world buoyed by the internet.

Given his roots in ABS-CBN’s Maalaala Mo Kaya , Asia’s longest-running drama anthology, Naval taps into a tried and tested formula that unapologetically places melodrama and sentimentality as the film’s most defining elements, recognizing that its success hinges on pure relatability.

Still, Naval manages to steer the film into a sweeping viewing experience because the director knows better than to bank on cheap histrionics and trivialize the pent-up beef and tension ingrained in family reunions, allowing the audience to settle in before opening the floodgates of emotion.

Yet Family Matters doesn’t solely succumb to plain drama. When a scene registers like it is about to go over the top, Naval insists restraint and injects energetic humor to strike a balance between the heavy scenes and the light ones, and even the banter between the characters reveals something about their own insecurities.

Of course, the film would not succeed without good material. The script, written by Mel Mendoza del Rosario, puts the film’s title to work precisely because of the sheer volume of family matters it unravels, knowledgeable that individual character arcs are just as paramount as the overall narrative, although the subplots could use some more fine-tuning. Where the story ends also requires some more calibration as it feels like the film could have already culminated early on, not only to reduce the runtime but also tighten the impact of the message.

But if one is to point out the film’s biggest merit, it would be the superb ensemble performance that leaves no false note. Trinidad and Lorena’s dynamic as a couple grappling with the perceived burden that comes with old age is a sight to behold, particularly in subdued moments where their silence and facial expressions alone are enough to convey their fragility and uncertainties. Buencamino also proves his acting mettle as the cocky Kiko, knowing when to keep his guard up and let it down, especially in loaded scenes.

The rest of the supporting cast also turn in solid, reliable work. Dizon, Valdez, and Santos are aware of how to make the most out of their characters but never fail to maintain chemistry with each other. Agot Isidro, James Blanco, Anna Luna, and Ina Feleo likewise offer hefty performances that thrive even in brief moments.

What makes this stacked cast far more impressive is how Ian Pangilinan rises to the occasion and delivers a work that easily makes him the MVP of this film. His affectionate acting makes more pronounced the budding pressure that Francis is forced to come to terms with as Kiko’s eldest child. His acting chops are on full display in a confrontation scene with Buencamino, like a dark horse waiting for the perfect time to show what he’s made of and nails it ever so brilliantly, lending the film its most emotionally-charged moment. Pangilinan’s work here is proof that he has a lot more to offer as an actor of his generation.

So what a charade it is to learn that this year’s MMFF jury decided to shut some of these performances out of the acting categories. That some of the actors didn’t even make the cut for the official list of nominees exhibits a lapse in judgment too glaring to go unnoticed — a disservice the MMFF extends in its decision to hand out awards only two days into the festival, when the entries barely relish its theatrical release, save for those deserving to be pulled out.

While Family Matters puts faith in the Filipino family, it also implores us to confront the complexity of a Filipino household replete with intergenerational trauma and overbearing expectations – how unhealthy familial relationships often lead to cutting off ties and how it takes a village to keep someone dear to us. 

Undeniably, Family Matters is best picture material, articulating that, if done tastefully, relying on old tricks can still bear some transfixing magic. But the members of the jury lousily think otherwise (and no, this isn’t a knock on this year’s top prize winner). – Rappler.com

Family Matters is now showing in cinemas nationwide.

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