Before midnight

Cast: Ethan Hawke, Julie Delpy; Direction: Richard Linklaster; Story and Screenplay: Richard Linkleater, Ethan Hawk, Julie Delpy; Cinematography: Christos Voudouris;  Editing: Sandra Adair;  Music: Graham Reynolds; Producers: Richard Linklater, Christos Konstantakopoulos; Genre: Drama; Running Time: 109 minutes; Location: Greece; Distributor: Sony Pictures Classics

Technical assessment : 4

Moral assessment: 3

MTRCB rating:  R 16

CINEMA Rating: V 18

In 1995, Celine and Jesse meet for the first time, flirt with each other as they stroll along the streets of Vienna but go separate ways before sunrise. In 2004, Celine and Jesse, now in their 30s meet again in Paris, eager to find out and pick up where they left 9 years ago but unfortunately can’t because of each other’s commitment to someone else. Again, we see them part ways before sunset. Today, Celine  (Julie Delpy) and Jesse are (Ethan Hawke) blessed with lovely 9-year-old twin daughters after they got back together sometime after their second meeting. Presently, they are ending their Greek vacation and struggling not to do the same to their relationship as issues about parenting, career, responsibilities and commitment are brought up and argued about. Before Midnight is the third  instalment of what is now a classic love story that surprisingly works despite being a series of scenes with “talking heads”. While Before Sunrise presented romance and courtship and Before Sunset brought forth the pain of love that could not be, Before Midnight shares the story of commitment, marriage and reconciling differences.

There has never been a movie that manages to keep its audience interestingly glued to just two people talking about their mundane personal life while watching through the windshield for a full 15-20 minutes. For those who journeyed with the couple’s love story for the last 18 years, this movie presents another phase of their story as they move from being carefree young lovers to parents struggling with responsibilities. For those who are watching the movie for the first time with no clue of their history, the movie is a slice of life featuring no intellectual conversations between spouses that need to be understood in an intellectual manner. The movie has no real conflict or drama and makes no pretentions to come up with one but it unfolds the melodramas of a relationship, a woman’s angst and a husband’s frustrations and each other’s resentments of failed expectations and personal disappointments. At one point, the conversation drifts from silly exchanges of historical data and hypothetical questions then slowly builds up to arguments about fears of giving up one’s life against disappointing one’s partner.

The movie works its magic with two of its strongest munitions: a great script and a greater performance. First, the script is conversationally emphatic. Simple and ordinary as the issues may seem, it is impossible not to see where Celine or Jesse is coming from. The build-up and the plateau of arguments are so cleverly directed. And best, the exchanges allows the audience to understand the personality, background and motivations of the characters. Second, Hawke and Delpy deliver genuine passion and bounce off undeniable chemistry. Together, the script and the actors deliver a powerful piece of movie everyone can understand and relate to. 

Every mature couple should try to watch the film as it not only shows how honest and loving communication keeps the marriage alive despite all the personality differences and marital issues challenging the relationship. The movie is very real because most of the time, what destroys relationship are not the big problems that blow in the face but the small complications that go unnoticed and unresolved. The movie also offers lovely insights about life and commitment—the most valuable being the need to be constantly working on being a source of love and happiness to one’s partner. Love in Before Midnight goes beyond romance and the fairy tale but dumps  real issues intertwined with the desire to continue to grow together and sort out differences as a team. It teaches couples to agree to disagree,  to respect each other’s roles, and to remain faithful despite the challenges of raising a family.

There are scenes and ideas that may not be well taken by the very conservative and may be  misunderstood by the very young. For instance, how Celine scoffs at the sacrament of marriage, the constant cursing, fidelity issues, and irreverent sexual jokes. Considering that Before Midnight focuses on a serious commitment, and presents footage of unwedded sexual intimacy, the film would be better suited for mature adults.

