Wazzup Pilipinas!?
“What if the Philippines was never colonized?” It’s a premise so compelling, so ripe with possibility, that it could have been the foundation of a groundbreaking film. The Kingdom, starring Vic Sotto and Piolo Pascual, had this intriguing setup—a version of the Philippines called Kalayaan where foreign invaders never set foot, a land that grew and evolved on its own terms. The potential for cultural commentary, political intrigue, and thought-provoking alternate history was enormous.
But did the movie deliver on this promise? Unfortunately, no. Instead of exploring these themes, the film gets bogged down in a predictable family feud, thinly veiled political metaphors, and plot threads so loose they barely hang together.
The Premise: A Missed Opportunity
The central plot revolves around a ruler (Vic Sotto) stepping down and choosing his successor. His children—played by Sid Lucero, Cristine Reyes, and Sue Ramirez—vie for control. Meanwhile, Sue’s character is set to marry a Thai prince to settle the nation's debt.
But why the rush for the ruler to step down? Was he sick? Was he weary of leadership? Vic Sotto’s character didn’t seem frail or incapable—he even engages in a knife duel with Piolo Pascual’s younger, more physically formidable character. The urgency behind his abdication feels artificial, and the stakes of this transition are never properly laid out.
And what about Kalayaan itself? What does this sibling rivalry mean for the nation? Is the country on the brink of collapse? Are they facing a rebellion? An economic downturn? External threats? The film never gives us a clear sense of the consequences, and as a result, the drama lacks gravity.
An Alternate Philippines… But Why?
The setting of an uncolonized Philippines is an incredible sandbox to play in. Yet, The Kingdom barely scratches the surface of this unique backdrop. Are we supposed to see the monarchy as a symbol of order, or as an outdated system ripe for reform? Are we meant to compare Kalayaan’s independence with our real-world struggles with foreign debt and geopolitical pressure?
The marriage alliance subplot—Sue Ramirez’s character being promised to a Thai prince—hints at financial troubles. But again, the film never explains the stakes of this debt. What happens if it’s unpaid? What exactly does this marriage achieve? Does the resolution of the family feud impact the nation’s financial crisis in any way?
At one point, the film briefly touches on Kalayaan's sovereignty with a scene involving naval forces shooing away what appears to be a thinly veiled stand-in for China's coast guard. But this moment feels shoehorned in, disconnected from the larger narrative.
A Script That Talks Too Much, Shows Too Little
Cinema is a visual medium, yet The Kingdom seems to have missed this memo. The characters talk—a lot. Long-winded dialogues attempt to fill in plot holes that the narrative should have shown us through action and imagery. In a scene where Cristine Reyes’ character explains her grudge against her father, the exposition is delivered with the flair of a radio drama—overwrought, excessive, and entirely unearned.
This reliance on verbosity rather than visual storytelling becomes exhausting. Instead of showing us the emotional weight of each conflict, the film insists on telling us about it, again and again.
Themes That Lead Nowhere
The movie flirts with big ideas: monarchy vs. democracy, familial duty vs. personal ambition, freedom vs. dependence. But these are surface-level observations, never given the depth or exploration they deserve. At one point, it seems the film might be drawing parallels to the Martial Law era or contemporary political struggles, but these threads go nowhere.
The concept of justice in Kalayaan—with public executions and Hammurabi-style punishments—raises interesting moral questions. But again, these are touched upon and then quickly abandoned in favor of more family squabbling.
A Resolution Without Impact
By the end of the film, Sue Ramirez’s character assumes power. Is she married to the Thai prince? Is the debt resolved? Is the nation saved from ruin? These questions remain unanswered. The rebels are still rebels, nothing substantial has changed, and the nation of Kalayaan feels as ambiguous as it did at the start.
The only clear resolution is that Piolo Pascual’s character, once banished, is reinstated as Sue’s bodyguard. But what does this mean in the grand scheme of things? Did the sibling feud matter? Did the father’s abdication have any real consequences?
The Performances: A Silver Lining
Despite the shaky plot and weak script, the performances of Vic Sotto and Piolo Pascual remain commendable. Vic Sotto brings a quiet gravitas to his role, while Piolo Pascual exudes charm and physicality. But even their charisma can't save a sinking ship.
The Verdict
At its core, The Kingdom feels like a grand idea poorly executed. It’s a film that could have been a groundbreaking commentary on colonization, independence, and power, but instead, it fizzles into a messy family drama with underdeveloped stakes and hollow resolutions.
It’s a visual spectacle, sure—but one without soul. For a film that set out to roar, it ends in a whimper. It’s the cinematic equivalent of stale junk food: flashy packaging, but ultimately unsatisfying.
If you’re looking for an engaging exploration of an alternate history Philippines, this isn’t it. But if you’re content with brief flashes of charisma from seasoned actors like Vic Sotto and Piolo Pascual, you might find fleeting moments of enjoyment.
The Kingdom could have been revolutionary. Instead, it’s merely forgettable.
Ross is known as the Pambansang Blogger ng Pilipinas - An Information and Communication Technology (ICT) Professional by profession and a Social Media Evangelist by heart.
