REVIEW: 'The Kingdom' is a triumph of imagination
Shakespearian tragedy and intrigue in the modern-day Philippines that was never colonized, presided over by a monarch played by Vic Sotto, in his first full-on dramatic role? As far as concepts go, they don’t get much higher than that, and it’s easy to imagine how quickly
The Kingdom could have gone terribly wrong. That it doesn’t fall apart from the outset is impressive; that it manages to deliver a compelling, well-acted, beautifully realized tale of royal tragedy is incredible.
The film opens in audacious fashion, with fishermen in (what we know as) the West Philippine Sea being accosted by a foreign navy. Before the foreigners can open fire, they are warned off by the arrival of a state-of-the-art Philippine vessel. It’s a cheer-worthy moment by way of wish fulfillment, and it says everything we need to know about the cinematic world we’re about to enter.
Sotto stars as Lakan Makilig, ruler of Kalayaan, a Southeast Asian nation steeped in history and tradition. Here, untouched by foreign rule, the citizens have built up a country of gleaming spires and a strong cultural identity. At the forefront is Makilig, a man whose love for his family is matched only by his dedication to honor.
 is kidnapped on the way to her wedding, Makilig and Bagwis initiate a search to rescue the missing princess. copy.jpg)
The royal clan in question is comprised of Makilig’s hot-headed son, Bagwis (Sid Lucero), the public-minded Matimyas (Christine Reyes), and the dutiful Lualhati (Sue Ramirez). When Lualhati is kidnapped on the way to her wedding, Makilig and Bagwis initiate a search to rescue the missing princess. But with enemies on every front, Lualhati’s fate may lie in the hands of Sulo (Piolo Pascual), an outcast with his own tragic ties to the ruler of Kalayaan.
About ten minutes into this film, one couldn’t help thinking, “Wow” and it was a sentiment the filmmakers have earned; while the advanced technology of (the similarly un-colonized) Wakanda is nowhere to be found, the Kingdom of Kalayaan is no less impressive, integrating elements of (our) pre-colonial forefathers into a modern-day setting in ways big and small. Native tattoos denote social status in this world where blue bloods eat with their hands, while a shaman sits on the king’s advisory council. Faith in Bathala is the leading religion, while trusted foreign dignitaries treat our ruler with respect befitting a monarch.

The reimagined shots of familiar Manila skylines and iconic buildings (by Riot Inc., of Voltes V Legacy fame) do look amazing, but it was seeing Filipinos in a functional society built on a culture well and truly their own that stood out above all else. Suffice it to say, seeing Filipino people on the big screen, untarnished by centuries of foreign influence made this emotional in ways I didn’t even know were possible, much less needed.
It goes without saying that Sotto anchors the film with his presence. Best known for his comedic roles and hosting gigs, seeing the actor as a world-weary ruler hits harder precisely because we’re not used to seeing him this way.
While Sotto’s inexperience in drama does rear its head at times, he manages to sell the moments involving his character’s love for his children. When Makilig sneaks chess moves behind Lualhati’s back, the twinkle in his eye belies his affection for his youngest daughter. When Makilig takes a metaphorical step down from the throne and seats himself down to speak with Sulo, he does so with the weight of decades on his shoulders. It’s definitely not something we ever thought we would see from the actor, and it’s great to see him stepping outside of his comfort zone.
Lucero and Reyes are excellent in their supporting roles, committing fully to the concept as royal siblings upon whom every eye in the kingdom rests. Lucero brings brash, tough-guy bravado to his part, while Reyes assumes a “princess of the people” persona in the interest of optics. For his part, Pascual is largely stoic as Sulo, a man seeking retribution, albeit one with unresolved issues of family trauma and a (sorta-kinda) relationship with Iza Calzado’s (appearing here in one of her two MMFF cameos for 2024) character. Pascual is adequate in the part, and—choppy fight editing aside—fills the action quotient quite well as needed.
, an outcast with his own tragic ties to the nation's ruler copy.jpg)
With regard to the plot, it’s refreshing that the filmmakers avoided presenting Kalayaan as a paradise; the family at the film’s center may proclaim themselves divine, but their actions, hopes, and dreams render them all too human.
Human fallibility is at the heart of The Kingdom, with regular citizens paying the price for their rulers’ actions. Much like Isang Himala and The Uninvited, The Kingdom has a lot to say about Philippine society, even if it takes a decidedly more historical approach to its allegory.
While there are portions that could have been done better, what we have here—from the casting and overall commitment to concept to the inspired visuals and sumptuous production design—the filmmakers understood the assignment. This is precisely the sort of big swing filmmakers should be taking at this time of year, and The Kingdom knocks it out of the park. One genuinely hopes that the box office grosses allow them to deliver on their mid-credits scene’s promise because The Kingdom is absolutely worth a re-visit.