Julie and Julia

Cast: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, Linda Emond, Helen Carey, Mary Lynn Rajskub; Director: Nora Ephron; Producers: Nora Ephron, Laurence Mark, Amy Robinson, Eric Steel; Screenwriters: Nora Ephron, Julie Powell; Music: Alexandre Desplat; Editor: Richard Marks; Genre: Comedy; Cinematography: Stephen Goldblatt; Distributor: Sony Pictures Entertainment; Location: New York, USA; Running Time: 123 mins.;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers 14 and above

The movie is based on two novels Julie Powell’s “Julie and Julia” and Julia Child’s “My Life in France”. It follows the struggles and triumphs of two women from two different eras. Both women are lost and searching to fill up the void in their lives. Julia Child (Meryl Streep) is a 1940s housewife to a sophisticated diplomat, Paul (Stanley Tucci). She is sweet and loving and very bored with her humdrum life. Eventually she finds her fulfillment after taking French cooking lessons in Cordon Bleu and proceeding to write the very first French cookbook in English. Meanwhile, 50years later, Julie Powell (Amy Adam) is about to turn 30 and feels she has done nothing significant in her life, save for working in an agency talking calls to comfort 9-11 survivors. With the encouragement of her husband Eric (Chris Messina), she decides to cook all of Julia Child’s 524 recipes in 365 days.

The movie is a sumptuous visual and emotional feast. Streep delivers a powerful and endearing portrayal of a 1940’s housewife struggling to make sense of her life. Nora Ephron perfectly combines two different lives at the crossroad of an emotional dilemma. The parallelism created is brilliant as two simple plots with two real characters digging deep within themselves to find the courage to transform and become the persons they were meant to be within the context of a successful marital relationship. The production design succeeds in shuttling the audience from the 1940s to 1990s seamlessly.

Julie and Julia pays tribute to marriage and the role of spouses. It presents a very positive view of marriage and value’s the support of the partner in one’s endeavors. The movie also talks about determination and self-reliance amidst the struggle, not only to be successful, but also to be useful and fulfilled. In times, when woman are working and deep into the corporate rat race, it is refreshing to see a movie where the husband does not criticize, compete or forbids the wife. Instead, the husbands in the movie are very supportive and encouraging. Since the subject matter of the movie discusses mature issues, it might not be suitable for very young children. There are some sexual reference and inappropriate language. Teenagers should be accompanied and guided by an adult when watching the film.

G-Force

Cast (Voice): Sam Rockwell, Jon Favreau, Nicolas Cage, Penelope Cruz, Steve Buscemi, Tracy Morgan; Director: Hoyt Yeatman; Producer: Jerry Bruckheimer; Screenwriters: Cormac Wibberley, Marianne Wibberley; Music: Trevor Rabin; Editor: Mark Goldblatt, Jason Hellman; Genre: Action. Adventure, Family, Fantasy; Cinematography: Bojan Bazelli; Distributor: Walt Disney Studious Motion Pictures; Location: Los Angeles, USA; Running Time: 88 min;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers of all ages

Veterinarians Ben (Zach Galifianakis) and Marcie (Kelli Garner) have in their laboratory a quartet of “genetically engineered” rodents—guinea pigs Darwin (voice of Sam Rockwell), Juarez (Penelope Cruz), and Blaster (Tracy Morgan); and a mole named Speckles (Nicolas Cage). They’re supposed to be an “elite” FBI team, the “G-Force”—and together with a fly with no speaking parts they are expected to bust the machinations of electronic magnate Saber (Bill Nighy). Saber is a power-tripping billionaire who wants to control the world through home appliances that transform into deadly computerized killers that when clumped together can further transmogrify into high-tech giants stomping on everything and everyone in sight. The G-Force team’s assignment is to squash this megalomaniac’s plot by getting into the heart of his computer network that controls the appliances.

The plot looks promising enough: guinea pigs versus coffeemakers, blenders, refrigerators, etc. Picture that: if all the gadgets you can plug into your home’s electrical circuit are programmed to attack you, what are your chances of being saved from doom by guinea pigs? Although they are “genetically engineered” to outsmart computer wizards, don’t we either just welcome rodents as mere caged pets or eradicate them as pests in our homes? For all its CGI sophistication G-Force comes across as a bland dish which needs much more chili and garlic than its spunkiest voice-performers Penelope Cruz and Nicolas Cage can provide. Lovers of furry little things that we are, we sort of expected some real original stuff that would finally win the world’s respect for these humble creatures—after all, rodents make up more than one-third of all living mammal species on earth. We hoped G-Force would make us ooh and aah, like Up, or Wall-E, but instead, we came out of the theatre thinking, “Yeah, they’re cute.” Period. And the human characters (Galifianakis, Gerner, Nighy) served as mere props—they might have appeared more alive had they been animated.

There is one important message that is in danger of being buried under all that madcap action, and that is: the value of believing in yourself. It’s articulated towards the end of the story, as something is revealed to the rodents that threatens to dampen their enthusiasm for their world-saving mission. Notice also that the mice outsmart men here, but not because they’re smarter than humans per se, but because this being a good-vs-evil story, the fight is between those who destroy and those who save others from destruction. Of course, those who save, win. Visually, young children will enjoy G-Force; thinking adults will benefit from it.

Fame

Cast: Naturi Naughton, Kay Panabaker, Megan Mullaly, Charles S. Dutton, Kelsey Grammer, Bebe Neuwirth and Debbie Allen ; Director: Kevin Tancharoen; Producers: Mark Canton, Gary Lucchesi, Tom Rosenberg, Richard S. Wright; Screenwriters: Allison Burnett, Christopher Gore; Music: Mark Isham; Editor: Myron L. Kerstein; Genre: Romance, Comedy, Musical; Cinematography: Scott Kevan; Distributor: Metro-Goldwyn-Mayer (MGM); Location: Los Angeles, USA; Running Time: 107 min.;

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

Fame is a remake of a 1980’s film of the same title. In is set in a New York performing arts school named Fiorello H. LaGuardia High School of Music & Art and Performing Arts where we see aspiring actors, singers and dancers from their auditions until their graduation four years later. Jenny (Kay Panabaker) wants to be an actress but is too uptight and shy to let go. Marco (Asher Book) is a carefree singer who falls in love with Jenny. Meanwhile Denise (Naturi Naughton) studies classical piano at her parents insistence when she longs to be a pop singer and Malik (Collins Pennie) hides from his mom that he is enrolled as an actor-rapper. Making sure that the students are well rounded is Principal Angela Simms (Debby Allen) and several other performing arts teacher who show the students how life and drama are intertwined.

