Meet Dave

Lead Cast: Eddie Murphy, Elizabeth Banks, Gabrielle Union, Ed Helms, Austin Lynd Myers, Scott Caan, Director: Brian Robbins; Screenplay: Bill Corbett, Rob Greenberg; Cinematography: J. Clark Mathis; Editing: Ned Bastille; Producer: Jon Berg, David T. Friendly, Todd Komarnicki; Music: John Debney; Location: New York; Genre: Family - Comedy; Distributor: 20th Century Fox; Running Time: 90 minutes.

Technical Assessment: 2.5
Moral Assessment: 3
Cinema Rating: V-13

Dave Ming Chang (Eddie Murphy) is a human-shaped alien spaceship from the planet Nil which crashes in Manhattan three months after the “orb” falls on earth. Apparently, the Nils, a Lilliputian race, has sent a team to the planet to retrieve and activate the orb to suck the ocean’s energy and save their dwindling power supply. The commanding team operates Dave from the inside with the captain (Eddie Murphy) functioning as the brains and voice of the space ship. However, the team, including power-thirsty No. 2 (Ed Helms), sweet natured cultural officer No. 3 (Gabrielle Union) and the rest of the crew know nothing about the planet and its inhabitants and try their best to make their human-like space craft fit in. The captain decides to befriend a young boy Josh (Austin Lind Myers) and hang time with him and his newly widowed mom, Gina (Elizabeth Banks). Slowly, the team learns certain human qualities which begin to change their views on life and relationships. However, No. 2 is disgusted that they are getting sidetracked from their mission and organizes a coup. Meanwhile, New York police officers Dooley (Scott Caan) and Knox (Mike O’Malley) are sent out to investigate Dave’s the crash site by the Statue of Liberty. Dooley suspects aliens have landed on earth and start a witch hunt for Dave.

The movie has a potentially good plot but the humor is flat and dull. Most of the comedy comes from Dave trying to blend with the earthling; unfortunately, Murphy is either out of timing or overacting, which either way makes him only look ridiculous. The rest of the actors provide exaggerated performance and histrionics that reduce them to caricatures. The CGIs are disappointing and slightly better than those used in a 70s TV sci-fi show. The screenplay lacks strength and charm expected of a Murphy comedy. Over-all, the production is passable but as die-hard Murphy fans in the theater prove, the movie can be funny despite a mediocre script and poor directing.

While Meet Dave takes digs at earthlings’ lack of discipline (ignoring traffic signals, for instance), it imparts one valuable lesson: being less than average physically does not determine one’s worth as a person. Great things can be done even by the least popular, most deprived, or most disadvantaged as long as one’s integrity is intact. One’s worth is not measured by the size of his physical or material assets but by the greatness of his heart. Dave reminds Josh that his being small and his being different does not make him less of a person because he has saved two worlds out of the generosity of his spirit.

The movie is almost wholesome and decent save for some mild and minor profanities and coarse humor and scenes. Parents should be cautioned to accompany and guide their very young children when watching the movie.

The Bank Job

Lead Cast: Jason Statham, Saffron Burrows, Stephen Campbell Moore, Daniel Mays; Peter De Jersey, David Suchet; Director: Roger Donaldson; Screenplay: Dick Clement and Ian La Frenais; Cinematography: Michael Coulter; Editing: John Gilbert; Producer: Steven Chasman, Charles Rovenl; Music: Peter Robinson; Location: London; Genre: Action Drama; Running Time: 110 minutes.


Technical Assessment : 3.5
Moral Assessment : 2
Cinema Rating : V-18


Just when Terry Leathers (Jason Statham) was having a bad day with some thugs who want their money back fast, he meets his ex-girlfriend Martine Love who tells him of a possible way to hit it big time. The proposal is to round up Terry’s boys and rob the safety deposit boxes of the Lloyd Bank along Baker Street. Terry and group pull off the robbery despite some close calls and hitches, including having their walkie-talkie conversation monitored by police. After the heist, the group safely retreats to their hideout and are about to part their loot when they realize that they have been set up by Martine and now possess several documents which will seriously incriminate high profile “villains” and put them all at risk. Apparently, Martine has to retrieve the scandalous photos of London’s princess taken by Michael X (Peter De Jersey). But in the process, Terry and company are also able to get other compromising documents including the list of corrupt police in the payroll of pornographer Lew Vogel (David Suchet) and photos and film of politicians’ sexual tryst. Now, they must not only evade police but also the people whose secrets they posses while cutting a deal with Martine’s contact.