Pacific Rim

Cast: Charlie Hunnam, Idris Elba, Rinko Kikuchi, Charlie Day; Direction: Guillermo del Toro; Screenplay: Travis Beacham, Guillermo del Toro. Story: Travis Beacham; Editing: Peter Amundson; Producer: Thomas Tull, Jon Jashni, etc.; Music: Ramin Djawadi; Genre: Sci-Fi Action; Running Time: 132 minutes;  Distributor: Warner Bros; Location: USA

Technical assessment:  3

Moral assessment:  3

MTRCB rating:  PG 13

CINEMA rating:  V14

In the not-so-distant-future, earth and humanity’s existence is threatened by “kaijus”—giant monsters who emerged from the bottom of the sea. Men built equally gigantic robots to supposedly counter the attacks of the enemies. However, the human-made robots called “jaegers” can only be commandeered by two human pilots whose consciousness are intertwined with each other.  This neural bridging is nicknamed “drifting”.    Eventually, the kaijus adapt to the weaponry and forces the governments to abandon the jaeger program in favor of colossal coastal walls.  But when these efforts prove futile against the increasing smartness of the kaijus, the world governments decide to recall the last four jaegers and the best remaining pilots as their final defense. Stacker Pentecost (Idris Elba), a combat officer, recalls retired pilot Raleigh Becket (Charlie Hunnam) who lost his brother, Yancy (Klattenhoff), during one of their battles. Raleigh is teamed up with Mako Mori (Rinko Kikuchi), Pentecost’s adopted daughter who also lost her family to the kaijus. Now faced in the fight for the survival of the entire human race, the pilots must learn to trust each other, let go of past hurts, and open up their souls for a more effective and synchronized control of the jaegers.

Pacific Rim is a visual feast and triumph for its genre.  This is an undeniable fact but other than the gigantic feat, the movie is a cold and emotionless as the metals and steels constantly clashing on screen. There are two spectacular scenes for the testosterone-filled audience—the opening scene where the entire premise of the plot is dumped before opening credits roll, and the very predictable final battle. Everything in between is problematic. While del Toro tries hard to be original and to present something different, shades of characters and situations from other successful films resonate so loudly. (Think Independence Day, Godzilla, Transformers, Battleship, and every other end of the world, alien attack, post apocalypse movies). The characters were given little background stories to make the film interesting and relatable but bland acting and overly complicated characterizations and storylines make the film challenging to digest with all the metal clanging and explosions. The movie pays more attention to producing ostentatious CGI action than to character development. In spite of the director’s good intestions, the viewer may feel like he’s watching a videogame—a very long one. The body count is high as expected yet you don’t feel any loss for anyone of them because of the lack of emotional investment in the characters. Overall, Pacific Rim is visually entertaining but forgettable and inexpressive.

There are several attempts to provide morality and redemptive content in the film. Teamwork, empathy, overcoming differences, and cooperation are strong values emphasized with the need to intertwine mind and spirits to be able to overcome evil (read operate the jaegers).  Self-sacrifice for the common good and the value of life are also highlighted. There are even strong references to God in some of the dialogues. However, amidst all the scary action, violence, destruction, and foul language, del Toro’s desire not to desensitize 12-year-old boys falls short. The movie is just too loud and destructive for the audience to hear the positive messages Pacific Rim brings. Parents are strongly cautioned in allowing their young children (it is supposed that boys will be most attracted to this genre) on their own.  No doubt del Toro wanted to drive home a moral point for the kids to ponder, but awed by the medium—metal giants and marine monsters—young children will surely miss the message. 

The bling ring

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LEAD CAST:  Israel Broussard, Katie Chang, Taissa Farmiga, Claire Julien, Georgia Roack, Emma Watson, Leslie Mann  DIRECTOR:  Sofia Coppola  SCREENWRITER:  Sofia Coppola  PRODUCER:  Roman Coppola, Sofia Coppola, Youree Henley, Francis Ford Coppola  EDITOR:  Sarah Flack  MUSICAL DIRECTOR:  Brian Reitzell, Daniel Lopatin  CINEMATOGRAPHERS:  Christopher Blauvelt, Harris Savides RUNNING TIME:  90 minutes  DISTRIBUTOR:  A24  LOCATION:  US

Technical assessment:  3

Moral assessment:  2

MTRCB rating:  R 16

CINEMA rating:  V 18

Based on a true story as told in The Suspect Wore Louboutins, a Vanity Fair article published in 2009, The Bling Ring details the sorties of a group of celebrity-fixated Los Angeles teens into celebrities’ homes.  Nicki Moore (Emma Watson), Marc Hall (Israel Broussard), Chloe Tayner (Claire Julien), and Sam Moore (Taissa Farmiga), led by ring leader Rebecca Ahn (Katie Chang), use the internet to track the whereabouts of Hollywood stars in order to break into their homes and ransack the stars’ wardrobes for luxury brands—to wear, to sell, and to flaunt in social media.  Their daring comes to an end as one of them is identified through CCTV recordings, making it easy for the others to be fall into the hands of the law. How do these teens react when found guilty?

