Nim's Island

Title: Nim’s Island

Running Time: 95 min.

Cast: Abigail Breslin, Jodie Forster, Gerard Butler, Maddison Joyce, Alphonso McAuley

Directors: Jennifer Falckett, Mark Levin

Producers: Stephen Jones, Alan Edward Bell, Paula Mazur

Screenwriters: Joseph Kwong, Paula Mazur, Mark Levin, Jennifer Flackett

Music: Patrick Doyle

Editor: Stuart Levy

Genre: Adventure/ Comedy

Cinematography: Stuart Dryburgh

Distributor: Cinestar

Location: Australia

Technical Assessment: * * * 1/2

Moral Assessment: ● ● ● ●

CINEMA Rating: For viewers of all ages

Books connect an 11-year old girl, Nim Rusoe (Abigail Breslin) and her favorite author, Alex Rover who, unknown to her, is actually Alexandra Rover (Jodie Foster). The only child of a widower, Jack Rusoe (Gerard Butler), Nim is transported to an exciting world each time she reads the exploits of her idol, Alex Rover (Gerard Butler). In her novels, Alexandra creates her antithesis in Alex, a courageous and adventurous hero. Email messages bridge the distance between Nim who lives in a remote tropical island and Alex, an agoraphobic recluse in a San Francisco apartment. When her microbiologist dad leaves on a plankton hunt and vanishes, the distressed Nim emails her hero, Alex, for help. Her problem is compounded by noisy tourists who have intruded into the privacy of their Island. Alex finally takes an arduous trip to respond to Nim’s appeal after struggling with herself and her fictional character who persuades her to live her story. Far from being a happy meeting between the two, Nim is disappointed that Alexandra is so unlike her know-it-all hero, Alex Rover, and is totally disheartened that she might never see her father again. Could things ever be right again on Nim’s Island or should it be written off as Paradise Lost?

Part of the film’s winning magic is the combined performance of the child star Abigail Breslin and the versatile Jodie Foster in her first comic role; also impressive is Gerard Butler in his dual role as Jack Rusoe and Alex Rover. That the story is related from a child’s point of view allows fantasy even as Nim sounds too mature and self-sufficient for her age. Technical effects and music contribute to the climate of an idyllic existence with rainforests and the sea as background, disrupted occasionally by hurricane and volcanic eruption. Animal trainors should be commended for their handling of a pelican, pet sea lion, and iguanas as friendly and helpful companions of Nim. A pelican trying to communicate with a stranded scientist and dropping a bag of tools to help him repair his boat, Nim riding on a sea lion, and iguanas following Nim’s instructions—they help us stretch our imagination and visualize God’s creation in perfect harmony with each other.

From the examples of Nim and Alex, one learns how good books inspire and provide models, encouraging readers and writers to be the hero of one’s life or one’s own story. Parents and teachers should then try to foster a love for reading among the young to nurture their imagination. Environmentalists will find here a staunch ally in their efforts to preserve nature in its pristine glory, to protect it from commercialization, and to befriend creatures of land, air, and sea. Another endearing point in the story is the affection between a father and his daughter. Although it’s quite certain that mothers or female viewers will be wondering “how can a responsible father leave behind an 11-year-old daughter alone in a deserted island?”, I suppose that part of the fantasy is to reassure us that Nim will be all right in the company of her pet animals and her long distance hero. A feel-good film for the family, Nim’s Island is definitely a refreshing flick to beat the summer heat.

Asylum

Title: Asylum

Running Time: 97 min.

