Call me Mother

Technical assessment:  3.5

Moral assessment:  3

CINEMA rating:  PG13

MTRCB rating:  PG 

Ang pelikula ay tungkol kay Twinkle De Guzman (Vice Ganda), isang mapagmahal at maalagaing "lalaking ina" sa kanyang ampong anak na si Angelo (Sean de Guzman). Pinalaki ni Twinkle si Angelo na parang tunay niyang anak, hanggang sa biglang bumalik ang Bianca (Nadine Lustre), ang tunay na ina ni Angelo, na nais makipagkonek muli sa bata. Dito magsisimula ang tensyon, ang pag-aagawan sa bata, ang paglalagay ng mga kondisyon upang magkasundo. 

Simple at hindi pilit ang direksiyon ng pelikula. Nangibabaw ang natural at makatotohanang pag-arte ng mga artista na kayang magpahayag ng damdamin kahit walang maraming salita. Ang mga closeup na kuha ng kamera ay tahimik, bagay na tumutulong upang maramdaman ng manonood ang bigat ng pinagdadaanan ng mga tauhan. Hindi rin sobra ang musika—ginamit lamang ito upang patindihin ang emosyon sa tamang sandali. Maaaring mabagal para sa ilan ang takbo ng pelikula, ngunit ang bagal na ito ang nagbibigay-lalim sa kuwento.  Marahil mas magiging convincing pa ang kuwento at ang pagganap ni Ganda kung hindi na ito hinaluan ng "signature taray" ng artista, at sa halip ay isinalarawan na lamang ng aktor ang isang seryoso at malumanay na karakter.   

Ang Call Me Mother ay isang paanyaya sa pagninilay tungkol sa habag, pananagutan, at pagmamahal na handang magsakripisyo. Ipinapaalala nito na ang pagiging ina ay hindi lamang sa dugo o są pagpapaanak, kundi sa araw-araw na pag-aaruga, presensya, at suporta sa bata, ano man ang kalagayan  sa buhay. Ipinakikita ng pelikula na ang pagiging ina—at pagiging pamilya—ay isang bokasyon: ang pagpili na magmahal, lalo na sa mga sugatan at iniwan ng mundo. Sa huli, sinasabi ng pelikula na ang tunay na paghilom ay nagsisimula kapag may isang taong handang patunayan, ang kanyang mga salitang “Nandito ako.” 

CAST AND CREW:  Director: Jun Robles Lana  Cast: Vice Ganda, Nadine Lustre, Lucas Andalio, Klarisse de Guzman, Mika Salamanca, Brent Manalo, Esnyr Ranollo River Joseph. Writers: Jun Robles Lana, Daisy G. Cayanan, Daniel S. Saniana — story and screenplay team.  Producers: Daniel S. Saniana, Marjorie B. Lachica, Vincent Del Rosario III, Veronique Del Rosario‑Corpus, Valerie S. Del Rosario. Music: Teresa Barrozo (composer) Cinematography: Carlo C. Mendoza. Editing: Benjamin Tolentino Production Companies: ABS‑CBN Studios (Star Cinema), The IdeaFirst Company, Viva Films.

 

Sunshine

The heroine is a young girl whose decision to abort is ultimately portrayed as a path to valid self actualization, supported by friends and family who simply “understand.”  (This review was first published in December 2025 in medium.com/cbcpcinema)

Technical assessment: 3.5

Moral assessment: 2

MTRCB rating: R-13

CINEMA rating: V16 

Sunshine (Maris Racal) is a talented gymnast dedicated in training for a shot at the Olympics. However, just two months before the crucial qualifiers, her dreams are threatened when she discovers she is pregnant. Her boyfriend (Elijah Canlas) initially rejects the pregnancy, pushing her toward desperate measures. Although he eventually offers support, Sunshine attempts to abort the baby but fails, resulting in her being rushed to the hospital and her condition discovered by her elder sister. The narrative complicates her journey with the presence of a "little girl"—a mysterious figure who reprimands and follows her throughout the film, acting as a manifestation of her conscience. Simultaneously, Sunshine crosses paths with a 13-year-old rape victim seeking help to terminate an unwanted pregnancy, a subplot that ends in complications. Despite the offer of support from her boyfriend and his father, Sunshine remains steadfast in her refusal to become a mother. In a heart-wrenching soliloquy performed while the “child” watches, she tearfully bids goodbye, claiming the child understands her mother’s dream. The film concludes with Sunshine stepping onto the mat, ready to perform her routine, having chosen her ambition over her child. 

