Aspirin Poisoning in Jerry Lopez Sineneng’s Ngayong Nandito Ka (2003) February 14, 2008Posted by Richard Bolisay in Asian Films, Noypi.
English Title: Now That You’re Here
Directed by Jerry Lopez Sineneng
Written by Henry King-Quitain
Cast: Kristine Hermosa, Jericho Rosales, Onemig Bondoc, Cindy Kurleto
Ngayong Nandito Ka suffers from an absolute lack of riboflavin — its muscles too weak, its bones too brittle, nothing so much you could really get hold of — and if there’s any consolation in watching this film, as little as it is, I am afraid I can’t think of any.
If you watch this film when you’re bored, you get twice the feeling — and what’s scary is that you might get the idea of hanging your friend who lent you the copy of this salty, uninspired, effortless effort which could permanently damage your kidneys for life. Thank god I’ve seen it on free TV.
There is a recurring presence of uneasiness — both diegetic and non-diegetic — and everything sways in the air of smoke belchers. Expect no histrionics because Kristine Hermosa isn’t capable of that — when she acts she tastes like mushroom soup full of water, and when she exaggerates she acts like suffering from chronic scurvy — and in this film she just proves how ham an actress she is. I understand this film is not only about her but I would like to emphasise how miserable her network is in packaging her as an “actress” while in fact she stands out as the least competent of all its “talents” — try to catch an episode of Prinsesa ng Banyera and I’m sure minutes after you will plead euthanasia — and it goes without saying that ABS-CBN isn’t really producing talents but copycats, the same way its singing champs are nothing but vocal chords-turned-human beings. The insensitivity that prevails all throughout the film is despicable and it is difficult to take it seriously — its cardboard characters with stream of fake plastic pearls falling from their eyes and words of bogus propriety failing to hit their mark. Everyone endlessly tells stories, gossips, and superstitions — memories of the past eaten away by too much work — and its theatricality is so stiff that Ngayong Nandito Ka can be turned into a play and still not lose its ability to induce unbearable ennui — in their world where embrace and letting go mean only one thing, every glance means everything, every touch has a past and a future, and every kiss is a kiss of closure. *