Cast: Sarah Roemer, Jake Muxworthy, Travis Van Winkle, Carolina Garcia

Director: David Ellis

Screenwriter: Ethan Laurence

Genre: Horror

Technical Assessment: * * ½

Moral Assessment: ● ● ½

CINEMA Rating: For viewers 14 and above

Madison (Sarah Roemer) has witnessed a traumatic incident when she was young—her father shot himself in front of them and their mother. Years later, Madison attends a university where her big brother also committed suicide. She meets her roommates in the school dormitory with varied personalities. One is an overconfident gym buff (Travis Van Winkle) the other is a former drug addict (Jake Muxworthy), there is a meek hacker (Cody Kasch), a loose blonde (Ellen Hollman) and a Latina (Carolina Garcia). As their days in the dormitory go by, they eventually discover that there is an abandoned asylum annexed next door and each one them is preyed upon by the ghost of the asylum: its former resident surgeon, Dr. Burke (Mark Rolston) who is said to have tortured patients who rebelled against him and made him suffer the same fate. Will Madison and friends be able to escape the asylum?

The Asylum is a worn-out concept repackaged in a soap operatic plot. The result is a cheesy, corny horror flick that barely excites nor terrifies. The actors have delivered fine performances but they are all boxed in stereotypical characterization. The story’s pacing is too slow and the suspense factor is delayed. It has its attempts of putting into visuals the activities of disturbed minds but it only resulted into greater confusion, and the audience can hardly follow and draw the line between imagination, hallucination and reality, alienating the audience in the process. Although there are some strong visuals, they collectively appear flat and lifeless in the uninspired narrative.

Each one of us at one point or another has harbored different kinds of demons in our hearts. The same with the movie, it could be pain, shame, guilt or anger. The Asylum has gone as far as drug addiction, insanity and trauma. This message is clear in the movie although the execution is confusing. The movie only fails to point out that faith and prayers are strong weapons against these demons. Although in the end, the good still triumphs over evil, the story has only scratched the surface of various demons faced by juveniles which include depression, insecurity and substance abuse. There are no clear alternatives or solutions presented. What’s left in the audience’s minds are disturbing, violent images of horror and terror. There are also nudity and hints of pre-marital sex in the film so young audiences should be warned and guided while watching.

Doomsday

Title: Doomsday
Cast: Rhona Mitra, Bob Hoskins, Alexander Siddig, David O’Hard, Malcohm McDowell
Director: Neil Marshall
Producers: Benedict Carver, Steven Paul
Screenwriter: Neil Marshall
Editors: Andrew M

Genre: Action/ Science Fiction
Running Time: 105 min
Distributor: Rogue Pictures
Location: Great Britain, Scotland
Cinematography: Sam

Technical Assessment: * * *
Moral Assessment: ● ●
CINEMA Rating: For mature viewers 18 and above


It is the year 2035. A deadly virus is sweeping over London and claiming lives but there is no cure. It is the same virus that virtually decimated the population of Glasgow, Scotland 23 years earlier and which then led to the quarantine of the whole city mainly by means of a great metal wall. Everyone is presumed to have died in Scotland in that epidemic; however, there is evidence of some survivors according to recent satellite photos which suggest that there may be a cure. The British Prime Minister John Hatcher (Alexander Siddig) and his adviser Michael Canoris (David O’Hara) decide to send a team to Scotland to locate a scientist named Kane (Malcohm McDowell) who was working on a cure but was trapped inside the “Hotzone” when the quarantine started. On the advice of Police Chief Bill Nelson (Bob Hoskins), Major Eden Sinclair (Rhona Mitra) is chosen to head the team. But her task turns out to be more difficult than expected. After breaching the wall, Sinclair finds the survivors grouped into two warring factions each one trying to protect its own turf. One group of cannibalistic savages is led by Sol (Craig Conway), son of Kane who tortures and imprisons Sinclair and her team. The Britons manage to escape only to fall prisoners into the hands of another group headed by Kane himself who has abandoned scientific pursuits and has become a ruthless chieftain. Sinclair’s team manages to save their skins again but for how long before they are caught by either group? Will Sinclair ever get a cure? If not, what happens to Britain now in the throes of a raging plague?