The movie is notably well-written and well-paced, effectively building tension as the qualifiers approach and Sunshine wrestles with her moral dilemma. The performances are believable and relatable, grounding the high-stakes drama in human emotion. What is most commendable is the film’s editing. While Racal is no gymnast, the seamlessness of the cuts convinces the audience that she is executing the difficult routines herself. The technical team succeeds in merging the actor's performance with the physical demands of the role, ensuring the suspension of disbelief remains intact throughout the film. 

The initial reactions and confusion of Sunshine are understandable; she is young, determined, and suddenly facing a derailment of her life's ambition. The film utilizes the element of the unborn child—personified as the little girl—to externalize Sunshine's inner struggle. This creative choice allows the audience to see that, in her heart, she understands the gravity of her dilemma. However, the film’s handling of the pro-life argument leaves much to be desired. While the narrative briefly acknowledges that aborting a child deprives the community of a future productive member of society, this sentiment is delivered by a doctor portrayed as self-righteous and dismissive. By placing this truth in the mouth of an unlikable character, the film cheapens the argument for keeping the child, framing the defense of life as judgmental rather than compassionate or logical. 

The film presents a dangerous reference and model for our own youth. The heroine is a young girl whose decision to abort is ultimately portrayed as a path to valid self actualization, supported by friends and family who simply “understand.” This is particularly alarming given that the lead actress has a significant following among young people. By normalizing this choice and wrapping it in a package of “dream-chasing” and family support, the film risks influencing an impressionable audience to view the termination of life as an acceptable solution to personal hurdles. 

Ultimately, the film's resolution is deeply disturbing. While it posits Sunshine's final decision as a form of women’s empowerment—championing the idea that she has sole agency because it is “her body, her life”—this conclusion is morally unacceptable. It ignores the fundamental reality that it is no longer just her body involved; there is a distinct, separate life at stake. Setting aside the lens of faith, the movie treats the unborn child not as a human being with inherent dignity, but as an obstacle to be discarded for personal success. True empowerment cannot be built on the termination of the innocent. Perhaps, there is no other way to present this without proselytizing—hence, it is better that the audience be limited to mature adults with well-formed conscience. 

DIRECTOR: Antoinette Jadaone LEAD CAST: Maris Racal, Elijah Canlas, Jennica Garcia, Meryll Soriano SCREENPLAY: Antoinette Jadaone PRODUCED BY: Project 8 Projects, Spring Films CINEMATOGRAPHY: Tey Clamor EDITING: Benjamin Tolentino GENRE: Drama COUNTRY: Philippines DISTRIBUTED BY: NetflixRUNNING TIME: 118 minutes 

Quezon

 The film reveals itself not as a reflection of the past, but as a potent critique of the present.  (First published in November 2025 in medium.com)

Technical Assessment: 4

Moral Assessment: 3.5

MTRCB Rating: PG 13

CINEMA Rating: V14 (Note: Children are impressionable and might take the film as historical truth without returning to source information; it is best that they watch with an adult or be given a debriefing after.)

The movie revisits Manuel Quezon’s (Jericho Rosales) rise to the presidency, chronicling his political maneuvering during the American period. This includes his standoff with Governor-General Leonard Wood and his intense rivalry with Sergio Osmeña (Sarmienta) and Emilio Aguinaldo (Confiado). He is presented as a charismatic and sociable leader, his image bolstered by a propaganda film produced by his goddaughter, Nadia (Malvar), to aid his candidacy. However, a second, clandestine version of the film is produced by the disillusioned Joven (Villaflor), narrating the manipulations, deceptions, and ethical lines Quezon crossed to secure the Tydings-McDuffie Act and sabotage his rivals. Upon discovering this second version, Quezon merely taunts Joven, suggesting they are both opportunists. The outbreak of the Japanese war provides Quezon an excuse to seek a second term, recanting his promise to Osmeña, only to have his extended rule cut short by tuberculosis, culminating in his defiant cry from the Malinta Tunnel, “I am the Philippines!”