There is no reason to produce a Fame remake other than to ride on the success of other musical films. The angst and struggle that made the 1980 version successful is no longer present in the 2009 version. While the characters and their issues are cleaner, the passion and brilliance are disappointing. A main problem is that it tries to present 10 different stories spanning four years in 107 minutes. So no one goes beyond being sketchy caricature stereotypes. The production design’s shoddiness is emphasized over time as none of the characters change appearance even though the plot spans four years. The musical numbers, though, are entertainingly good, showcasing the talents of the casts. Director Kevin Tachareon manages to bring energy to the scenes.

Fame challenges parental authority especially when what they want contradicts what their children feel should be done. No matter if parents only have their child’s welfare in mind. Although being assertive and determined to achieve something important and fulfilling is a laudable virtue, it should not be made at the expense of a strict or uncompromising parent who wishes only to ensure that their children are always on the right path. Fame questions fame itself. It presents success and popularity secondary to having Christ at the center and being fulfilled personally. Fame is not the product of discipline, perseverance and talent but a bonus to being accomplished as a person, as a member of society and as a child of God. Fame emphasizes being true to oneself and using this honesty to harness and unleash one’s creativity and talent. However, the movie contains scenes involving suicide, a sexual situation, underage drinking, bad language and compromising scenes and situations--definitely not suitable for very young audiences.

Beyond a Reasonable Doubt

Cast: Michael Douglas, Jesse Metcalfe; Director: Peter Hyams; Producers: Mark Damon, Limor Diamant, Mosche Diamant, Michael P. Flannigan, Ted Hartly, Peter Hyams; Screenwriters: Peter Hyams, Douglas Morrow; Music: David Shire; Editor: Jeff Gullo; Genre: Action, Drama; Cinematography: Peter Hyams; Distributor: Anchor Bay Entertainment; Location: USA; Running Time: 105 min.;

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Ambitious TV reporter and journalist C.J. Nicholas (Jesse Metcalfe) is doubtful of star district attorney Mark Hunter's way of putting criminals behind bars. C.J. is convinced that Hunter presents planted evidence through DNA results in cases reliant on circumstantial evidence in order to convict criminals and set outstanding record for his political ambitions. As C.J. aspires for a Pulitzer Prize, he frames himself for the murder of a prostitute to prove his convictions about Hunter. He records himself setting-up circumstantial evidence point to him until he is caught. He then waits for the perfect timing in court to catch Hunter in the act of presenting falsified evidence. But then Hunter turns out to be more ruthless than he thought so things do not turn out as planned.

The film is an inferior remake of a 50's film noir. The premise remains to be controversial and interesting but apparently flawed and quite stupid. Implicating one's self in a crime to prove a point is preposterous especially if what's at stake is just an ambitious and imaginary award like a Pulitzer for TV reporting. The first act is definitely dragging and boring and Tamblyn's role is nothing but functional until the end of second act. Douglas delivers well but appears over-the-top in the presence of amateurish Metcalfe. The film gets exciting though towards the climax but the display of other twists and turns is quite a disappointment and spoils the entire experience of viewers.

The film effectively portrays how one's ambitions could turn into corruption. One that is present even in the judicial system just for one’s personal interest and gain. Hunter's character is a clear manifestation of the flawed justice system. But Nicholas' selfish ambition does not make any difference. His interest is pure and noble at the onset and the journalistic method to find out the truth is commendable but it proves to be as cruel, if not more cruel than Hunter's. In the end, the audience is left with more questions and a stronger dismay of truth's relativity and elusiveness. Farrel's character, although functional, has remained consistently pure and loyal to truth and justice which eventually prevailed in the story. One very disturbing message though is the casual sexual intercourse between her and Nicholas which is obviously outside the confines of marriage. This and the film's entire theme and premise are fit only for audiences 18 years old and above.

The Ugly Truth

Cast: Katherine Heigl, Gerard Butler, ; Director: Robert Luketic; Producers: Kimberly di Bonaventura, Gary Lucchesi, Deborah Jelin Newmyer, Steven Reuther, Tom Rosenbeg, Kirsten Smith; Screenwriters: Nicole Eastman, Karen McCullah Lutz; Music: Aaron Zigman; Editor: Lisa Zeno Churgin; Genre: Romantic Comedy; Cinematography: Russell Carpenter; Distributor: Columbia Pictures; Location: Los Angeles, California; Running Time: 95 min.;

Technical Assessment: 2.5
Moral Assessment: 1.5
CINEMA Rating: For mature viewers 18 and above

Abby Ritcher (Katherine Heigl) is an award-winning producer of a morning show whose ratings are slowly dropping. Mike Chadway (Gerard Butler) is crude host of a late night talk show entitle the Ugly Truth. Abbey is a conservative control freak who can’t get a man to date her after their first dinner. Mike is a cynical chauvinist who thinks women try to hard when men are only after sex. After a heated argument on-air, Abbey and Mike are forcibly teamed up when he is hired by her boss to spice up the ratings of her program. As expected, the two clash at every occasion as Abby finds Mike vulgar and disgusting while Mike thinks Abby is uptight and domineering. However, Mike does spruce up the ratings, salvages the relationship of his married anchors and proves to make the right decision so Abby can get her neighbour Colin (Eric Winter) interested in her. Thing take another twist when both realize they have feelings for each other and share a passionate kiss. But the ugly truth is the relationship cannot work.

