Cinematography-wise, there is enough thoughtfulness behind the lens but the light could have been filtered better some of the scenery shots appear burnt and flat. The province of Tarlac was remarkably used to the film’s advantage as the mere sight of the crater of Mt.
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The movie might be predictable, but at least it does nearly everything right. The rich-girl-poor-boy gimmick has been done to death already but there is an innate reason behind this: it works every time. A huge improvement, say, from someone like Gerald Anderson’s failed attempt at losing his coño-boy antics while portraying a rough-on-the-edges convict in Eric Matti’s crime film, OTJ. He wears the rugged, probinsiyano aura far better than most actors of his generation. Padilla assumes the mantle well, showing off a kind of luster similar to his uncle Robin Padilla in his prime.
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The rest of the supposedly “dramatic” sequences are too bland that you can take a bathroom break or get something from the fridge as they transpire.
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Perhaps the only emotional high note the film ever offers was with him, making the audience weep for the same reasons his character is suffering from – a mark of a truly good actor. Luckily, much of the movie’s narrative is carried by Padilla’s genuine talent for the screen. There is a lengthy crying marathon with Lorna Tolentino that felt highly irrelevant and over-drawn. The relationship between her and Padilla teeters around ideas of intimacy and sex, which could mean that the “innocent puppy love” shtick might not fly so well next time, for they are starting to mature both physically and emotionally.īernardo’s acting may need a little more work. There is an uncomfortable amount of Kathryn Bernardo legs in this movie, proving that her blossoming beauty might be ready to move on from safe, teeny-bopper roles to more mature ones. The chemistry between the two central characters threads on familiar waters, and is mostly carried by Padilla’s powerful screen presence and natural charm. And you probably know what happens next after this point. Kiko is tasked to take care of and “straighten out” the wild child that is Jackie.
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Along comes Kiko (Daniel Padilla), an illegitimate son of the mayor (Gabby Concepcion) living selflessly for his siblings and helping Jackie’s mom with her medical missions in the poorest areas of the region.
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The idea is for Jackie to finally understand the meaning of responsibility and that if she manages to finish the entire program, she can go on to study in New York City and live free for the rest of her life. Her separated parents argue and decide that it’s best for her to go on a medical mission with her mother (Lorna Tolentino) in one of the remote villages in the province of Tarlac. The film starts off with a reckless, drag-racing rich girl named Jackie (Kathryn Bernardo) self-destructing her way into a jail cell.
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This latest installment in the KathNiel hype train knows how to entertain with enough humor and cheesy onscreen romance to be worth your time. It sounds rudimental and elementary and quite honestly, something we’ve seen and heard of a million times before. She meets Responsible Poor Boy and falls in love. Mae Cruz-Alviar’s Crazy Beautiful You can be described in the length of a tweet: Rebellious Rich Girl reluctantly goes to poor community.