Quezon succeeds as an excellent piece of cinema, providing the right measure of entertainment and awe that compels the viewer to revisit a pivotal historical period. The craftsmanship is commendable: the production design effectively transports the audience to the era without resorting to exaggeration, while the dialogue remains crisp and witty. Jericho Rosales delivers a wonderful and believable performance as the titular figure, and the quiet, simmering exasperation of Romnick Sarmienta’s Osmeña is equally notable. However, a film’s most brilliant stroke is its narrative structure. By employing a non-linear timeline and a movie-within-a-movie treatment, it cleverly disassociates itself from being a mere historical narrative, allowing it to explore its subject with greater artistic freedom.

The film presents a complex moral landscape, anchored on the theme that ambition corrupts, and the end does not justify the means. No matter how noble the cinematic Quezon’s intentions are, his manipulation, deceit, and selfishness are not absolved; it serves as a potent reminder that while politics may be a game, servant-leadership remains the standard. This poses the question: what lines can be crossed to achieve a goal for the common good? It is natural to assume that even if one wants to be honest and upright, there are lines that will eventually be crossed. Yet, the film suggests this is permissible only if certain conditions are met: 1. Truth and integrity are not blurred; 2. The one crossing the line is not themselves corrupted by the act; and 3. The dignity and rights of other people are not violated.

Regarding the recent controversy involving the Quezon family’s reaction, their outburst is understandable — what family would welcome the perceived ruin of a respected ancestor? But this is precisely where the film places the greater responsibility: on the viewer. Critical thinking is paramount. The film is a film, and it must be primarily appraised on its own narrative and artistic merit. It never poses as a biography or a historical documentary and thus should not be taken as such. The onus is on the audience to return to their history lessons to vet the information presented, forcing them to ask: Are we not all opportunists who choose self-preservation and legacy, yet cry injustice when confronted with one who simply does it better? In this, the film reveals itself not as a reflection of the past, but as a potent critique of the present. — PMF

DIRECTOR: Jerrold Tarog; SCREENPLAY: Jerrold Tarog, Rody Vera; PRODUCED BY: Daphne O. Chiu-Soon; LEAD CAST: Jericho Rosales, Karylle, Mon Confiado, Arron Villaflor, Romnick Sarmenta, Cris Villanueva, JC Santos, Iain Glen; CINEMATOGRAPHY: Pong Ignacio; EDITING: Jerrold Tarog; MUSIC: Jerrold Tarog; GENRE: Epic Historical Drama; COUNTRY: Philippines; LANGUAGE: Filipino, English; DISTRIBUTED BY: TBA Studios; RUNNING TIME: 139 minutes

The Star

 

Technical assessment:  4 

Moral assessment: 4

CINEMA rating:  VA with parental guidance

Netflix rating:  7+ with parental guidance

The Star retells the Nativity story through the eyes of a small but determined donkey named Bo, who joins Mary and Joseph on their journey to Bethlehem, accompanied by other animals drawn by a mysterious star. As they evade King Herod’s soldiers and follow God’s quiet guidance, the animals become unlikely witnesses to the birth of Jesus. The familiar Gospel narrative unfolds gently, emphasizing wonder, trust, and divine providence, while remaining accessible to young audiences.

The film employs clean, colorful animation and a warm visual palette suited for family viewing. Character designs are expressive without becoming overly cartoonish, and boosted by a delightful dialogue allow emotional beats to land naturally. Voice performances are competent and restrained, avoiding exaggerated theatrics common in animated features. The pacing is steady, though the animal-centered humor occasionally slows the narrative. Musical elements are sparingly used and do not overwhelm the story. While the animation quality does not rival top-tier studios, it serves its purpose well: supporting the narrative rather than distracting from it. Overall, The Star demonstrates technical modesty aligned with its reverent subject matter.

The Star presents the mystery of the Incarnation with clarity and respect, making it particularly valuable for family audiences. The film affirms central Christian truths: God enters human history in humility; obedience and trust open the way for salvation; and even the lowly have a role in God’s plan. Mary’s quiet courage and Joseph’s protective faithfulness echo Catholic teaching on vocation, cooperation with grace, and responsible love. The animals’ participation, while imaginative, reinforces the universality of Christ’s coming—that all creation rejoices in the birth of the Savior. Importantly, the film avoids moralizing dialogue, allowing actions and choices to convey meaning. Though simplified for children, The Star remains faithful to the Gospel spirit and invites families to reflect on Christmas not merely as celebration, but as the profound mystery of God-with-us.

