Baka, Siguro, Yata (2015), about a loser who discovers that he is about to be a father, tackles a man’s overly delayed maturity with the same propensity to throw more than a few punch-lines that the distinctly masculine trait of holding on the immaturity and irresponsibility. All the film wants is to jam itself with as much pranks and stunts as it can, and thankfully, a lot of its jokes are really funny.Įver since his first feature Hello, World (2013), a coming-of-age story with more than just slivers of sophomoric raunchiness, Ferrer has displayed a talent for comedy that draws specifically from masculine experiences. This isn’t exactly a bad thing since the film is very consistent in its shallow revelry. There is no underlying message to its nonsense. Woke Up Like This doesn’t endeavor to make anything out of its very crass comedy. What essentially differentiates Martinez’s film is how it subverts the body switch trope to echo queer aspirations and sentiments, making it more than just a gag show even if it is also ridiculously hilarious. More comparable to Tony Reyes’ Love on Line (LOL) (2009), where Vic Sotto’s debonair lead switches bodies with Jose Manalo’s desperate pervert, than Chris Martinez Here Comes the Bride (2010), where John Lapus’ gay make-up artist switches bodies with Angelica Panganiban’s virginal bride, Woke Up Like This is more focused on displaying as much nonsense as possible without imposing any underlying relevance to its jokes. The best way to enjoy Joel Ferrer’s Woke Up Like This is to treat it as an overextended reel of inane gags.