Chris Martinez's "The Gifted" (Film Review): "Fake Never Looked So Good"

“The Gifted” begins with stereotypes, fills the middle with more stereotypes, and ends with stereotypes, then the film cleverly pulls the rug out from under you when you least expect it. Boom! I love it. That says a lot, considering I started hating the film after just fifteen minutes. Anne Curtis's campy performance kept me engaged in the middle, but in the end, writer and director Chris Martinez delivered his coup de grace.

Revealing too much of the plot would spoil the pleasure of watching it. My only advice is to stay in your seat even after the credits start to roll; otherwise, you'll miss the best part. Leaving early is like "doing it" and running off before you climax.

There is nothing groundbreaking about the film. In fact, it feels like a rip-off of Robert Zemeckis’ “Death Becomes Her.” The plot is typical and predictable: two beautiful women fighting over a dim-witted handsome stud who cannot control his hormones. The two female characters behave like cats in heat, devoid of common sense, sacrificing intellect for the sake of winning the big prize. They are classic over-the-top campy girls and the quintessential nightmare for all feminists.

The film also hurls clichés at the audience one after another. Just when you think you’ve had enough—and, in some cases, enjoyed the clichés—director Martinez figuratively slaps you in the face, just before you leave thinking his movie is purely created for fun.

“The Gifted” surprised me; it is perhaps one of the best comedies of the year. The film is far superior to “No Other Woman,” the soon-to-be campy classic that also stars Christine Reyes and Anne Curtis. While “No Other Woman” was originally intended as a melodramatic bitch-fest but was fortunately redeemed by its inadvertent campiness and hilarity, “The Gifted” is clearly a comedy. As you watch, the film seems headed for a critical epic fail, but that is exactly what Martinez wants you to think.

“The Gifted” is a clever joke and a critique of Philippine melodrama, delivered with the Queen of Camp in her campy best.

Watch it and have fun.

PERFORMANCE
The real queen of the film is Anne Curtis, who essentially rehashes her “No Other Woman” persona. In this film, her character is allowed to shine in all her campy glory. Anne plays a scintillating devil who unapologetically toys with mere mortals, showing little remorse. Her character and performance are so exaggerated that they shine. Had she played her part seriously and authentically, Curtis would have failed as an actress, since her character was written to be fake—even the obviously artificial prosthetics work. Therefore, every trite, superficial, and fake element that Curtis and Martinez concocted is intentional and nicely executed.

Once again, Curtis is in her element when she plays a villain. I’ve said it before, and I will say it again: Curtis deserves better films for her acting talent. She needs a “Black Swan.”