The Star presents the mystery of the Incarnation clearly and with respect, making it particularly valuable for family audiences. The film affirms central Christian truths: God enters human history in humility; obedience and trust open the way for salvation; and even the lowly have a role in God’s plan. Mary’s quiet courage and Joseph’s protective faithfulness echo the Church's teaching on vocation, cooperation with grace, and responsible love. The animals’ participation, while imaginative, reinforces the universality of Christ’s coming—that all creation rejoices in the birth of the Savior. Importantly, the film avoids moralizing dialogue, allowing actions and choices to convey meaning. Though simplified for children, The Star remains faithful to the Gospel spirit and invites families to reflect on Christmas not merely as celebration, but as the profound mystery of God-with-us.

 

The Christmas Chronicles 

Editor's Note: In Catholic liturgical practice, the official end of the Christmas season is tied to the celebration of the Feast of the Baptism of the Lord, which in 2026 falls on January 11.  So if the youngsters in your family are still in Christmas movie binging mode after Christmas day, go ahead and watch some more!  Like books, even old movies are new, as long as you haven’t watched them yet!  

Technical assessment: 3

Moral assessment: 3.5

CBCP/CINEMA rating:  VA with parental guidance

Netflix rating: Age 7 and up under parental guidance

On Christmas Eve, siblings Kate and Teddy Pierce attempt to capture Santa on video but accidentally cause his sleigh to crash, jeopardizing Christmas itself. Stranded with Santa in Chicago and separated from his magical items, the children must help him recover what was lost before dawn. Along the way, they confront their own grief over their father’s death, rediscover family unity, and learn the value of belief and responsibility as they race to save Christmas for the world.

The film is briskly paced and visually polished, clearly designed for family audiences. Kurt Russell’s unconventional Santa—energetic, witty, and self-assured—anchors the movie with charisma and humor. The cinematography favors bright, festive colors and dynamic movement, while the CGI elves and action sequences are serviceable, if occasionally uneven. Editing keeps the narrative moving, though the plot relies heavily on familiar holiday formulas. The musical interlude and pop-culture humor may feel excessive to some viewers, but they contribute to the film’s contemporary tone. Overall, the technical execution prioritizes entertainment and accessibility over depth, succeeding as light holiday fare.

The Christmas Chronicles highlights values consistent with Catholic teaching, particularly the importance of family, faith, and hope amid suffering. The children’s grief reflects the human experience of loss, while their journey affirms that healing often comes through love, cooperation, and trust. The film underscores responsibility for others and self-sacrifice for the common good—virtues central to Christian moral life. Though Christmas is presented mainly as cultural celebration rather than the Nativity of Christ, the themes of belief, generosity, and reconciliation resonate with the Gospel spirit of the season. Parents and educators may use the film as a springboard to remind viewers that the joy and unity portrayed ultimately find their fullest meaning in Christ’s birth, which calls families to charity, faithfulness, and renewed hope.

Men in Black International

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

Molly (Tessa Thompson) earns a probationary term in MiB after impressing “O”, (Emma Thompson), head of MiB who made her undergo a series of tests.  It’s a dream come true for Molly who as a child befriended and set free a baby alien that had strayed into her bedroom.  In MiB London, Molly becomes the rookie “Agent M” assigned to team up with veteran Agent H, Henry (Chris Hemsworth) Henry, a glib and cocky operative who’ll do anything to accomplish a mission—including having interspecies sex with Riza (Rebecca Ferguson), a glamorous cross between human and octopus. Riza has three arms and she’s an arms dealer—how funny is that—and now happens to be in possession of a little doomsday weapon that H and M must find and destroy, with the full support of MiB London division’s honcho, High T, (Liam Neeson).