Directed by Sofia Coppola, this black comedy crime-drama exposes the dirty details of the real-life obsession of the so-called Burglar Bunch through sepia-colored footage, making it appear “documentary-ish”.  It helps, too, that three of the lead actors are newcomers and the rest have few credits to their names—except Watson of the Harry Potter fame, who incidentally gives a sterling against-type performance here.  Watson, for the longest time known as the brainy, no-nonsense Hermione in the J. K. Rowling series, here plays a pathetic, shallow, if not altogether dumb, bling-crazy fan.

The Bling Ring possesses value from the sociological standpoint.  It offers a study of the young people’s mind and behavior: how far will their celebrity-obsession push them to satisfy their craving for instant gratification? Do they feel entitled to their idols’ riches because these idols owe their fame and fortune to their fans’ adulation? It also tries to ask what kind of people celebrities are who fill their houses to the rafters with pricey baubles and then leave them unattended.  There is also a message for parents here, as the movie shows that the kids who break into homes come from broken homes themselves.  These young people are devoid of conscience, steal on impulse, and then Tweet about their exploits for the whole world to see. They rob the homes, do drugs, party wearing their stolen stuff at the very places frequented by their victims, and then post snap shots of these on Facebook.  Do they do this because they are monumentally dumb, or to attract police attention, be caught, and become celebrities themselves?  And what about their friends who think their crimes are cool?  The movie is also a statement on the current culture: time was when the precious box under the bed contained our parents’ love letters, beribboned and yellowing proofs of love.  In The Bling Ring, the precious box under the bed contains designer watches, because what matters now is not who people are but what they have.  Coppola deliberately holds judgment here, preferring to simply call our attention to the way we are now, and perhaps to make us think where we are going.

White House down

--> LEAD CAST: Channing Tatum, Jamie Foxx, Maggie Gyllenhaal, Jason Clarke, Richard Jenkins, James Woods  DIRECTOR:  Roland Emmerich  SCREENWRITER: James Vanderbilt  PRODUCER:  Roland Emmerich, Bradley J. Fischer  EDITOR:  Adam Wolfe  MUSICAL DIRECTOR:  Harald Kloser, Thomas Wanker  GENRE: Drama, Action, Adventure  CINEMATOGRAPHER:  Anne Foerster  RUNNING TIME:   137 minutes  DISTRIBUTOR:  Columbia Pictures  LOCATION:  US, Canada

Technical Assessment:  3.5

Moral Assessment:  2.5

MTRCB Rating: PG13

CINEMA Rating: V14

John Cale (Channing Tatum), a police officer detailed to the Speaker of the House, is working out a relationship with his politics-savvy daughter Emily Cale (Joey King). In his effort to impress Emily, John brings her along to the White House when he applies for the Presidential Secret Agent position. But John does not get the job and this worries him because Emily has high expectation of him, so he chooses to lie and tells her that he is hired. At the time of John’s application, US President James Sawyer (Jamie Foxx) is under criticism on his proposal to retrieve the military forces in the Middle East.  Father and daughter are still inside the White House when an explosion occurs and puts the city capitol under siege of coup d’etat led by former Secret Agent Martin Walker (James Wood).  Emily is in the restroom during this chaos in the Whitehouse. Realizing the danger for his daughter, John manages to skip the captors and searches for Emily but he instead finds the President under hostage by Walker. He rescues the president and the two of them find the way out. After ensuring the escape of the President, John stays behind to search for Emily.  Amidst the fearful situation, Emily manages to take a video of the terrorists inside Whitehouse and uploads it onto her video blog which leads to the exposure of the culprits. The terrorists discover what she did and become madly on watch of her.  

White House Down has an overused theme of power grab by unsatisfied colleagues with orchestrated bombings, hostage taking and senseless killings. The saving grace of the story was the heroic deeds of father and daughter in the name of national interest.  The good plot development highlighted this aspect.  The director did a good job in his treatment of the story particularly injecting humor in some highly tensioned scenes. The acting and characterization were commendable. There was meaningful delivery of dialogues by the actors. The production design was a real treat to the viewers. The cinematography and composition keep up with the interesting scenes with compliments of special effects as applied to aerial, firing, explosions and chasing scenes.  Technically the film is above average.