The ugly truth about The Ugly Truth is that is tries so hard to be original and funny but ends up being a poor deconstruction of When Harry Met Sally. The scenes rely on crude sex jokes for laughs and fail to elicit genuine tickles and brilliant comedy. The story is predictable and offers nothing new to keep the audience watching after the first 30 minutes. Romance does not surface with Heigl and Butler’s non-existent chemistry and their flat and unsympathetic performances. Even the hot air balloon chroma looks crude and old. The only thing memorable about the movie is the choices of contemporary music.

The movie tries to intellectualize men-women differences and relationships. It has hoped to say two important things. One, that no matter how cruel fate has been, there is always a window for happiness if one dares to jump into the moment. Two that a relationship can never be based on concepts and theories and that true love begins when one accepts the other for who she really is. However, all it achieves is to be a collection of offensive uncensored sex jokes and bad language. Not only has the movie trivialized man-women interaction and reduced relationship as an excused to be licentious, it also portrays men as shallow and insensitive primates. The movie is not suitable for young impressionable teenagers and a waste of time for the adults.

Nandito Ako..... Nagmamahal Sa'yo

Cast: Kris Bernal, Aljur Abrenica, Baron Geisler, Ana Capri, Julio Diaz, Lloyd Samartino, Valeen Montenegro; Director: Maryo J. delos Reyes; Screenwriter: Jake Tordesillas; Genre: Drama; Distributor: Regal Films; Location: Manila and Bohol; Running Time: 105 min.;

Technical Assessment: 2.5
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above

Si Tata (Aljur Abrenica) ay mag-isang pinalaki ng kanyang ina (Ana Capri) sa Quiapo. Dahil sa hirap ng kanilang buhay ay mapipilitan ang ina ni Tata na kumapit sa patalim nang lingid sa kanyang kaalaman. Masasangkot ito sa ilegal na bentahan ng droga at mapipilitan itakas ang pera bunsod ng malubhang karamdaman. Ang lahat ng ito ay hindi malalaman ni Tata hanggang marating nilang mag-ina ang Bohol, ang lugar ng kanyang hindi nakilalang ama. Ipapakilala si Tata sa kanyang ama (Lloyd Samartino) ngunit hindi siya nito agad na matatanggap lalo pa't mayroon na itong pamilya at ang nag-iisa niyang anak na si Prince (Baron Geisler) ay abala sa kanyang kasal. Nang malaman ni Prince ang tungkol kay Tata ay tatanggapin niya ito sa kundisyong magpapa-DNA test muna. Gayunpaman, magiging maayos naman ang pakitungo nila kay Tata. Ngunit makikilala ni Tata ang pakakasalan ni Prince na si Steph (Kris Bernal) at siya'y mabibighani dito. Sapagkat abala sa maraming bagay si Prince, maiiwan madalas si Steph kay Tata at silang dalawa'y magkakalapit. Dahil dito'y magsisimulang malito si Steph sa kanyang nararamdaman kay Prince at hindi nito malaman kung itutuloy pa niya ang pagpapakasal.

Bagama't kung tutuusin ay gasgas na ang kuwentong inihain ng pelikula, nagawa pa rin nitong bigyan ng bagong bihis ang lumang istorya sa pamamagitan ng paglalagay nito sa dalawang magkaibang lugar – ang magulo't masalimuot na Quiapo at ang matulain at payapang Bohol. Ito rin ang dalawang lugar na nag-uugnay sa dalawang pangunahing tauhan. Maganda ang mga kuha sa Bohol at talaga namang nakabibighani at mapapaibig ang sinumang makakapunta rito. Sayang nga lang at hindi gaanong napagyabong sa kuwento ang pag-iibigan ng dalawang pangunahing tauhan at hindi rin gaanong naging napakabigat ang tatsulok na pag-ibig dahil halata at pilit na ginawang bagay sina Tata at Steph at si Prince ay naging pawang panggulo lamang. Samakatuwid ay pawang wala naman talagang dapat pagpilian si Steph sa simulang-simula pa. Labas tuloy ay sadyang mahina ang kanyang karakter pagdating sa pamimili at pagdedesisyon. Kakatwa rin ang ilang mga linya na sa halip na lumabas na madrama ay nagiging katawa-tawa. Isang malaking kahinaan ng pelikula ang kalamlaman ng pag-arte ng dalawang panghunahing tauhan. Wala tuloy epekto ang daloy ng emosyon dahil hindi nila ito naipakita at naipadama ng maayos.

Dalisay ang kuwentong pag-ibig na ipinakita sa pelikula. Kitang pinahahalagahan nito ang pagkakabuklod ng pamilyang Pilipino, lehitimo man o hindi ang anak ay dapat bigyang ng pantay na suporta at pagmamahal. Nakatutuwang makita na bagama't lumaki sa isang magulong lugar na tulad ng Quaipo ay nagawang palakihin ng kanyang ina si Tata na may pananampalataya at takot sa Diyos. Si Steph naman na lumaki sa karangyaan ay pinalaking nanalig sa Diyos at mapagpakumbaba. Nakababahala nga lang ang ginawang pagkapit sa patalim ng ina ni Tata upang makapunta lamang sila ng Bohol at masiguro ang pagsuporta ng ama nito sa kanyang pag-aaral. Maaari naman itong unawin sa kadahilanang nauubusan na rin siya ng panahon dahil siya ay may karamdaman na. Yun nga lang, bakit sa bandang huli'y mas nagtagumpay pa rin ang masasamang loob sa halip na sila ay maparusahan? Bagama't kita sa mga mata ni Tata ang pagnanasa kay Steph sa unang araw pa lamang ng kanilang pagkikita ay pilit niyang pinigilan ito at hindi siya gumawa ng anumang hakbang na ikasisira ng kanilang pagkakaibigan at pati na rin sa relasyon niya sa kanyang kapatid sa ama. Marahil ay kapalaran na ang sadyang nagtutulak sa dalawa kung kaya't sila'y naging magkalapit at tunay nga namang mas karapat-dapat sila sa isa't-isa. Pinakita rin ang kabanalan ng sakramento ng kasal na hindi dapat ipinipilit ayon lamang sa kagustuhan ng ibang tao. Ang sakramentong ito ay iginagalang at dapat na pinagbubuhusan ng malalim na pagpapasya hanggang sa pinakahuling sandali.