Armageddon has often fascinated filmmakers who have come up with various scenarios regarding the annihilation of mankind in the end of time. The fast-paced, heavily action-laden film Doomsday is the latest cinematic attempt to do this and has borrowed heavily from its apocalyptic predecessors like I Am Legend among others. Director Neil Marshall has heightened the savagery, the bloodletting and the violence with more gruesome scenes including decapitation and the barbecuing of a live human being. With many familiar echoes from the past movies, the storyline can hardly be called original. Other motifs (like Sinclair’s quest to reconnect with the memory of her lost Scottish mother and the corrupt political situation in Britain) are introduced to add complexity to the storyline but are never developed and are loosely appended to the narrative. Some scenes stand out like the sequence portraying the outbreak of the plague, right after the introductory voice over. Some fight scenes are well choreographed like the gladiator style duel involving Sinclair and the multi-car chase. They rely on old fashioned physical stunts rather than the modern CGI. Most of the cast are virtually unknown. But the lead character, Rhona Mitra, ably essays the Sinclair role; however, the screenplay does not give her depth. Often, she is emotionally detached.

Doomsday is fantasy and science fiction but can values be gleamed from it? The film portrays desperate people in crisis and how they behave to cope or to survive. It also shows the reaction of people in authority when confronted with a crisis of this magnitude. Though meant only to entertain, this film might set us thinking. Is there some way this catastrophe could have been averted or at least minimized? The response of killing both the infected and uninfected is condemnable. Could there have been a more humane way of coping with the situation? The depicted British politicians are unprincipled and ruthless, willing to let most people die so that fewer survivors could be attended to in case a cure is found. As for the R-13 classification, CINEMA does not think that 13 year old children are mature enough to be allowed to see all this violence and inhumanity. They sooner or later become desensitized to violence and may become violent themselves eventually.

Semi-pro, Play Dirty

Title: Semi- Pro; Play Dirty
Cast: Will Ferrell, Woodey Harrelson, Will Arnet
Director: Kent Alterman
Producer: Jimmy Miller
Screenwriter: Scot Armstrong
Music: Theodore Shapiro
Editor: Debra Neil-Fisher
Genre: Comedy/ Sport
Cinematography: Shane Hurlbut
Distributor: New Line Cinema Location: Michigan, USA
Running Time: 100 min.

Technical Assessment: * * ½
Moral Assessment: ● ● ½
CINEMA Rating: For viewers 14 and above


There is doubt that Jackie Moon’s (Will Ferrel) basketball team Flint Michigan Tropics would stay on in the ABA League, in view of the planned merging of the ABA with NBA. Moon cannot take the merging easily because this means his team not only needs to prove their worth in their games but also needs to show off to the league’s hard court followers. The problem is Moon's team is the least performing one in the ABA league and is not likely to make it when ABA merges with NBA. The plan initially demoralizes the team especially Moon, but eventually he starts thinking of ways to counter the threat of being eliminated. The team mates work together and cooperate especially when asked to do unconventional tricks to attract followers and also when Woody Harrelson’s character temporarily takes over the coaching job from Moon. Banking on his chart-hit song "Love me Sexy", Moon is confident to gain a public following and with the renewed game plan to make it to the hard court. Will these combined techniques work for their purpose to enter the NBA?

"Semi-Pro" is another movie that showcases Ferrel's brand of comedy which is not a hard-sell. Acting wise, other than Ferrel not much is shown by the actors in the film. The story is predictable, but sub-plots offer variations. The film has good cinematic effects especially in the game scenes. Music plays a major part in providing entertainment, though, it is a bit loud for the most part. The production design for some reason hardly establishes the era of the '70s. Overall, the film is technically a bit below the average.

Though a shallow comedy, the film nevertheless can be mined for some values. The movie shows that determination is the key to everything that people want to achieve in any field of their interest and passion. More importantly in a team situation, cooperation, openness and trust are necessary. The team members are usually cool in their defeat and get united in the effort to encourage a demoralized leader. In the end, the film shows how a leader can humble himself and subject himself to the coaching of a mere member in recognition of the common good for the team. The loyalty of a team member is also tested during difficult times but he chooses to be where his heart belongs. The film in general has a positive message, however, there is frequent use of vulgar language and exposure of women in skimpy attire.