With a trite and convoluted plot, Men in Black International (the fourth of the MiB series), can be likened to a dish of plain pasta garnished with nachos, gelatine cubes, jalapeno peppers, sprinkles, baba ghanoush, and Oreo cookies—bland carbohydrates plus garnishings that might be palatable or even exotic when taken singly but when together served as a meal would make you seriously wonder what culinary school the chef got his hat from.  The CGI of the outer space creatures look lifelike; the baby alien and Pawny (M’s minuscule alien sidekick) are endearing enough; the action keeps you from dozing off; the gadgets, although generics, are in new shapes; Riza’s outlandish costume matches the character’s eccentricity, and yet altogether they fail to excite.  Even the much touted chemistry supposedly carried over from Thor Ragnarok by Hemsworth and Thompson can’t save the day.

What, then, spares Men in Black International from total oblivion by its fans?  If you just close your eyes to the abovementioned disappointing elements and focus instead on the human values still enveloped in the story, you’ll find a number of desirable and rewarding traits demonstrated by the characters: kindness to a stranger (Molly saves the life of the baby alien); single-mindedness in pursuing a goal; gratitude for one’s life saved; self-confidence rooted in self-knowledge; sacrificing self-indulgence to give way to service.  In the end traitors are uncovered and a good cause is rewarded; it is unmistakable, too, that good triumphs over evil.—TRT 

DIRECTOR:  F. Gary Gray  LEAD CAST:  Chris Hemsworth, Tessa Thompson, Emma Thompson, Liam Neeson, Rebecca Ferguson  SCREENWRITER: Matt Halloway, Art Marcum  PRODUCER:  David Beaubaire, Howard Chen, Edward Cheng  EDITOR:  Zene Baker, Christian Wagner, Matt Willard  MUSICAL DIRECTOR:   Chris Bacon, Danny Elfman  GENRE: Science Fiction, Comedy, Action  CINEMATOGRAPHER:  Stuart Dryburgh  DISTRIBUTOR: Sony Pictures  LOCATION:  United States, London, Marrakesh  RUNNING TIME: 122 minutes.

Pokemon: Detective Pikachu

Technical Assessment: 3

Moral Assessment: 3

Cinema Rating: PG13

MTRCB Rating: PG

                                   

Set in the Pokemon universe, Tim Goodman receives the tragic news of his estranged father’s accident, Harry Goodman (Ryan Reynolds), a prolific detective of the Ryme City. Tim (Justice Smith) goes there and upon accessing his dad’s apartment to collect his belongings, he finds a vial with an “R” label with it. Curious about what it is, he opens it, only to find out that it contains a chemical that makes harmless Pokemon, pocket-sized monsters, violent for a certain period of time. He then finds Pikachu, his dad’s Pokemon partner who speaks only to him; likewise, he alone can understand it. Tim later on finds out that Pikachu lost his memory but wants to uncover the real reason behind his father’s accident.

An adaptation of the world-renowned video game, Detective Pikachu is a fun treat to its fans who are mostly young or young-at-heart. It is amazing to see those little pocket monsters come bigger than life on screen. The CGI effectively executes what a Pokemon world would look like. It is interesting to see people having actually live-virtual pets. The story and plot development is simple yet focused amidst the seemingly complicated universe of the characters. The dialogue is witty and can even go philosophical at times. Reynolds did a very good job acting and/or voice acting as Pikachu. Despite the limitations of CGI use in expressing Pikachu’s facial expression, Reynolds and the effects team certainly have made it work. Smith and Newton, on the other hand, show much promise. The film though, in its entirety can be dragging at times and tends to alienate non-fanatics of Pokemon.

Detective Pichachu is all about family. Specifically, it follows the estranged relationship of a son to his father as interrupted by ambition and obsession with technological advancement. Family and meaningful relationships, either between humans and humans or humans and virtual pets, are given importance in the film. Yes, peaceful co-existence between humans and virtual aliens like pokemons is possible, as shown in the film. Blood relationships ultimately matter and everything is resolved with genuine love and concern. In a macro perspective, the film tackles evil destruction of the planet—and how humans, more than the aliens, could be the enemies in the care of God’s creation. Given this scenario, certain scenes of violence in the film are inevitable. However, in the movie, those are necessary depictions of evil. It is still good to note that good triumphs over evil in the end – and the young viewers will learn much from it. But CINEMA still believes that children below 13 years of age still needs guidance as they are susceptible to images of violence and may not be able to discern the real enemies are.

