Hello, Love, Again

Hello, Love, Again did justice to the first installment. It is not just a romantic movie-it's a heartfelt exploration of love, dreams, and the sacrifices we make to build a better future. Thr film paints a vivid portrait of the lives of overseas Filipino workers, with all their struggles, hopes, and triumphs that we in the Philippines didn't notice as we all view our OFWs "rich".

The movie's strength lies in its ability to balance romance with deeper themes of independence, self-worth, and the importance of pursuing one's dreams. It challenges the notion of love as the ultimate goal, instead presenting it as a part of the journey-a message that feels refreshingly mature and empowering.

With its compelling performances, emotionally resonant story, and a bittersweet ending that lingers in your heart, Hello, Love, Again is a film that celebrates the complexities of love and the resilience of the human spirit. It could be watched without seeing the first movie but we definitely recommend seeing it atleast once.

A pure fan service hokum and sequel to the 2019 hit. The movie changed its setting from Hong Kong to Canada where Joy (Bernardo) and Ethan (Richards) cross paths after a painful break-up during the height of the global pandemic. Joy works as a caregiver and cleaner while still pursuing her lifelong dream of becoming a nurse. Ethan is trying his luck in Calgary after going bankrupt.

The movie spent much of its two-hour runtime posing the question if the former lovers will reunite or permanently go their separate ways with a script that had every trope possible for films like this. Many scenes were repetitive and overextended while there were subplots that were undernourished. Except for the two principal characters, most of the other roles were one-dimensional. Bernardo easily provided the movie's best performance while Richards was adequate but still relied on his dimpled and puppy-eye looks. Gamboa, as Ethan's bestfriend, acted as the movie's main clown and got the funniest lines that were dished out more than necessary. At least the film did not turn out to be part travelogue which usually occur in Filipino movies shot abroad.

The film could have handled the ending better with a more realistic conclusion that didn't belie Joy's character motivation. Instead, it opted for a pedestrian crowd-pleasing denouement that would explain why the film is now the Philippine movie industry's biggest moneymaker with over $22-million in ticket sales. Oh well.

Finally! I've been waiting for this movie to be released on a digital platform since I missed the chance to watch it in theaters last year. So, thank you, Netflix PH!

I watched this just before Valentine's Day, and I must say, it had that signature Star Cinema feel with a touch of GMA Pictures in terms of storytelling. As a sequel to a 2019 film, it successfully continues the story five years later. While the plot may seem typical, the journey of Ethan and Joy-now known as Marie-still stands out. Many Filipinos worldwide followed their story, and the film has now officially become the highest-grossing movie in Philippine cinema history.

However, despite its massive success, I couldn't help but notice that Kathryn Bernardo's character feels quite repetitive, resembling roles she has played in previous hit films. This makes it a bit cliché, as her portrayals tend to follow the same pattern. That being said, Kathryn's acting remains exceptional-she truly brings her roles to life. It even feels like she channeled her real-life experiences into this performance.

As for Alden Richards, his emotional depth is impressive, making him well-suited for drama. However, I think they could have toned down some of his character traits, especially those that made him come across as a red flag. At times, it felt excessive, almost as if he were enabling cheating. Nonetheless, his performance was undeniably strong.

As I mentioned earlier, the film has that distinct Star Cinema feel with a touch of GMA Pictures, which keeps it engaging since they always manage to offer variations even when working with a familiar plot. The storyline was well-crafted, but just as Kathryn and Alden mentioned in their interviews, it might be best to conclude Ethan and Joy's story here.

"Hello, Love, Again," the 2024 Filipino romantic drama sequel to "Hello, Love, Goodbye," follows Joy and Ethan as they rekindle their relationship in Canada. Directed by Cathy Garcia-Molina, the film brings back Kathryn Bernardo and Alden Richards, delivering chemistry that has fans raving. This time, the story emphasizes the challenges faced by Filipino overseas workers, with heartfelt moments balanced by the joys and hardships of love. The film's emotional depth and strong performances give it wide appeal, making it a touching sequel with universal themes of resilience and love. Great film!!

'Hello, Love, Again' is a feel good film. It tackles about the reality of being in a relationship. The story emphasizes the challenges faced by Filipino overseas workers, with heartfelt moments balanced by the joys and hardships of love. Independence, self-worth, forgiveness, and the importance of pursuing one's dream: these are the elements of reality that are discussed in the movie.

'Hello, Love, Again' did a great job in providing insights in both characters. Kathryn Bernardo gave an outstanding performance as Joy, portraying a woman caught between love and ambition with nuance and sincerity while Alden Richards, in his impeccable role as Ethan, brings a quiet yet intense emotional depth to the screen. Their chemistry is distinct, and interactions feel genuine, which adds to the emotional weight of the story.

Kung may nakita man akong bad side is hindi talaga maiwasan yung 'stereotypical Cathy Garcia-Molina touch', na kapag pinanood mo alam mo talagang tatak Direk Cathy 'yung pelikula. And at times may point na 'very Laida Magtalas-Miggy Montenegro'. In fairness, the plot is realistic. Overall, 'Hello, Love, Again' is a touching, well-crafted romantic drama film that combines the universal themes of love and sacrifice.