Every person grows and never stays stagnant in the different aspects of life. So John Cale was right when he said in an interview scene that he has changed and that he was not the same person as reflected in the school records. But he was not still considered for the job. In our society, there are people who are misjudged and deprived of opportunities. Yet despite the humiliating experience of John during the interview he still did the right thing when called for and used his skills to protect the President and the interest of the state.  Vindication came to John when he succeeded in his accidental mission to save the President and the US government from the hands of traitors.   A dedicated father does everything and is willing to sacrifice his life for his children, and so was Cale to his daughter Emily. When there were opportunities to run away and free himself, he chose to stay and not to leave without her. The two of them shined in this chaotic situation as heroes. John used his skills in security and protection measures while Emily used her skills in social media to expose the villains by uploading her video on internet, helping authorities resolve the crisis.  Young people who are adept social media may get an idea of how they can make a difference by being responsible users. 

A traitor who has no respect for peace and precious life has no place in the society. While conflicts over a high profile decision such as peace treaty is a reality, this should not be a reason to stage a violent take over compromising the innocent lives and the interest of the entire nation.  The film values family bond particularly between a parent and a child as the main theme.  But the entire run is stressful.  Since a greater part of the movie shows violence and senseless killings of people, CINEMA finds the movie disturbing and rates it for mature audiences aged 14 and above.

The heat

CAST:  Sandra Bullock, Melissa McCarthy, Marlon Wayans, Jane Curtin, Michael Rapaport, Demián Bichir, Kaitlin Olson, Taran Killam, Tony Hale  DIRECTOR:  Paul Feig  SCREENWRITER:  Katie Dippold  PRODUCER:  Dylan Clark, Michele Imperato  EDITOR:  Jay Deuby, Brent White  MUSIC:  Michael Andrews  GENRE:  Action, Comedy, Crime  CINEMATOGRAPHER:  Robert D. Yeoman RUNNING TIME:  117minutes  DISTRIBUTOR:   20th Century Fox  LOCATION:  USA

Technical assessment:  3

Moral assessment:  2.5

MTRCB rating: R 13

CINEMA rating:  V 18

FBI agent Sarah Ashburn (Sandra Bullock) is uptight, arrogant and can’t get along well with other agents. To prove that she’s worth the promotion she is gunning for, Ashburn does not complain when she is sent to Boston to crack a difficult case.  There she crosses paths with Shannon Mullins (Melissa MacCarthy), a rude, hot-headed and foulmouthed Boston police detective.  The two must work together to bring down a new mega-player in the illegal drug trade, but neither of them is willing to be “second” to the other.

The Heat is a buddy cop comedy that carries the elements of the genre’s formula: oil and water characters squabbling for supremacy on a case, bickering over investigation and interrogation styles, employing dare-devilish solutions in defiance of superiors’ objections, and somehow achieving results despite their being mismatched.  While formula-bound, however, The Heat still passes the likability test by using just the right amount of each of the above elements, including a healthy dose of slapstick.  What’s not formulaic about the movie is its use of female leads, without raking women’s issues into the plot, nor making an issue of their being female. A comedy’s strength is directly proportional to that of its performers, and The Heat boasts of an A-list cast, including the supporting actors.  No other duo could have surpassed the performance of Bullock and McCarthy in this movie.  The chemistry between these two actors is phenomenal, and thanks to Katie Dippold’s script as well, their dynamic results in nonstop entertainment covering a wide range of situations from the purely petty to the occasionally profound.

The Heat is so entertaining because it is confident in what it is—credit director Paul Feig for that.  It knows its plot is but the humorous frame needed to display the unfolding of the lead characters’ personas.  Its exaggerations, illogical moves, and over-acting are calculated to bring comic relief to viewers.  Nevertheless, it is not without its potentially harmful ingredients—and that is why CINEMA gives this a V 18 rating.  Questionable police work is sometimes presented as funny;   low street talk (especially coming from a woman) is presented as smart, and insult (specifically directed at an albino) is passed off as wit.  Violence is trivialized—for example, a man stabs a woman’s thigh with an oyster knife, and all she sys is “Aw-aw-aw!” as though the wound were nothing more than a pin prick.  Casual sex is also treated comically.  A mother gives the dirty finger to her daughter.  The Heat’s saving grace is the touching development between the former rivals—but it’s better seen than told here.

