Movie Review: Child No. 82

Child No. 82 is a satirical yet heartfelt dramedy that blends the absurdity of Philippine showbiz lore with the tenderness of a young man’s search for identity. At the center is Max (JM), a high school student who must prove he is the 82nd child of the legendary action-fantasy star Maximo “Boy Kana” Maniego Sr. before the wake closes its doors.

The film deliberately leans into comedy and theatrics, paying homage to the golden era of Pinoy action-fantasy films. Its screenplay is funny and inventive, with visual effects that may not rival Hollywood but intentionally replicate the campy yet nostalgic VFX that generations of Filipinos grew up watching on the big screen. This satire is pushed to the fullest, making the film hilariously entertaining while doubling as a love letter to Philippine cinema.

Watching it, I clearly felt its purpose: to celebrate the pelikulang masa that has long captured the hearts of Filipino audiences. JM, as a newcomer, does a commendable job. His portrayal of Max carries an innocence and a natural comedic charm, but more importantly, he is relatable—I found myself sympathizing with his journey and rooting for him. Rochelle brings incredible depth to her role as the mother: she feels like the very Nanay you’d meet in your own neighborhood, and her confrontation with JM is both heartbreaking and moving. Irma Adlawan, as always, is a scene-stealer—sharp, memorable, and commanding. Kai also shines with a promising role and natural chemistry with JM as his sibling. Meanwhile, Inah Evans deserves special mention for embodying the LGBTQ+ thread of the story—her scenes reflect another layer of family and identity that the film bravely explores.

The film may be outrageous in concept, but it is imaginative and creatively funny, and it somehow manages to pull off its ambition. Beyond the humor, what struck me most was its deeper commentary: about absent fathers who fail to value their children, the sting of abandonment, and the social reality of Philippine actors-turned-politicians who leave behind scattered families. In its own way, Child No. 82 also highlights the resilience of single parents—the unsung heroes who raise their children with love despite everything.

The film stitches all of this into a chaotic but engaging narrative, using the wake as both a circus of celebrity myth-making and a mirror of real Filipino struggles. Though the pacing drags in places, it ultimately succeeds in blending comedy, satire, and sincerity.

More than just parody or tribute, Child No. 82 uncovers the humanity behind the myth—the timeless yearning to be recognized, remembered, and loved. 


My Verdict: 3.5/