The air I breathe

Title: The Air I Breathe
Cast: Kevin Bacon, Brendan Fraser, Andy Garcia, Sarah Michelle Gellar, Forest Whitaker
Director: Jieho Lee
Producers: Paul Schiff, Emilio Diez Barroso, Darlene Caamano Loquet
Screenwriters: Jieho Lee, Bob DeRosa
Music: Marcelo Zarvos
Editor: Robert Hoffman

Genre: Crime/ Drama/ Romance
Running Time: 97 min.
Cinematography: Walt Distributor: Viva Productions, Inc.
Location: Mexico

Technical Assessment: * * *
Moral Assessment: ● ●
CINEMA Rating: For viewers 18 and above


Following a false lead, Happiness (Forest Whitaker) uses a credit card to bet $50 million on a horse that unfortunately suffers a mishap. Pressured by the owner of the gambling joint, Fingers (Andy Garcia) to pay his debt within two weeks or else all his fingers will be cut, Happiness stages a one-man bank robbery. He stuffs his loot in a bag, makes a desperate dash to freedom, gets bumped by a car, steals a motorbike and runs to the rooftop of a building. Besieged by cops who warned him not to move, Happiness laughs as he casts away the bag full of money. The cops start shooting and Happiness falls to the ground and dies. Pleasure (Brendan Fraser) is scarred by the memory of his little brother’s death when they both get involved in a street fight. He becomes a trusted collector and ax-man of Finger who favors the taciturn and psychic accomplice. Sorrow (Sarah Michelle Gellar) is a lovely and popular pop singer whose contract is turned over by her heavily indebted manager to Finger. She loathes the idea of having Finger as her manager but is bulldozed into the fix. Pleasure, strongly attracted to Sorrow, offers his place as a safe house where she can hide from Finger. Sorrow falls in love with Pleasure. Finger discovers that Pleasure has betrayed him, breaks into the latter’s house and shoots him. Love (Kevin Bacon), a doctor, has long been in love with Gina (Julie Delpy) but never had the courage to tell her so, and lost her to his friend. In her research lab, Gina is bitten by a poisonous snake. Her only chance of survival is to have a blood transfusion within 24 hours, a rare blood type that only Sorrow has. Racing against time, Love searches for Sorrow. Falling into the pit of despair, Sorrow decides to commit suicide. And viewers hold their breath as they watch the final sequence of the film.

The film is reportedly based on an ancient Chinese proverb that identifies four emotional cornerstones as the composite elements of human existence: Happiness, Pleasure, Sorrow, and Love. The major characters in the film personify each of these elements. Only Sorrow has a stage name, Trista; she whispers her real name later to the dying Pleasure. A cinematic semblance of a morality play, The Air I Breathe is preachy and allegorizes the powerful and destructive grip of Fingers (Andy Garcia), a criminal don, on the lives of Happiness (Forest Whitaker), Pleasure (Brendan Fraser), and Sorrow (Sarah Michelle Gellar) in contrast to the saving power of Love (Kevin Bacon). While flashbacks provide the context of the personae, the voice-over expresses their thoughts and insights. If names define the persons, one can easily understand why and how Fingers, Sorrow, and Love are so-named; it is difficult to see why two characters are called Happiness and Pleasure (except for one brief moment of pleasure, perhaps). The splendid performance of the cast makes up for some loose ends in the plot. Some scenes are contrived, seemingly a deus ex machina resolution to problematic situations.

Since the film is didactic, it imparts many lessons, both good and bad. Excessive greed is the nemesis of Happiness and he realizes his mistake too late: “I was stupid. I wasn’t thinking”. He pays for this mistake with his life. Fingers, the lord in a world of gambling, violence, and whoring, also has excessive greed for power and wealth but nowhere do we see in him remorse or retribution. Something tragic is bound to happen when Pleasure meets Sorrow and yet the encounter has deepened and enriched both of them. With these hapless creatures, one wishes that something right could happen to their lives. Could a bundle of money dropping from the sky hold the key to a second chance for Sorrow? One has to move on even if it’s hard starting over. But in the end, let us believe that “Love is stronger than death” for the hope that love brings is transforming and redeeming.