DIRECTOR: Rob Letterman  LEAD CAST: Ryan Reynolds, Justice Smith, Kathryn Newton, Suki Waterhouse, Omar Chaparro, Chris Geere, Ken Watanabe, Bill Nighy  SCREENWRITER: Dan Hernandez, Benji Samit, Rob Letterman, Derek Connolly  PRODUCER:  Mary Parent, Cale Boyter, Hidenaga Katakami, Don McGowan  EDITOR:  Mark Sanger, James Thomas, Legendary Pictures, Toho, Warner Bros.  MUSICAL DIRECTOR:  Henry Jackman  GENRE: Mystery/Fantasy  CINEMATOGRAPHER:  John Mathieson   DISTRIBUTOR: Warner Bros Entertainment   LOCATION:  United States and Japan  RUNNING TIME:   104 minutes

Godzilla: King of the Monsters

Technical assessment: 3 

Moral assessment: 3 

CINEMA rating: V14 

MTRCB rating: PG 

Emma Russell (Vera Farmiga) is a Paleobiologist working for Monarch — an organization studying giant creatures called Titans who are believed to have dominated the earth in the beginning of history. She uses the Orca — a device she and her husband designed to tame and control them — when a Titan larva named Mothra is born. Alan Jonah (Charles Dance) and his group of eco terrorists seemingly kidnap Emma and her 12-year old daughter Madison, allowing Mothra to escape and cocoon herself elsewhere. Meanwhile Monarch scientists enlist the help of Dr. Mark (Kyle Chandler), Emma’s ex-husband and an animal behaviorist to save them. However, they discover that Emma is manipulating the Monarch to help Jonah awaken the Titans so that the earth can be healed and recover from all the human abuses. They awaken the three-headed Monster Zero who begins a killing rampage instead of their expected results. Emma awakens another Titan Rodan in the hopes of defeating Monster Zero, revealed to be Ghidorah. Rodan is subdued and submits to Ghidorah. He awakens other Titans and proceeds to terraform earth. Meanwhile, Mothra emerges from her cocoon and teams up with Godzilla to stop the Titans from wiping out humanity. Emma realizes the error of her ways and joins the Godzilla battle against the Titans.

The story is nothing new — selected people becoming heroes willing to die to save humanity. We’ve seen this plot from Marvel to Harry Potter to all the young adult books turned into movies. So for another of this type to stand out, it needs not only to be visually spectacular on all levels built on experiences that resonate humanity in so many facets. You throw in family and relationship, you throw in unimaginable struggles towards an inspiring victory, you throw in laughs, tears, gasps, and shrieks. Godzilla tried to do all these but ended up with a convoluted narrative coupled with daft storytelling. The constant booming scoring and continuous big CGI fights do not drown the lack of cohesiveness in the scenes. Overall, the movie is more of a mere spectacle. Not even the honorable attempt to talk about symbiotic co-existence or balance in nature strikes any chord.

Amidst the massive destruction that peppers the movie, little acts of heroism can be seen. Young Madison puts her life at risk so that humanity gets a chance to survive, Dr. Mark Russell sets aside his personal feelings to save his family, Mothra sacrifices herself so Godzilla can defeat Ghidorah, and Dr. Emma throws herself in the path of danger once she realizes her mistake. So many other unnamed characters made sacrificial choices along the way. Heroism is in everyone. It does not need grand gestures with fireworks and an orchestra blaring. It only needs genuine desire to do good for the sake of someone else.

Pushing it a little further, the film echoes some Christian ideas of good and evil with the monsters symbolling images familiar to us (three-headed monsters overlooking the fiery hell or Godzilla dying and rising up to saver humanity). While it might not be the best movie to illustrate certain aspects of our faith, if the younger ones enjoy this genre, might as well start a conversation so the afternoon is not totally wasted. — PMF  

DIRECTOR: Michael Dougherty;  LEAD CAST: Vera Farmiga, Kyle Chandler, Millie Bobby Brown, Charles Dance, Ken Watanabe, Sally Hawkins; PRODUCER: Thomas Tull, Jon Jashni, Brian Rogers; SCREENWRITER and STORY: Michael Dougherty, Zach Shields;  BASED ON: Godzilla, King Ghidora, Mortha, Rodan;  MUSIC: Bear McCreary; CINEMATOGRAPHY: Lawrence Sher; EDITED BY: Roger Barton, Richard Pearson, Bob Ducsay; GENRE: Sci-Fi Action;  COUNTRY:  USA; LANGUAGE: English  RUNNING TIME: 132 minutes 

