Static storytelling weighs down humorless ‘Escort’

Derek Ramsay and Lovi Poe in “The Escort”

In the glossy but morally ambiguous world inhabited by financially needy virgin Yassi (Lovi Poe) and flashy pimp Xyruz (Derek Ramsay), people are treated as commodities, where even love has a price.

Every character in Enzo Williams’ “The Escort” operates with cynical views about life, love and sex—except escort-service receptionist Yassi, who dismisses the sex-starved lotharios who want to get inside her pants with the line, “I take orders, but I’m not on the menu.”

But Yassi’s steely resolve to stay “pure” is put to the test when lonely but filthy rich client, Gary Montenilla (Christopher de Leon)—whose duplicitous wife has just died—ups the revenue-generating ante.

It doesn’t take long before Yassi’s ivory tower begins to crumble. After all, if she can make a cool P50,000 to simply have dinner with Gary, how much more would she earn for a quick roll in the hay?

But things get even more twisted when they cross paths with Lucy (Jean Garcia), the desperate wife of corrupt politician Gibo (Rommel Padilla).

It’s hard to weigh in on reluctant Yassi’s dilemma and Gary’s proposition without recalling how an almost similar situation involving the characters played by Demi Moore, Woody Harrelson and Robert Redford was dynamically  staged in Adrian Lyne’s 1993 drama, “Indecent Proposal.”

Deeply polarizing

While it’s true that Lyne’s film generated mixed reviews, the pertinent conflict it presented turned out to be deeply polarizing, because the question it dared to ask viewers was inescapably relevant: What are you willing to sacrifice for the people you love?

Despite the occasional radio-voice acting that distracts his portrayals, Boyet delivers the thespic goods spot-on. But the scorchingly sexy Lovi and Derek are weighed down by poorly developed situations inhabited by amoral characters who are hard to root for.

To make light of all the drone-like doom and gloom surrounding the escort-service subculture, Dimples Romana hams it up like a cartoon character in “kwela” scenes that are as atrociously and insensitively acted as they’re insulting.

One scene even involves a poker-faced hooker delivering a tasteless joke about rape and incest.

Whoever thinks she can make jokes out of sexual abuse—and its pathological permutations—needs her head examined, pronto.

Unfortunately, you can’t watch “The Escort,” as humorless as it is slow, and not notice how languorous its story unfolds. In lovely Lovi’s case, if she were truly revolted by the escort industry that puts food on her table, who’s stopping her from running away from it?

Moreover, why go on “touchy-feely” dinner dates with the lecherous guy who’s been urging her to take a plunge into the skin trade’s flesh-peddling abyss? However you look at it, something is amiss.

‘Mulat’ and ‘TheRapist’

Diane Ventura’s psychological tales, “Mulat (Awaken)” and the fascinating short that accompanies it, “TheRapist,” wouldn’t be as compelling without the quirky twists that allow their stories to go beyond dutiful exposition.

“Mulat” vacillates between two interconnected but nonlinearly told timelines. Both stories involve artist Sam (the competent Loren Burgos), who struggles in her relationships with impetuous fiancé Vincent (Ryan Eigenmann) and sensitive Jake (Jake Cuenca, who won best actor awards in film festivals in Manhattan and Brazil for his impressive turn).

The movie isn’t perfect, but just when you’re about to dismiss it for its off-putting shrillness and repetitive moments, it introduces a perverted twist that will make viewers cogitate.

“TheRapist” is even more thematically enthralling: As his psychotherapist (Cherie Gil) patiently listens, remorseless Alex (Marco Morales) is seen passionately defending himself against the rape case he faces.

Alex is surprised at how easily—and quickly—the shrink comes to his defense. By the end of the therapy session, the film reveals another bizarre twist that will linger with you long after the credits roll.