The movie is based on a real London Bank robbery in 1971 where after being hyped by media was suddenly given a news blackout. The production is smooth and flawless, keeping the drama and suspense tight and clean. The exhilarating plot development is intensified by brilliant cameraworks and skillful editing. The production design is creatively authentic and stylish. Statham is suave and charismatic as a bad guy turned hero. Overall, the movie is technically and artistically superb with the right amount of grit, cunning and drama.

Evil begets evil. Even the smallest misdeeds can lead one to be tangled in a bigger and deeper mess. No one should believe that a simple offense, even those done in private, will not have any social repercussion. No one gets away with crime as justice always has a way of coming back. Unfortunately though, the movie has Terry and some of his group members get away with their crimes because seemingly theft and deception are a lot tamer than murder, torture and pornography. Hence, since Terry’s crimes are tamer that the other villains, he comes off as the “good guy” despite what he has consciously done and laws he has deliberately broken.

The movie should be strictly for mature viewers because of several scenes with sex, nudity, cursing and bad imitative behavior. The fact that the robbers were allowed to get away free, richer and almost heroes might also send a misleading message especially to impressionable young audiences.

Concerto

Cast: Jay Aquitania, Meryll Soriano, Shamaine Buencamino, Nonoy Froilan, Elijah Castillo, Alyssa Lascano, Yna Asistio; Director: Paul Alexander Morales; Producer: Digital Spirit Production; Screenplay: Paul Alexander Morales; Cinematography: Regiban Romana; Editor: Laz'andre; Music: Jed Balsamo; Running Time: 90 minutes; Location: Davao; Genre: Drama

Technical Assessment: 4
Moral Assessment: 4
Rating: For viewers 13 and above

Sa pagtatapos ng Ikalawang Digmaang Pandaigdig, may isang pamilyang lumikas at napilitang mamundok sa Davao. Malapit ito sa kampo ng mga Hapon. Si Ricardo (Nonoy Froilan), ang padre de pamilya, ay dating puno ng militar na pinahirapan ng mga Hapon. Upang makapamuhay nang mapayapa, kinaibigan ng kanyang asawang si Julia (Shamaine Buencamino) ang ilang mga Hapon na nasa malapit na kampo. Ang kanilang anak na lalaki na si Joselito (Jay Aquitania) ay marunong magsalita ng Hapon kung kaya't naging madali sa kanya ang pakikipag-kaibigan sa mga ito. Sapagkat may likas na angking talino sa musika, naging labis ang kasiyahan ng pamilya nang muli nilang makuha ang naiwan nilang piano. Ang mga anak na babae na sina Nina (Yna Asistio) at Maria (Meryll Soriano) ang siyang nagsilbing taga-aliw sa mga Hapon bilang mga pianista. Isang concerto ang ginanap sa kanilang tahanan para sa mga kaibigang Hapon bago tuluyang pumutok at matapos ang digmaan.

Maayos at malinis ang pagkakagawa ng Concerto. Tunay sa pamagat nito, talagang para kang nanonood ng konsiyerto sa pelikula. Nakakaaliw ang musika na talaga namang nagpatingkad sa isang kuwentong-digmaan. Mahusay ang pagkakalahad ng kuwento. Payak ngunit malaman at punong-puno ng damdamin. Pawang walang itulak kabigin sa galing at husay ang mga nagsiganap. Natural ang kilos ng lahat at pawang mukhang mga hindi umaarte. Totoong-totoo pati ang mga karakter na Hapon. Maliit man o malaking eksena ay nagawang kapani-paniwala ng direktor. Sana'y mas marami pa ang makapanood nito sa mga sinehan at maging isang instrumento upang buhayin ang naghihingalong pelikulang Pilipino.

