With a poster with images of alcohol and a title that plays on the words “beer” and “gin,” Nuel Naval’s “The Last BeerGin” looks, at first glance, like a raucous party movie designed to titillate and attract only the hedonistic crowd.

The title itself suggests something wild and irreverent, perhaps even raunchy comedy. Yet beneath this marketing mask lies a very different kind of film: a faith-based dramedy that aims to reconnect Filipino audiences with God.

Naval, whose previous work includes the family-oriented Family Matters, uses the lure of irreverence only to reveal a movie anchored in Christian values.

The Last BeerGin is a spiritual outreach disguised as a drinking-session comedy. Its purpose is clear: to speak to those who feel abandoned, flawed, or hopeless. The “one lost sheep” out of 99.

And at a time when mental health struggles are widespread, the film carries a well-meaning message: no one is alone, and no problem is truly unique.

The story brings together five strangers (JC Santos as RG, Pepe Herrera as Hilo, Zaijian Jaranilla as Isaac, Xyriel Manabat as Sandy, and Cherry Pie Picache as Tere) who, under unlikely circumstances, end up drinking together.

Their shared intoxication becomes Naval’s narrative vehicle, where he loosens inhibitions until each character’s burdens are revealed.

The setup emphasizes a simple moral: every person, regardless of wealth or education, carries unseen struggles.

The approach is not without flaws, though. The way the characters meet at a convenience store at the beginning of the movie feels forced, and the dialogue, though earnest, is predictable.

Now, for devout viewers accustomed to weekly church services, the film offers little in the way of new spiritual insight. What it provides instead is resonance for those unaccustomed to religious spaces, or viewers who may, for the first time, hear these messages in a cinematic setting.

To keep GenZ audiences and mainstream movie lovers engaged, Naval punctuates the talk-heavy narrative with text overlays and animated chapter markers to break up what might otherwise be monotonous stretches of dialogue. The tactic works, giving rhythm to the film’s “talkies” and mirroring the stages of intoxication.

Among the cast, Herrera stands out for his natural ease in conversational acting. He delivers humor and pathos without effort. Picache follows closely behind with a strong performance. Santos, however, falls into the familiar patterns seen in his past work, while Manabat is effective in being gratingly annoying. Her character lacks the charm, though, that might have softened the irritation.

Overall, character development remains thin, and the comedy is hit-or-miss. For some, the jokes will land; for others, such as myself, they fall flat.

Still, the film’s strength lies in its refusal to be preachy. Instead of sermons, audiences overhear conversations and confessions until we gradually realize the core of the message. By the end, the movie reminds viewers that everyone faces dark moments, and that suffering is universal.

The Last BeerGin ultimately emerges as a Filipino faith-based film, which could have been a passable Metro Manila Film Festival entry: melodramatic, moralistic, but accessible to the broadest audience possible. 

Those expecting wild comedy may be disappointed, but for Christian Filipinos searching for affirmation amid life’s burdens, Naval’s latest offers a gentle tug back toward faith.

2.5 out of 5 stars

Now showing in cinemas