There’s a simplicity in the story that pushes the narrative of ‘Rewind’ forward. It’s the story of a man that is so devoted to his work (and with anger management issues) that he pushed his family away and gets a chance to do it all over again after the tragic loss of his wife. It’s a story about not taking for granted what you have in cherishing the things that you are working so hard for and not forgetting them while they are still there in front of you. I love simple stories, really. Some of the best movies out there have very simple narratives and are just told extremely well.

My biggest issue with ‘Rewind’ is that the film lacks any sort of restraint – both in the direction and in the screenplay – and it detracts from the film’s simplicity. The script, by Enrico Santos and Joel Mercado, has a tendency of explaining everybody’s feelings and emotions and constantly repeats the values that the film wants to espouse. It’s overwritten and can use some toning down. While director Mae Czarina Cruz has an affinity for extreme close-ups and some crazy angle shots that distracts us from the emotions of the scenes. There’s a whole lot of really tight close ups of lead actors Dingdong Dantes and Marian Rivera that, while does an excellent job at bringing us closer to the characters, what it does is that it takes us away from the moment. 

While ‘Rewind’ is about the profound effects of loss, and even hope, and how it can push people towards making some powerful changes, the film is also how it affects a person and his relationships with everyone around him. The film needs to go further than the interior world of its characters – Dantes’ John and Rivera’s Mary – and the film could use more medium shots and long shots to establish place and time. The script could allow more space for us to see the man that John used to be (aside from a short intro, the film immediately brings us to him as a workaholic, angry, resentful man) and to see the full extent of what Mary gave up for John.

The filmmaking in ‘Rewind’ is meant to highlight the pure star power of its lead actors and thankfully, Dantes and Rivera are more than enough to carry this movie by the sheer power of their performances.

Marian Rivera’s Mary is loving, nurturing, and attentive. She’s spontaneous in all her scenes and it adds to the depths of emotions that happens when John loses her mid-film. She embodies the heart of any Filipino home without being corny or cloying. Unfortunately, the film doesn’t give her too much to do or showcase more of what she’s capable of. We don’t get to live in her world for too long so we don’t see the person she could have been (it’s implied but never really shown). Mary is not a lead character here and doesn’t get to really develop and grow but it says so much about Marian Rivera’s presence and skill to create a character so whole and believable with what little she was given.

Dingdong Dantes, on the other hand, is so fully committed to the character and to the story that he doesn’t even try to earn our sympathy. His John is so single-minded in his attempts at forging success that he’s really forgotten about the people he is doing it for. He’s gruff and dismissive and it really helps that it’s a performance that is polar opposite that of his other MMFF film ‘Firefly.’ It shows his range. So much so, that when he is given the offer to do it all again, we can see in his eyes the desperation for this mystical offer to be true. He really doesn’t believe it but wants to believe and then the utter joy in his face when it does come true. It’s such a committed performance that it brings this film – unrestraint cheesiness and all – to a place that is honest and true.

There’s a lot in this film that I’m not comfortable with – the unrestraint filmmaking with its on-the-nose dialogue and how the musical score is working too hard to make us feel things that’s already laid out for us by the performances of the actors – but even still I felt something in that theater as the film’s story unfolded. From the sheer talent and commitment of Dingdong Dantes and Marian Rivera, the film still struck a chord with me and the people around me. We were crying when the movie wanted us to.  I felt that the film is unambitious in its concept and presentation – it’s what I expected it to be when the film’s premise became clear after the first 20 minutes – but it was saved by the truth and honesty of Dantes and Rivera’s performances. 

My Rating:

Rewind is now showing. Check screening times and buy tickets here.