Ipinakita sa Concerto ang kahalagahan ng pagkakaroon ng isang buo at nagkakaisang pamilya sa gitna ng unos at giyera. Maraming pagsubok ang maaring pagdaanan sa iba't-ibang panahon pero ang wagas na damdamin at matibay na paniniwala sa Diyos ang mga subok na sandata upang maalpasan anumang hirap at pasakit. Kapuri-puri ang isang pamilyang sabay-sabay na nagdarasal sa gitna ng kaguluhan ng paligid. Kitang-kita sa pelikula kung paanong ang pakikipag-kapwa at pananampalataya ay nakatulong ng labis sa pagpapanatili ng kapayapaan sa gitna ng digmaan. Tunay na walang mabuting naidudulot ang giyera. Ngunit gaya ng ipinakita sa pelikula, ang digmaan ay isang pagkakataong nagpapalabas ng pinakamabuti o pinakamasama sa tao. Maaaring maging instrumento ang giyera upang mas mapabuti at mapatibay ang isang pamilya, ang pagkakaibigan. At isa rin ang sining at musika sa maaaring magtawid sa tao sa anumang paghihirap. Ang sining at musika ay biyaya ng Diyos na marapat lamang gamitin sa kabutihan at maging simbolo ng Kanyang kadalikaan sa panahon man ng digmaan o kapayapaan.

Mamma Mia!

Lead cast: Meryl Streep, Pierce Brosnan, Amanda Seyfried, Colin Firth, Stellan Skarsgard, Julie Walters, Dominic Cooper, Christine Baranski, Ashley Lilley, Rachel McDowall, Philip Michael; Director: Phyllida Lloyd; Screenwriters: Catherine Johnson/based on the original musical book by Ms. Johnson/originally conceived by Judy Craymer based on the songs of Abba; Cinematographer: Haris Zambarloukos; Editor: Lesley Walker; Music: Benny Andersson and Bjorn Ulvaeus/some songs with Stig Anderson; Genre: Musical, romantic comedy; Location: Greece, USA, England; Runtime: 108; Producers: Judy Craymer/Gary Goetzman; Distributor: Universal Pictures.


Technical assessment: 3
Moral assessment: 3
CINEMA rating: V 14

Twenty-year old Sophie (Amanda Seyfield) is getting married soon. Dreaming of a white wedding, however, she insists on being given away by her father. The problem is, she doesn’t know who her absentee-father is. Her single-mother Donna (Meryl Streep) raised her singlehandedly, running “Villa Donna”, a modest inn on a Greek island. Days before the wedding she discovers—and shares with her bosom buddies—Donna’s diary which speaks of three amorous encounters around the time she was conceived. She is determined to realize her dream of walking down the aisle with her father, and so, unknown to Donna, she invites the three men: Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgard) to the wedding. If her own mother Donna can’t tell which of the three men has sired her daughter, how will Sophie be able to determine who her real father is? Who will finally give Sophie away?

The plot is thinner than crepe dough but Mamma Mia is undoubtedly enjoyable, thanks mostly to the great acting, and the lilting, foot tapping ABBA songs that have a way of burrowing into your memory. Because this is adapted from the Broadway musical of the same title, expect the characters to burst into song at the oddest moments, and forgive the production if the song is not the accurate expression called for by the situation. If the frothy story is good enough for Meryl Streep and Pierce Brosnan and is set on a Greek island, why complain? Just sit back and gorge on the eye candy that it is. If you want heavier stuff, see The Dark Knight, but if your bones are aching and your head is almost bursting from stress, then drop the aspirin and go see Mamma Mia. Seyfried is a real pro at singing, and delivers a star-making performance, a far cry from her roles in Mean Girls, Veronica Mars, and Big Love. Streep is obviously enjoying the sing-and-dance routine, at which she isn’t so bad, especially since the numbers rely more on fab costumes than on fancy choreography. Cinematography is a bit rocky: long shots with a little more action would have been better than close-ups, as in that part where Streep and Brosnan belt out “The Winner Takes it All”—it simply draaaags.

Not only is Mamma Mia’s plot thinner than crepe dough, the whole movie is in fact is like Cherry Crepes—looking yummy, brightly colored, sweeter than candy but hardly nourishing. Its one message is “go with the flow”: nothing is worth fretting about—it’s okay to change your mind, call off or stage a wedding at whim, stop asking who your father is. Very Greek-island living--just be accepting of the way things are, and everything will turn out all right after dancing to a couple of songs—with a literal Greek chorus in the background. As long as you know this type of feel-good movie can be addictive, you can go ahead and enjoy it for the therapeutic escape it can offer. At least, it’s way cheaper than a visit to the doctor.