Pandorum

ASSESSMENT ONLY
Cast: Dennis Quaid, Ben Foster, Cam Gigandet, Antje Traue; Director: Christrian Alvart; Producers: ; Screenwriter: Travis MIlloy; Music: Michl Britsch; Editor: Philipp Stahl, Yvonne VAldez; Genre: Science Fiction/Fantasy; Cinematography: Wedigo von Schultzendorff ; Distributor: Cinestar; Location: Berlin, Germany; Running Time: 110 min.;

Technical Assessment: 2
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

BRIEF FILM SYNOPSIS

It tells the terrifying story of two crew members stranded on a spacecraft who quickly realize they are not alone. Two astronauts awaken in a hyper-sleep chamber aboard a seemingly abandoned spacecraft. Its pitch black, they are disoriented, and the only sound is a low rumble and creak from the belly of the spacecraft. They can't remember anything – who are they, what is their mission? The only way out of the chamber is a dark and narrow airshaft. Corporal Bower (Foster), the younger of the two, crawls inside, while the other, Lt. Payton (Quaid), stays behind for guidance on a radio transmitter. As Bower ventures deeper and deeper into the ship, he begins to uncover a terrifying reality. Slowly the spacecraft's shocking and deadly secrets come unraveled, and the astronauts realize that the survival of mankind hinges on their actions.

Horsemen

Cast: Dennis Quaid, Ziyi Zhang, Lou Taylor Pucci, Clifton Collins, Patrick Fugit; Director: ; Producers: Michael Bay, Brad Fuller, Andrew Form; Screenwriter: Dave Callaham; Music: Jan A.P. Kaczmarek; Editor: Jim May, Todd E. Miller; Genre: Crime, Drama, Horror, Mystery, Thriller; Cinematography: Eric Broms; Distributor: Lions Gate Films; Location: USA; Running Time: 110 min.;

Technical Assessment: 2
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Aiden Breslin (Dennis Quaid) is a workaholic detective who specializes in forensic dentistry. He buries himself in his work in order to fill in the void left by the death of his wife after she lost her battle with cancer. In the process, Breslin has become an uncaring and detached father to his two sons and is more concerned with the mystery behind a series of killings rooted in the Biblical Prophesy of the Four Horsemen of the Apocalypse. As he is lead from one murder to another and draws closer to solving the puzzle, he realizes the shocking connection between himself, the four cases and the family he has abandoned.

HORSEMEN begins with a story about four psychologically imbalanced people impersonating the symbols of death and destruction in Revelations and ends to become a frustrating mellow drama about the victims of social indifference and parental desertion. The director’s attempt to force feed the message to his audience turns to be a muddled series of carnage scenes and lecture about not neglecting our loved ones. The camerawork is not tight enough to deliver effective tension filled moments. The post production works are decent but not outstanding. And for a mystery-thriller, it fails to achieve that “edge of your seat” experience for the audience.

Is work priority over family? The obvious and expected answer is “no”, however, there are instances when this is easier said than done. In these times, when most families have both parents working to support the needs of their children, it is almost easy to rationalize that the time spend away from the home is actually time sacrifice to build the home. But is it really worth it? The movie reminds us that parents need to care for their children physically and emotionally. Nothing can ever replace the time one spends with them to share memories, lessons and experiences. However, this message is drown in the series of senseless killings, gruesome violence, offensive scenes and language.

Yaya & Angelina; The Spoiled Brat Movie

Cast: Ogie Alcasid, Michael V., Iza Calzado, Aiko Melendez, Jomari Yllana, Leo Martinez, Roxanne Guinoo, Sheena Halili, Victor Aliwalas; Director: Mike Tuviera; Producers: Jose Mari Abacan, Ogie Alcasid, Mike Tuviera, Michael V.; Screenwriters: Ogie Alcasid, Michael V., Uro Q. dela Cruz; Genre: Comedy; Distributor: GMA Films; Location: Manila; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Bagama't may angking talino ay labis naman ang kapilyahan ni Angelina (Ogie Alcacid) kung kaya't walang tumatagal ditong yaya. Matapos ang pagkuha ng ilang mga yaya para kay Angelina, tanging si Yaya Rosalinda (Michael V.) lamang ang makakatagal sa kakulitan ng alaga. Sa umpisa'y maayos ang pakikisama ni Angelina kay Yaya Rosalinda, ngunit hindi magtatagal ay magiging sunod-sunod na rin ang kapilyahang gagawin nito sa yaya hanggang sa dumating ang araw na mapilitan rin ang mga magulang ni Angelina na palayasin si Yaya Rosalinda. Ngunit isang araw ay kakailanganin ni Angelina ang tulong ng yaya nang ito ay makidnap ng mga teroristang gustong patayin ang bibisitang Dukesa ng Wellington. Makaligtas kaya sila at magkaayos pa kaya silang dalawa?

Kahanga-hanga ang talino ng dalawang pangunahing tauhan na sina Michael V. at Ogie Alcacid na mga mismong nakaisip ng karakter ni Yaya at Angelina. Mula sa mumunting mga kuwentong mag-yaya na sumikat sa telebisyon ay nagawang pelikula na ang kanilang mga likhang tauhan. Nakakaaliw silang makita sa sinehan lalo pa't kilala na ang kanilang tambalan. Maayos at manlinaw ang kuha ng kamera at mahusay maging ang pagkakaganap ng mga pangalawang tauhan. May mga mangilan-ngilan ding nakakatawang eksena. Ngunit pawang nasayang ang pelikula dahil hindi nito napalawig ang kuwento at relasyon ng mag-yaya. Tulad sa palabas sa telebisyon, nanatili itong mababaw na walang hinangad kundi ang magpatawa. Hindi naghangad man lang ang pelikula na maglahad ng mas malalim at mas makabuluhang kuwento maliban sa pagpapatawa. Marami pa sanang pwedeng gawin sa kuwento ngunit nakuntento na lamang silang manatili sa manipis na hibla ng kwentong mag-yaya.