Four sisters and a wedding

Lead cast: Angel Locsin, Toni Gonzaga, Bea Alonzo, Shaina Magdayao, Coney Reyes, Enchong Dee; Direction: Cathy Garcia Molina; Screenplay: Jose Javier Reyes; Editing: Marya Ignacio; Location: Metro Manila; Genre: Comedy; Running time: 120 minutes Distributor:  Star Cinema

Technical assessment: 3

Moral assessment: 3

MTRCB rating: PG13

CINEMA rating: V14

May kani-kaniyang sikreto at problema ang magkakapatid na Salazar. Si Teddy (Toni Gonzaga) ay di kagalingan na guro sa Espanya na ngayo'y isa na lamang katulong at waitress. Hindi niya maamin sa kanyang pamilya ang totoo niyang trabaho dahil ayaw niyang mapahiya. Si Bobby (Bea Alonzo) ay nasa New York bilang matagumpay na Communications Manager na laging umiiwas na magpakasal sa kanyang nobyo. Galit pa rin siya sa kapatid na si Alex (Angel Locsin) dahil sa pagpatol nito sa kanyang dating kasintahang si Chad. Si Gabby (Shaina Magdayao), ang tanging kapatid na babaeng naiwan sa kanilang bahay kasama ng kanilang inang si Grace (Coney Reyes), tumatayong nanay-nanayan ng pamilya, at tila papunta sa pagiging matandang dalaga. Kakailanganin magsiuwi nina Teddy, Bobby at Alex nang magsumbong si Gabby na magpapakasal ang kanilang bunso at kaisa-isang kapatid na lalaking si CJ sa isang babaeng sa palagay nila ay hindi nababagay rito. Sabay sa pagharap sa pamilya ng kasintahan ni CJ sa pamamanhikan ay kakailangan din nilang harapin ang kani-kanilang isyu sa isa't isa. At habang pinaplano nila kung papaanong paghihiwalayin ang magsing-irog ay kailangan nilang isipin kung papaano nilang mabubuo ang kanilang relasyon bilang magkakapatid.

Maganda sana ang konsepto sa likod ng kwento ng 4 Sisters and A Wedding. Bago pero hindi imposible, kakaiba pero hindi malayong mangyari. Mahusay sina Reyes at Alonzo sa pagganap. Simple at makatotohanan ang kanilang interpretasyon sa karakter. Bagamat magaling ang pagbitiw ng linya nina Gonzaga, Locsin at Magdayao, ang kanilang pagganap ay medyo pilit at hindi nalalayo sa pagganap nila sa iba nilang mga naunang pelikula. Bagamat maganda ang ideya sa likod ng kwento hindi naman pinagbuhusan ng pansin ang pagbuo sa pagkatao ng bawat tauhan. Tama na yata ang magkaroon ng kaunting hugis ang personalidad at kaunting kulay kwento kahit mababaw at hilaw.

Ang pinakamaipipintas sa Four Sisters and a Wedding (na lagi namang pintas sa pelikulang Pinoy) ay ang kalabisan ng mga eksena. Kapag iyakan, kailangang lahat ay magbuhos ng sama ng loob at ilitanya ang lahat ng isyu kahit paulit-ulit nang nabanggit sa simula pa lamang ng sine. (Alam na ng lahat ang kahihiyan ni Teddy sa trabaho at ang samaan ng loob nina Bobby at Alex, gayunpaman ay paulit-ulit itong binabanggit na para bang sinisigurong hindi malilimutan ito ng manunuod.) Masyadong madrama ang atake sa komprontasyon at hindi na ito makatotohanan. Nasasayang tuloy ang pagkakataong makapag-iwan ng aral sa manunuod.  Gayundin naman ang istilo sa pagpapatawa—bukod sa masyadong OA at malapit nang maging corny, namuhunan pa sa pambihirang apelyidong “Bayag”.  Baka kung ginawang Santos o Cruz iyon sa halip na Bayag ay mawawala ang kalahati ng pagpapatawa.  Kung tutuusin ay di hamak na mas epektibo ang pagsingit ng mga bloopers sa huli dahil simple lamang ito at natural.