 

Clarita

Technical assessment: 3 

Moral assessment: 3.5 

CINEMA rating: V14 

MTRCB rating: R13 

Sunud-sunod ang malagim na pagkamatay ng mga taong may kaugnayan kay Clarita (Jodi Sta. Maria), na kasalukuyang nakakulong sa Manila city jail. Hirap nang magpaliwanag sa media si Mayor Arsenio Lacson (Noni Buencamino). Ayaw kasi niyang dalhin sa usaping sinasapian ng demonyo si Clarita. Kasi nga naman, taliwas ito sa rasyonal na paniniwala. Pero sa huli, nakumbinsi na rin siya. Pinakiusapan ni Mayor si Father Salvador (Ricky Davao) at Father Benedicto (Arron Villaflor) na palayasin ang masamang espiritu mula kay Clarita sa pamamagitan ng eksorsismo. Napapayag naman ng reporter na si Emilia (Alyssa Muhlach) ang dalawang pari na siya na ang mag- dokumento sa gagawing eksorsimo kasabay nag pagsusulat niya tungkol sa kaso ni Clarita.  

Ang galing ng pagganap ni Sta. Maria. Kahit balot ng prosthetic makeup ang mukha, litaw pa rin ang pag-arte niya. Si Buencamino na sa unang parte lang ng istorya lumabas ay astang mayor talaga at komportable sa kanyang karakter. Puede pang pagandahin ang script at palalimin ang karakter nina Davao at Villaflor, para sana’y hindi lahat ng nasasaloob nila ay kailangang isa-isahing sabihin. Siguro kasi ay nagsimula agad sa eksorsimo ang pelikula, hindi napaigting ang suspense, kaya kulang sa sindak at simpatya sa mga karakter. Para palabasing mukhang luma ang mga eksena--dekada singkwenta nangyari ang kababalaghan na base sa tunay na buhay—ginamitan ng madilaw na ilaw at vignette effect ang pelikula. Minsan, biglang magliliwanag at magmumukhang bago ang paligid, kaya nakakalito. Di rin masyadong napagtuunan ng pansin ang bawat eksena kaya parang sinalansan lang ang mga ito. Ang ganda pa naman ng istorya ng dalawang pari at ni Emilia, na may kanya-kanyang dahilan kung bakit pursigidong matulungan si Clarita. Gayunpaman, saludo kami sa production setup, at lalo na sa prosthetic makeup at mga special effects sa tuwing sasaniban si Clarita. Ang layo na ng narating ng pelikulang Pilipino sa aspetong ito. Proud to be Filipino tayo.  

Lumabas kami sa sinehang may malinaw na aral na nakuha sa pelikula. Una, Diyos at Siya Lamang ang makakagupo sa demonyo, hindi ang paring si Salvador na tiningnang pagsubok sa kanyang kakayanan sa eksorsismo ang kaso ni Clarita. Pangalawa, sinasamantala ng demonyo ang ating kahinaan, lalo na kapag bumibitaw tayo sa ating pananalig at kapit sa Diyos na siyang sandata natin laban sa kasamaan. At ang pinakamagandang aral ay nanggaling mismo kay Clarita, na itinaboy ng kanyang mga kababaryo at nag-iisang tumangis sa pagkamatay ng kanyang ina. Nang sabihin ni Emilia sa kanya na “di ka namin iiwan at lalaban tayo”, sumagot si Clarita: “Ngayon ko lang nadinig ang ‘tayo’.” Nakakayanig. Sa sinabing iyon ni Clarita nakapaloob ang ating papel sa mundo: ang ipadama sa ating kapwa na sila ay bahagi ng isang malawak na sambayanan, at ang pamilyang ito—hindi ang kasamaan—ang siyang gagabay at aagapay sa kanila. Hindi pagtataboy kundi pagyakap.--MOE  

Director: Derick Cabrido  Lead Cast: Jodi Sta Maria, Ricky Davao, Aaron Villaflor, Alyssa Muhlach  Screenwriter: Derick Cabrido  Producer: Black Sheep Productions  Genre: Horror  Distributor: Star Cinema  Location: Philippines  Running Time: 1hr 25min