Bagama't lumaking spoiled brat at may kapilyahan, kitang dalisay naman ang puso ni Angelina. May taglay man siyang kakulitan, hindi naman niya sinasadya ang mga nagagawang pananakit. May ilang eksena nga lang na nakakababahala tulad ng mga pagsabog at pananadyang pananakot at pagpapahiya sa kanyang mga yaya. Hindi ito dapat tularan ng mga bata at dapat silang magabayan sa panonood. Higit na kahanga-hanga si Yaya Rosalinda na nanatili ang malasakit sa- alaga sa kabila ng kakulitan at kapilyahan nito. Hindi sumusuko si Yaya Rosalinda sa alaga kahit pa hindi niya ito kadugo. Bagay na mahirap hanapin sa mga kasambahay at yaya sa kasalukuyang panahon. Ang nabuong relasyon sa mag-yaya ay dapat magsilbing halimbawa na wala sa dugo ang pagmamahal at pagmamalasakit, bagkus ito ay kusang tumutubo basta't mayroon pagmamahal at mahabang pang-unawa ang mga higit na nakakatanda. Hindi rin magtatagumpay kailanman ang kasamaan sa kabutihan. Kahit pa walang armas, ay nagawa nila Yaya at Angelina na labanan ang mga armadong terorista sa masama nitong binabalak.

Whiteout

Cast: Kate Beckinsale, Gabriel Macht, Tom Skerritt; Director: Dominic Sena; Producers: Susan ; Screenwriters: Jon Hoeber, Erich Hoeber, Chad Hayes, Carey W. Hayes; Music: John Frizzell; Genre: Horror/ Suspense; Distributor: Warner Bros.; Location: Antartica; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

US Marshall Carrie Stetco Kate Beckinsale) arrives in Antarctica for her assignment to investigate a dead body of a geologist that is found on the ice. Giving her moral support to fulfill the mission is Dr John Fury (Tom Skerritt), her friend in the area. Soon after she arrives at the conclusion on the crime of murder that causes the dead body, she realizes that the murderer is on the loose and also after her life because of her responsibility to the case. Being used to the situation as a law enforcer, Carrie is determined to pursue the investigation and to pin down the killer especially with the discovery of series of killing in Antarctica. In the course of her ordeal, she meets UN Consultant, Robert Pryce (Gabriel Macht) who is equally interested in the case of the murdered geologist. Eventually, both of them become the target of the mysterious killer.

Whiteout is a treat of scenic view of snowy Antarctica. The cinematography is so good with appropriate lighting and compliments of sounds and musical score. However, if the abovementioned aspects of the film are commendable, the overall story is a dismal. The plot is poorly developed with hardly notice of denouement. There is high frequency of unnecessary or prolonged scenes like exposure of dead bodies, intense violent killings, chasing scenes in snow storms, and even the amputation of fingers. The film was concluded with the discovery of a surprise killer and likely with the viewer's question 'how could that be?

The film shows that a responsible officer tasked to do a mission must have the focus and the commitment to fulfill her duty in all circumstances. For a film to feature a woman in her strength at par with man is a positive notion. However, density of senseless killings and casual exposures of dead bodies that is rampant during the entire run of the film have overtaken the reference to a strong woman. Instead, it shows how a doctor who is supposed to save lives can manipulate a crime, disregard trust in friendship, and make up stories in exchange of wealth. Dead human bodies are not respected rather used for crime (i.e keeper of diamonds or precious stones) if not totally ignored.

Sorority Row

Cast: Briana Evigan, Leah Pipes, Rumer Willis, Jamie Chung, Margo Harshman, Audrina Patridge, Caroline D’Amore, Carrie Fisher; Director: Stewart Hendler; Producers: Darrin Holender, Mike Karz; Screenwriters: Josh Stolberg, Pete Goldfinger; Music: Lucian Piane; Editor: Elliot Greenberg; Genre: Horror/ Thriller; Cinematography: Ken Seng; Distributor: Summit Enter; Location: USA; Running Time: 100 min.;

Technical Assessment: 2
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Theta Pi is a sorority house run by Mrs. Crenshaw (Carrie Fisher) where the girls led by Jessica (Leah Pipes) often hold wild parties. When Megan (Audrina Patridge) discovers her boyfriend Garret (Matt O”leary) cheating on her, she decides break off and exact revenge with the help of her sisters. So during their sorority’s Pledge Week, Megan connives with her sisters to pull a prank on Garret. They convince him to drug Megan so he can freely bed her and later on Megan would pretend die from overdose. Unfortunately, Garret believes he has really killed Megan and proceeds to impale her with a tire iron. The shocked and panicked sisters are convinced by Jessica to pretend Megan went missing at the party and lead the girls to dump the body and swear them to secrecy. Eight months later during their graduation party, the sisters receive text messages from Megan’s cell phone. Soon after, a hooded tire-iron-wielding slasher in graduation gown brutally kills all those involved in the cover up one after the other.

As in any slasher film, Sorority Row, a bad remake of House on Sorority Row, features semi-clad big-chested girls engaged in wild parties and bad company running stupidly from an amazingly clever killer who can single handedly slaughter dozens of people one after the other. There are bright moments when the film tries to break of from its formula, particularly the witty one-liners and sense of humor, making the viewers sympathize with the characters and actually care for their safety. Other than this, the movie is nothing more than a bloody body count and how many creative scenes the director can use for each murder. The plot development and the revelation of the killer is disappointingly brainless, the performances are shallow and the creative direction is mediocre.