The Dark Knight

Lead Cast: Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Michael Caine; Maggie Gyllenhal, Morgan Freeman; Director: Christopher Nolan; Story: Christopher Nolan, David Goyer; Screenplay: Jonathan Nolan, Christopher Nolan; Cinematography: Wally Pfister; Editing: Lee Smith; Producer: Christopher Nolan, Charles Roven, Emma Thomas; Music: James Newton Howard, Hans Zimmer; Location: USA; Genre: Action; Running Time: 155 minutes; Distributor: Warner Bros.

Technical Assessment : 3.5
Moral Assessment : 2.5 (for violence)
Cinema Rating : V-14

Gotham City has a new hero, one who need not hide in a mask and lurk in the shadows as an uncontrollable vigilante. He is the newly appointed District Attorney Harvey Dent (Aaron Eckhart) who is determined to rid the city of mobsters and criminals within the boundaries of law and justice. He is able to round up 500 mob and thugs with the help of Lt. James Gordon (Gary Oldman) and Batman /Bruce Wayne (Christian Bale). This prompts the mob leaders to take the offer of the criminally insane anarchist and mass murderer Joker (Heath Ledger) to kill Batman. Joker attempts to lure Batman to reveal his true identity by killing high ranking and innocent citizens of Gotham everyday. The conscience-stricken Batman contemplates to prevent any more murders and asks Dent to call a press conference so he can reveal his true identity. However, during the press conference, as the crowd clamors for Batman to step up and face the consequences of his actions and before Bruce Wayne can come forward, Dent confesses he is the Batman. Dent, escorted by a police caravan, is transported to jail. Joker attacks the caravan en route to kill Dent but is captured and incarcerated by the police. However, being always one step ahead and with the help of corrupt police officers, Joker kidnaps Dent and Rachel, Dent’s fiancée and Bruce Wayne’s friend and former sweetheart. They are put in separate places laden with explosives. Unfortunately, only Dent is rescued. Rachel dies and half of Dent’s face gets badly burned. The experience corrupts Dent and transforms him into the vindictive Two-face. Now Batman must fight Joker’s murderous madness, Two-face’s vendetta and the lawlessness he seemingly inspired in the streets of Gotham.

This version of Batman departs from the customary comic-book archetypes and Tim Burton’s theatrical directorial interpretation. This time Batman is a darker and grimmer production that moves closer to real people. The Nolan brothers have successfully integrated the comic-book storyline with a more mature plot development, favoring drama over dash and allowing people to sympathize with characters’ flaws, transformations and weaknesses. No back-story was provided for Ledger’s Joker character but he portrays it with such chilling menace that no explanation is deemed necessary to understand his twisted logic and evil character. Also outstanding were the portrayals of Oldman and Eckhart. Technically, the movie leaves you at the edge of your seat with one explosive action sequence after the other and an exhilarating editing technique. The camerawork could have slowed down as viewers sometimes feel continuously moving even during serious dialogues and non-action scenes. However, the movie still feels a little long and overstretched with one too many scenes that serve no purposed save to explain side stories or provide more action.

Integrity and selflessness seem to be just romantic but forgotten virtues especially during times of fear and chaos. When one’s survival is threatened, what does one do? The movie suggests that most people would betray, harm or even kill someone else just to save their own life. Self preservation seems to be the ultimate objective of living, as the Joker tries over and over to prove that even the most decent and upright man can be corrupted when put under extreme pain and despair. But characters such as Commissioner Gordon, Rachel Dawes and Lucius Fox illustrate how selflessness, uprightness and dispensing justice within the boundaries of law are the best way to bring about order and stability in society. The scene where passengers of two ferry boats loaded with explosives were forced to blow the other in order to save themselves stresses that even sinners / criminals can learn to sacrifice themselves to do what is right.
These times, most societies are put to test with the many pressures and challenges in all fronts – economic, political, social, and psychological. Relationships and dignity are threatened by so many self-serving ideologies. We are almost always challenged to choose to save our own skins at all costs or to think of the good of others at the cost of our happiness, desires or comfort. Perhaps when one day people can think and care less of themselves can we finally start having a harmonious, peaceful and progressive society.

The film conveys this valuable message but unfortunately gets drowned by intense action and psychological violence, explosions, mayhem and aggressive behavior of the main characters. Most scenes may not be appropriate for young audience and parents should be cautioned against allowing their teenagers to watch the film alone.