My notes on Northern Lights: A Journey to Love:
1. It must be tough to be a Piolo Pascual. When people commonly refer to you as Papa, there’s this high level of expectation (or fantasy) that you’re constantly required to fulfill (or satisfy). I’m not at all surprised that at the ripe old screen age of 40, he still plays these cutesy roles that merely require him to flash his gorgeous smile and ensure that hundreds of Soen panties (and a few Bench briefs) fall inside the cinema.
But having him deliver lines like “Are you London Bridge? Are you falling?” while making pungay eyes just doesn’t cut it anymore. It’s time to pass on that Mikimoto crown.
Speaking of, he had several topless scenes while flirting with different women (in one, he was in a sleeping bag on a snowy hill, jusko pneumonia! shrinkage!) just to remind everyone that he’s straight, Straight, STRAIGHT!! (Maybe he should rethink that man bun then.)
2. Everything here screamed generic (yes, it was the Rite-Med version of any Nicholas Sparks adaptation) and this was evident as soon as the movie started with a discussion about the Northern Lights (uhh, duh!). Apparently, the souls of the dead (including those of animals!) would win a free one-way trip to Alaska and become part of the Aurora Borealis.
When the kid (Raikko Mateo) asked his mother (Maricar Reyes), “Puwede po ba ako pumunta diyan?”, I immediately knew that one of them wouldn’t survive before the end credits.
3. This was the kind of original movie where:
• Strangers would bump into each other in an airport as part of the Meet Cute scene
• A douchebag character would continuously harass a girl, but it would be considered romantic because the said douche looked like Papa P (who sounded even douchey-er with his Diether Ocampo American accent)
• Characters would speak in unison several times because it was supposedly cute
• A romantic leading man would say “Lilingon ka rin in 3, 2, 1…” like we hadn’t seen it in previous rom-coms
• A girl would recall an experience that sounded like rape (“Nilasing niya ako at paggising ko wala na akong saplot”) and it would be played for laughs
• Somebody would give an instant lecture about the Treaty of Paris to give more perspective about their location
• Music and Lyric’s Way Back Into Love served as the closing theme
4. Yen Santos was just too bland for the role of a girl in search of her missing OFW mother (her reason: “Kahit ganito na ako katanda gusto ko pa rin tinitirintas nya ang buhok ko”). Leah Olivar would probably be laughing in her Mrs. Pizza costume right about now.
Seeing a fresh face onscreen was definitely a welcome change, but I wish she had shown a bit more personality. Her delivery sounded very malamya that I was constantly reminded of that Shield bath soap nurse and I expected her to suddenly burst into song (“Di biro maging nurse, dapat marunong sa sakit. At marunong mag-alaga, yun bang may malasakit…”).
In one scene, she was supposed to do a bad cover of Air Supply’s All Out of Love and she was just terrible in pretending to sound awful (how was that even possible?). Oh well, not everyone could be Nico Antonio.
5. Also, Yen’s character had the nerve to question Piolo’s constant state of toplessness amidst the freezing weather and yet she had a scene where she was only wearing an oversized boyfriend shirt with one side barely hanging on her shoulders and part of her back exposed like she was in an Olay commercial. Guuurrrrrl!!
6. Although Raikko had some really cute moments, the real saving grace here was Glydel Mercado in full Ate Vi in Anak mode as the mother (!!) of Yen. Her character’s motivations were not clear, but she did cry a river that was enough to remind everyone why she was a Grand Slam winner for Sidhi.
7. Why did the Northern Lights look like CGI?
8. The denouement with a dead character communicating with the living loved ones through video was directly stolen from My Life. It could have stopped there but since this was a Regal Films co-production, of course it needed a happy ending. On the beach. Hello Pico de Loro!!