Ironically, SORORITY ROW’s Theta Pi emphasizes trust, respect, honor, secrecy and solidarity as its core values. Values which in reality are merely lip service to protect themselves. The characters do not even care to look after a friend - so much so for sisterhood. At the end, secrecy is the only value that counts to cover up for a crime. The characters are ill-mannered, promiscuous and rude.

The movie contains gratuitous nudity, gore and violence, rough and vulgar language and absolutely no redeeming quality to be worth anyone’s time and money.

In My Life

Cast: Vilma Santos, Luis Manzano, John Lloyd Cruz, Dimples Romana, Paw Diaz; Director: Olivia M. Lamasan; Producer: Charo Santos; Screenwriters: Olive Lamasan, Raymond Lee, Senedy Que; Genre: Drama; Distributor: Star Cine Production; Location: Manila/ New York; Running Time: 120 min.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

Si Shirley (Vilma Santos) ay isang tumatandang public school librarian na matagal nang hiwalay sa asawa at mag-isang itinaguyod ang tatlong anak. Nang pinipilit siya ng kanyang anak na si Dang (Dimples Romana) na ibenta ang compound dahil balak nitong mag-migrate sa ibang bansa kasama ang buong pamilya, labis siyang nagdamdam. Kaya't nagdesisyon si Shirley na puntahan ang anak niyang si Mark (Luis Manzano) na nasa New York para magbakasyon. Sa pag-aakalang wala nang babalikan sa Pilipinas, susubukan ni Shirley na magsimula ng panibagong buhay doon. Dahil dito'y mapipilitan si Shirley na makipisan sa anak na may kinakasamang boyfriend na si Noel (John Lloyd Cruz). Bagama't pawang tanggap ni Shirley ang pagiging bakla ng anak, hindi niya gaanong matanggap si Noel. Subalit dahil parating abala sa trabaho si Mark, si Noel ang parating maiiwang tumingin at mag-asikaso kay Shirley. Magkaayos kaya silang dalawa at mahanap kaya ni Shirley ang panibagong buhay sa New York sa gitna ng lumalala niyang relasyon sa mga anak?

Matino ang produksiyon ng In My Life at naging mas makinang dahil karamihan sa mga eksena ay kinunan pa sa New York. Halatang pinagbuhusan ng talino't galing ang kabuuan ng pelikula. Hindi matatawaran ang husay ni Vilma Santos sa pagganap at hindi rin nagpahuli dito si John Lloyd Cruz. Si Luis Manzano na bagama't hindi pa kasinghusay ay nagawa naman nang maayos ang kanyang karakter. Nakababahala lang na pawang hindi gaanong nagamit ang kalugaran ng kuwento na halos naging palamuti lang. Ang mga kuwentong nakakabit sa New York ay hindi naman talaga nagpaiting sa tunay na kuwento ng pelikula. Sa madaling salita, kahit ilipat ang kuwento sa ibang kalugaran ay hindi pa rin magbabago ang takbo nito. Ang naging resulta tuloy ay napakaraming maliliit na kuwentong nakasanga sa pinakapuso ng pelikula na sa halip na makatulong sa pagpapayabong ng istorya ay nagpapaligaw sa nais nitong patunguhan. Naging pilit tuloy ang ilang eksena kung ikukumpara sa kabuuan. Salamat na lamang sa napakahusay na pagganap ng mga tauhan, sa malinis na sinematograpiya, sa magandang komposisyon ng mga eksena kaya't maituturing pa ring kaaya-aya ang In My Life.

Kahanga-hanga ang tauhan na si Shirley. Bagama't marami siyang pagkukulang at talaga namang hindi perpekto, nagawa naman niyang isakripisyo ang sariling kaligayahan alang-alang sa kinabukasan ng mga anak. Naging mahigpit at malupit man siya paminsan-minsan, ang mga ito'y hindi naman niya sinasadya. At sa bandang huli'y natuto siyang umamin sa mga pagkakamali at namayani pa rin ang pagmamahal at pagpapatawad. Marami nga lang nakakabahalang moral sa pelikula tulad ng relasyong homosekswal na nagsasama ang dalawang lalaki na pawang mag-asawa. Ipinakitang ito'y katanggap-tanggap at wala ni ano mang sinabi sa kuwento na ang ganitong relasyon ay hindi tama. Halatang nag-ingat din ang pelikula na huwag gawing sobrang lantaran ang mga eksena ng lambingan sa pagitan ng dalawang lalaki na naging maganda naman ang kinalabasan. Talamak din sa Amerika ang pagkapit sa patalim ng ating mga kababayan na nagpapakasal para lamang maging US citizen at makapagtrabaho doon ng legal. Hindi naman sinasabi ng pelikula na ito ay tama, ngunit sadyang ito ang natatanging paraan upang maging maayos ang kalagayan ng ilang Pilipinong naninirahan doon ng walang papel o illegal. Sa kuwento ng pelikula, nagamit ang aspetong ito upang makatulong kay Noel at upang gumaan din ang pakiramdam ni Shirley. Lalo tuloy naging nakababahala na naging katanggap-tanggap na talaga ang “marriage for convenience” sa ating mga kababayan. Higit pa rito'y kung paanong nagkakawatak-watak ang isang pamilya sa pagnanais ng mas malaking kita sa pangingibang-bayan. Dahil sa mga aspetong ito ay nararapat lamang ang pelikula sa mga manonood na may edad 14 pataas.

