Sin Island” finds a gratuitous excuse to repeatedly display Nathalie Hart’s ample breasts and Xian Lim’s similarly abundant manboobs. But, the novelty of seeing Nathalie and Xian in various stages of undress swiftly wears off as soon as you realize there’s something kitschy about the movie’s narrative development.
It lacks depth and cogent believability required to hold the film’s “conveniently” intersecting plotlines together.
Director Gino M. Santos fills his latest cinematic “underwhelmer” with gorgeous actors playing protagonists who seek redress for their self-inflicted romantic wounds and woes. But it’s made murkier by a story that is as incoherent and convoluted as the mind of swimsuit designer Tasha Cabonce, the unhinged femme fatale Nathalie portrays with reckless abandon.
A fork in the road
Tasha enters the picture just as shiftless photographer David Santiago (Xian) is trying to pick up the pieces of his tattered ego on Sinilaban Island.
He faces a fork in the road as he mulls over his troublingly disintegrating relationship with his lovely wife, flight attendant Kanika (Coleen Garcia). But, David’s jealousy isn’t completely unwarranted.
Tired of her feckless hubby’s perpetual whining, Nika finds comfort in her unraveling relationship with Stephen (TJ Trinidad, reliable as always), the devilishly handsome pilot who manages to sweep her off her feet in their unguarded moments together.
But, when David crosses paths with Tasha, the cautionary story about the painful repercussions of infidelity and betrayal takes the backseat.
It doesn’t take long before the movie’s knee-jerk yarn-spinning spirals downward into a deadly fable about the downside of romantic seduction—a kitschy knockoff that would make Glenn Close’s character in “Fatal Attraction” blush.
Tasha will get her man by all means—even if that would require her to get rid of anybody who gets in the way of her “happiness,” including her husband Francis (Bernard Palanca).
Coleen acquits herself with cool confidence. But, Nathalie’s no-holds-barred but “not-quite-there” characterization is more polarizing to see. It’s a role that gives the actress elbow room to explore and improvise.
Nathalie has earned her thespic stripes portraying femme fatales in alternately atrocious (“Balatkayo”), uneven (“Siphayo”) or well-meaning (“Historiographika Errata,” where she delivers her finest performance to date) indies.
The 25-year-old former “StarStruck” finalist occasionally goes over the top, but even when she comes across like a swishy drag queen or a vengeful virago, she nevertheless turns in a rough-around-the-edges portrayal that can be cured or refined by proficient directorial coaching.
The role of the aggrieved husband is a snug fit for photogenic Xian but, while daring, it’s a performance that is weighed down by his decision to keep playing the victim card—an acting crutch that limits characterization when utilized injudiciously.
But, there’s always a next time.
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