‘Everything About My Wife’ (2025) Netflix Movie Review - Hired a Guy to Steal Your Wife, Gets Jealous

Right off the bat, this movie made me question a few things: Why is divorce not an option in this universe? Why does everyone speak in metaphors that sound like inspirational Instagram captions? And most importantly why does no one blink twice when a man hires someone to seduce his wife like it’s a completely rational Tuesday activity?

“Everything About My Wife” is a 2025 Filipino romantic dramedy that wears a lab coat and claims to be an experiment in love, but forgets it’s also holding a feather duster and a box of tissues. It’s a remake of a remake, so you already know it’s been marinated in layers of interpretation, each one bringing its own spices. The film stars Dennis Trillo as Dominic, the emotionally constipated husband, Jennylyn Mercado as Imogen, the terrifyingly expressive wife, and Sam Milby as Miguel, the seducer-for-hire who makes women fall for him the way you might fall into a pothole—unexpectedly and with potential for emotional injury.

Let’s begin with what works because we’ll need the optimism before we hit the murky waters. The casting is actually excellent. Dennis Trillo is great at playing emotionally repressed men who look like they’re always one cold breeze away from crying. His facial expressions range from "I'm fine" to "I just remembered my childhood trauma," and it’s weirdly perfect for Dominic. Jennylyn Mercado as Imogen is an explosion of energy in every scene—equal parts chaotic, endearing, and unpredictable. If there were an Olympic sport for expressive hand gestures and mid-sentence mood swings, she’d be a gold medalist. Sam Milby’s Miguel is smooth without being greasy, and manages to toe the line between “wow, what a charming guy” and “I feel like he sells cologne out of his car.”

The film is set in Cebu, and to be honest, it looks like a tourism ad that got hijacked by a telenovela. Every scene seems determined to show you a beautiful sunset, a scenic beach, or a perfectly framed bowl of halo-halo. It’s like the director wanted to make sure you booked a vacation after watching a marital breakdown. And fair enough—it’s the only part of the film that never gets awkward.

Also, there's a solid 30 minutes in the middle where the film feels like it's hitting its stride. The setup of Miguel slowly infiltrating Imogen’s life, trying to make her fall in love with him while Dominic creepily watches from a distance like he's on a poorly written reality show, is oddly entertaining. There are real moments of humor, some solid comedic timing, and a couple of scenes where you actually feel the emotional tension the film is desperately trying to build.

Now let’s talk about the negatives that didn’t work—which, for the record, is a generous number. The central premise itself is hard to swallow. A man who’s so spineless he can’t ask for a divorce decides instead to play emotional Jenga with his wife's heart by hiring a stranger to seduce her. It’s a plan that makes zero sense outside of sitcom logic, and the film wants you to not just go along with it, but empathize with it. You’re supposed to root for Dominic even as he ruins his wife’s trust, manipulates her feelings, and essentially emotionally catfishes her.

This would be more forgivable if the tone was clearly comedic or satirical, but the movie can’t decide what it wants to be. One scene is a quirky montage of Miguel and Imogen bonding over roasted corn and karaoke, and the next is a brooding voiceover by Dominic, waxing poetic about regret and longing like he’s auditioning for a Nicholas Sparks adaptation. The tonal whiplash is real. At some point, I felt like I was watching three different movies spliced together with a karaoke machine and a bottle of cheap wine.

And then there’s the pacing. You know a film’s pacing is off when you feel like you’ve aged between the first and second acts. This movie is over two hours long, and you feel every minute of it. The third act especially drags on like a family Zoom call where everyone forgot to press "leave the meeting." It keeps going, piling on unnecessary twists and emotional speeches until you start rooting for the end credits out of sheer desperation.

Another low point is how the film treats its female lead. Imogen is loud, unpredictable, and dramatic—but she’s also clearly deeply unhappy and searching for something. Instead of exploring this in a meaningful way, the film often reduces her to a stereotype: the "nagging wife" trope with a side of high maintenance. It plays her emotions for laughs in the first half, then wants us to suddenly feel bad for her in the second. You can't build empathy for a character while also turning her into the punchline for an hour and a half.

And let’s not forget Miguel, the seducer-for-hire with the emotional complexity of a decorative candle. He starts as a smug flirt, suddenly discovers a conscience midway, and by the end, he’s delivering life advice like a man who just read one too many self-help books. His emotional arc is like a scribble on a napkin—technically present, but mostly incoherent.

Still, credit where it’s due: the movie does manage to sneak in a few decent messages. Relationships take work. Communication matters. People can grow. It just happens to deliver these messages while also suggesting that emotionally manipulating your partner via a third party is a valid method of self-discovery. It's a weird duality—half heartfelt moral lesson, half romantic psychological warfare.

To be fair, there are some genuinely funny moments. The side characters, especially Dominic’s colleagues and Imogen’s nosy friends, provide much-needed comic relief. There’s a particularly absurd sequence involving karaoke and mistaken identities that had me laughing not necessarily because it was well-written, but because it was so over-the-top that resisting it would’ve taken more energy than just giving in.

If you watch this film with the right expectations, it can be oddly cathartic. It’s like watching someone else’s messy breakup unfold in real-time, only with prettier lighting and better soundtrack choices. So yes, “Everything About My Wife” is messy, occasionally tone-deaf, and often absurd. But it’s also oddly charming in the way only a romantic comedy about marital sabotage can be. It's not a great film. It's not even a particularly good film. But it’s definitely a film—one that swings hard, misses frequently, but never stops trying.

Final Score- [4.5/10]
Reviewed by - Anjali Sharma
Follow @AnjaliS54769166 on Twitter
Publisher at Midgard Times