Manghuhula

Cast: Eula Valdez, Glaiza de Castro, Emilio Garcia, Chanda Romero, Pinky Amador, Bella Flores, Adreinne Babiera; Director: Paolo Herras; Producers: Marc Licaros, Joseph David Santos; Screenwriters: Paolo Herras, Marlon Rivera; Music: Isha; Editor: Dempster Samarista; Genre: Drama; Cinematography: Rodolfo Aves, Jr., Marissa Floirendo Distributor: Alessandro Productions; Location: Manila; Running Time: 105 min.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

Si Messina (Eula Valdez) ay nagmula sa pamilya ng manghuhula. Kilalang manghuhula ang kanyang ina (Chanda Romero) sa kanilang lugar na kung saan panghuhula ang pangunahing ikinabubuhay ng mga tao. Tinakasan ni Messina ang kanilang lugar dahil binansagan siyang salot nang minsang mahulaan niya ang isang kamatayan at ito ay nagkatotoo. Iniwan niya ang kanyang anak na si Claire (Glaiza de Castro) dahil hindi niya ito maisama. Magbabalik si Messina sa kanilang lugar nang malaman niya na namatay ang kanyang ina sa hindi pa alam na kadahilanan. Kasabay ng pag-aalam ni Messina ng dahilan ng kamatayan ng kanyang ina ay pilit naman niyang itatakas si Claire sa mundo ng panghuhula na kanilang kinagisnan. Ngunit hindi sila papayagan ng sindikato ni Jacob (Emilio Garcia) na siyang nagpapatakbo sa negosyo ng panghuhula. Marami raw iniwang utang ang ina ni Messina at dapat itong pagbayaran ni Claire sa pamamagitan rin ng panghuhula. Magawa pa kayang itakas ni Messina si Claire gayong nahumaling na rin ito sa mundo ng panghuhula?

Isang naiibang kuwento ang pelikula na tumatalakay sa isang mundong bihira o hindi pa masyadong alam ng nakararami. Hindi pangkaraniwan ang paksang nais talakayin ng Ang Manghuhula kung kaya't sa kabuuan ng pelikula'y mas maraming tanong kaysa sagot ang mananatili sa isip ng manonood. Palaisipan kung paanong naging isang sindikato ang dapat sana'y di pangkaraniwang kakayahan ng panghuhula na hindi pa rin batid kung biyaya o sumpa. Hindi gaanong malinaw ang takbo ng kuwento at hindi rin malinaw kung saan ito patutungo. Hanggang sa huli'y hindi masabi kung narating ba ng pelikula ang nais nitong marating. Mahusay naman ang mga nagsiganap sa pangunguna ni Valdez ngunit pawang maraming butas at kulang sa pelikula na hindi napunan ng husay ng mga tauhan. Bagama't maliwanag ang nais makuha ng pangunahing tauhan, hindi naman malinaw kung ano ba talaga ang problema at ang ugat na pinanggagalingan nito. Sayang at pawang maraming nais sabihin ang pelikula ngunit nanatili ang lahat sa isipan ng may likha nito at hindi nagamit ang biswal na midyum ng pelikula.

Maituturing nga bang biyaya o sumpa ang kakayahang malaman ang hinaharap? Maliwanag ang turo ng simbahan ukol dito na bagama't sa simula pa lamang ng kasaysayan ay may mga propeta nang nagpapahayag ng hinaharap, hindi pa rin nararapat isa-alang-alang ng tao ang kanyang buhay sa manghuhula. Ang gawin itong isang negosyo ay mas higit na masama lalo pa't nauuwi ito sa panloloko. Ito naman ay naipakita ng pelikula at hindi nito kinukunsinte ang mga maling gawa. Nakakabahala nga lang kung paanong ituring ng anak na si Claire ang kanyang ina na halos pawang wala na siyang paggalang dito. Nakakalito rin kung paano at bakit pilit na inaako ni Claire ang papel ng isang manghuhula gayong alam naman niya ang kapahamakang idudulot nito sa kanya. Ang pinakanakakabahala sa lahat ay kung paanong binigyang kapangyarihan ng pelikula ang mga barahang gamit sa panghuhula na halos maging instrumento ito ng kaguluhan at patayan sa kanilang lugar. Nakakabahala rin ang madalas na pagpapakita ng mga imahe at santo na simbolo ng pananampalatayang katoliko na pawang nais ipahiwatig ang pagiging paganong Katoliko ng mga Plilipino. Dahil sa mabigat nitong tema, nararapat lamang ang pelikula sa mga manonood na may edad 14 pataas.

I Love You Beth Cooper

Cast: Hayden Panettiere, Paul Rust, Jack T. Carpenter, Lauren London, Alan Ruck, Cynthia Stevenson; Director: Chris Columbus; Producers: Chris Columbus, Mark Radcliffe, Michael Barnathan; Screenwriter: Larry Doyle; Music: Christophe Beck; Editor: Peter Honess; Genre: Romantic Comedy; Cinematography: Phil Abraham; Distributor: 20th Century Fox; Location: USA; Running Time: 102 min.;

Technical Assessment: 2
Moral Assessment: 2
CINEMA Rating: For viewers 14 and above

Denis Cooverman (Paul Rust) is graduating from high school and he delivers his valedictory speech. Unfortunately, he uses this oration to profess his secret love for head cheerleader Beth Cooper (Hayden Panettiere). His confession as well as other things he says does not sit well with Beth’s cocaine-sniffing ROTC boyfriend Kevin (Shawn Roberts). Meanwhile, charmed and flattered Beth decides to attend Denis’ party, together with friends Cammy and Treece, and gives him the night of his life. Denis and Rich, the only other guest of the party, try hard to entertain the girls but end up running away from a vindictive Kevin. On the run, Denis discovers that Beth isn’t the girl he thought she was.

On the one hand, I Love You Beth Cooper includes a strong and charming cast who embodies high school’s hormones quite well. There is some believable chemistry between he leads and support that you can almost sympathize with their sentiments and motives. Almost... because it gets there but never moves any further. On the other hand, the movie is flat and tedious. The script is senseless and fails to get the right tone and struggles between being gross comedy and sugary sweet teen romance. The scenes are tedious and boring and develops poorly.

