It’s official: the makers of Kimmy Dora have no idea what to do with their hugely successful titular characters. What has gotten to Chris Martinez, the writer and director, in particular? Is it the pressure?
Definitely, it is not for lack of talent. We know he can do it, judging by the first Kimmy Dora film, and even better, by Here Comes the Bride, one of the best Filipino comedies of all time.
And it’s certainly not for lack of budget: Kimmy Dora… Prequel has excellent production value, almost to a fault. While I laud the set design and special effects (there’s one scene where the twins, played by Eugene Domingo, interact in the same frame and it was flawlessly executed), it didn’t make sense that as a prequel, the office setting and technology were more advanced here than they were in the first film. (And for the love of god, why did practically all frames include a lens flare, whether it was an indoor or outdoor setup? It made everything look glossy and fake.)
The script was average at best, only made palatable by Eugene and the strength of some of the best actors in the country, Joel Torre and Angel Aquino. (Every time they appeared in a scene, I made a toast in my head: “To jobs that pay the bill!”) I enjoyed as well the various guest appearances by Star Studio talents, but no more than the plump becky beside me, who giggled and jiggled in his seat, sending seismic waves two seats down our row.
Sayang. Movie audiences can’t always be this forgiving–in fact, as of this writing, the movie is well behind the critically deplored My Little Bossings, and the better-received Girl, Boy, Bakla, Tomboy (incidentally, another film with one actor playing the titular characters, quadruplets this time) in terms of box office receipts. I hope that next time, Chris figures out what to do with Kimmy, or else, just give her a rest.