Ipinahiniwatig ng pelikula na ang bawat tao ay may sariling kakanyahan na dapat unawain at igalang. At sa loob ng isang ugnayan, tulad ng pamilya, ang mga pagkakaibang ito ay maaaring maging sanhi ng mga emosyonal na tunggalian at di pagkakasundo. Malakas ang mensahe ng pagtanggap at pagpapatawad sa kabila ng sakit at pagkukulang. Madalas mangyari sa magkakapatid ang inggitan, iringan at sumbatan pero sa huli, kailangang mangibabaw ang pagkakasundo, hindi lamang dahil magkadugo sila kundi dahil bilang mga tao sa loob ng isang mahigpit na ugnayan, ang paghihilom ay mangyayari lamang sa sandaling mangibabaw ang pagmamahal at pagpapatawaran. Sa kabila ng melodrama  nagawang ipakita ng pelikula ang komprontasyon ng pamilya hindi bilang tunggalian ng pagkatao kundi pakikipagtunggali sa sarili. Kahanga-hanga rin ang pagsusumikap ng magkakapatid naitaguyod ang pamilya sa kabila ng mga hinihinging sakripisyo. Muli, binibigyang diin ang halaga ng pamilya para sa mga Pinoy. Binigyang diin din ang kakayahang umahon sa pagkakamali at magsimula muli—na siyang nagagawa kapag natutong magpatawad sa mga pagkukulang. Sa kabilang banda,  may mga biro at sitwasyon na medyo maselan at di angkop sa mga bata kaya't mas nararapat ito sa mga manunuod na nasa hustong gulang.

World War Z

LEAD CAST: Brad Pitt, Mireille Enos, James Badge Dale, Matthew Fox,

DIRECTOR:Marc Forster  SCREENWRITER:Matthew Michael Carnahan, Drew Goddard, DamonLindelof  PRODUCER: Brad Pitt, Dede Gardner, Jeremy Kleiner, Ian Bryce  EDITOR: Roger Barton, Matt Chesse  MUSICAL DIRECTOR:  Marco Beltrami  GENRE: Drama, Action & Adventure, Horror, Science Fiction, Fantasy  CINEMATOGRAPHER: Ben Seresin  RUNNING TIME: 116 minutes  DISTRIBUTOR: Paramount Pictures  LOCATION: US, Malta, Budapest, Glasgow

Technical assessment: 4

Moral assessment: 3

MTRCB Rating: PG 13

CINEMA Rating:  V14

Gerry Lane (Brad Pitt) is a former United Nations employee who sacrifices to leave his family (wife and two daughters) to seek cure for the zombie pandemic.  He joins the mission and travels to South Korea and Israel to stop the world’s destruction and save humanity. The search leads the mission team to the World Health Organization (WHO) research center where vaccines to serve as camouflage of humanity against zombie attacks can be found.  The problem is, the zombies have also infested the center’s laboratories, compelling the WHO officials to lock up the entire premises for security reasons. But time is of the essence, and so, with the future of humanity in mind, Gerry takes a great risk no other person would.

World War Z is an adaptation of a novel entitled World War Z: An Oral History of the Zombie War by Max Brook.  For a film medium it presents a good plot and excellent computere generated special effects.  It is a spectacle movie that stirs the interest of young people who are very much into online zombie games.  The direction successfully combines drama in emotions and excitement in actions. The chase scenes may be a bit long but keep up to the thrills of this fiction film; there are also no usual gory zombie attacks that viewers with a queasy stomach may find offensive. Acting-wise, Pitt is at his best in this film.  His presence is powerful and viewers can readily relate to him as the epitome of a responsible man who is oozing with love and concern for the family, the world, and humanity.  Overall, the film is above average in all aspects of its technical work.

One distinct trait in the character of Gerry Lane is his calmness in facing crisis situations when everybody else is scared to death.  It is important to remain calm before we become victims of our own fear.  World War Z showcases a heroic effort by a man to save humanity from a pandemic attack. Amidst the massive crisis when he is compelled to embark on a delicate mission in the hope of saving humanity and his family, God blesses him with the courage and strength to focus on the task at hand.  There is grace in putting the benefit of the greater good before our personal concerns. Overall, the movie is rich in positive values manifested by the central character for viewers to reflect. However, in view of stressful scenes and the carnage resulting from the zombie attacks and military counter attacks, CINEMA believes the movie is not suitable for children.