I Love You Beth Cooper starts off as another teen-inspired romance but dangerously moves to show freewheeling sexual attitudes and choices that even adults will be repulsed. The line of morality seems to have shifted too far as characters ignore values and engage in offensive behaviours, willingly, Even parents of the characters cannot be role models. The heroes of the movie get drunk, trivialize drug addiction, engage in pre-marital sex, “threesomes”, nudity (though shot off screen), homosexuality, violence and bad behaviours. The theme of teen romance is overshadowed by toilet humor and sex jokes. Language is vulgar and crass. The movie is not worth one’s hard earned money and time.

Management

ASSESSMENT ONLY
Cast: Jennifer Aniston, Steve Zahn, Woody Harrelson, Fred Ward,Margo Martindale; Director: Stephen Belber; Producers: Sidney Kimmel, Wyck Godfrey, Marty Bowen; Screenwriter: Stephen Belber; Music: Michael Dana, Rob Simonsen; Editor: Kate Sanford; Genre: Romantic Comedy; Cinematography: Eric Allan Edwards; Distributor: Samuel Goldwyn Company, The; Location: USA; Running Time: 94 min.;

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above


BRIEF FILM SYNOPSIS

The often silly, always likable actor plays Mike Cranshaw (Steve Zahn), a man with little ambition but lots of heart who works at his parents' motel in small-town Arizona. When paint-saleswoman Sue Claussen (Jennifer Aniston) stops at the inn, Mike immediately plots an awkward plan to seduce her. Things go better than either of them would have guessed, but Sue still leaves for her home in Maryland. Mike impulsively follows her east, beginning an uncomfortable but heartfelt courtship that takes the road less traveled. Sue's move from Maryland to Washington does little to deter Mike, but the reappearance of her ex-boyfriend, ex-punk Jango (Woody Harrelson), could throw him off course. Mike commits acts bordering on criminal in his cross-country pursuit of Sue, but thanks to Zahn's 'performance, it's hard not to feel devoted to his character and to understand Sue’s (reluctant) attraction.

Final Destination 4

Cast: Bobby Campo, Shantel VanSanten, Nick Zano, Mykelti Williamson, Krista Allen; Director: David R. Ellis; Producers: Craig Perry, Warren Zide; Screenwriters: Eric Bress, Jeffrey Reddick; Music: Brian Tyler; Editor: Mark Stevens; Genre: Suspense/ Thriller; Cinematography: Glen MacPherson; Distributor: Warner Bros. Pictures; Location: USA; Running Time: 90 min.;

Technical Assessment: 3
Moral Assessment: 1.5
CINEMA Rating: For mature viewers 18 and above

Friends Nick (Bobby), Lori (Shantel), Hunt (Nick), and Janet (Haley) are part of the audience having fun watching the car race when Nick suddenly has a detailed premonition of car crashes causing impact to collapse the stadium and killed many people including them. Not soon after he convinces his friends to leave the place, the fatal accident happens as Nick sees it. This incident is followed by more premonitions of gruesome deaths that eventually happens and kills people one after another including those known to him. Having the opportunity to foresee these unlikely events, Nick tries his best effort with the help of his friends and feels the responsibility to prevent and save the lives of the people concern and even himself.

Final Destination 4 has a straight forward plot that has arranged sequence of deaths by familiarity to the one having the premonitions. The viewers keep up to the end of the film to get an answer to questions on their minds whether the lead character will also die and how. The special effects, sounds, make-up and production design are main ingredients that are successfully put together to provide the details of the gruesome death circumstances. However, the film has the tendency to exaggerate and overdo with many blasting scenes. Lead and supporting actors gave their good portrayals and gave justice to their roles.

Death is definite but as to when and how is not known until it happens. The film, however says whilst it is indeed the final destination, circumstances of death can be known through a premonition and a person concern can try to prevent. Unfortunately, the premonition in this film only foresees gruesome and violent ones which give liberty to the wild idea of a filmmaker to project senseless killings of people in dehumanizing manner and devaluing life. Whilst there was effort to protect life, but this was outdone by details of brutal killings shown in the entire run of the film. Overall, the movie promotes a culture of death rather than nurturing life as a primary value that will be a key to a so-called peaceful and happy death especially to Christian believers.

Year One

Cast: Jack Black, Michael Cera, David Cross, Christopher Mintz-Plasse, Olivia Wilde; Director: Harold Ramis; Producers: Judd Apatow, Clayton Townsend; Screenwriters: Harold Ramis, Gene Stupnitsky; Music: Theodore Shapiro; Editor: Craig Herring, Steve Welch; Genre: Comedy; Cinematography: Alar Kivilo; Distributor: Sony Pictures Entertainment; Location: USA; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 1
CINEMA Rating: For mature viewers 18 and above

Caveman Zed (Jack Black) is his tribe’s greatest liability. He is banished from his community when he decides to prove his love for Maya and eat the forbidden fruit from the Tree of Knowledge. As he leaves his tribe, he is joined by the effeminate fruit gatherer Oh (Michael Cera) who secretly hates his role and wishes to start a new life with Eema (Juno Temple).They trek to the mountains and intertwine their presence with Biblical stories of Genesis amidst a more advance and progressive society. Zed and Oh meet the squabbling Cain (David Cross) and Abel (Paul Rudd) and witness the murder of the latter. They discover the girls they wanted to sleep with have been sold to slavery and devised a plan to save them. However, they end up being sold by Cain into slavery and are force to march across the desert with the Roman soldiers with funny accents. They escape the Roman soldiers and end up a few seconds before Abraham (Hank Azaria) sacrifices Isaac (Christopher Mintz-Plasse). After they successfully stop Abraham from killing his own son, they are taken with him and introduced to the Hebrew culture of circumcision. Naturally, several scenes are devoted to build on jokes and poke fun at the tradition. Zed, now believing that God has chosen him for a special task, travel to the City of Sodom where they meet Cain once more and a Sodomite priest has taken a liking to Oh. Is Zed really the chosen one and will they be able to save Maya and Eema from slavery?

Year One is an attempt to spoof the stories of Genesis without the historical accuracy or the literary aptitude. Why a cave-dwelling society will coexist with the Roman Empire is completely ridiculous. The writers seem to just have leafed through Genesis with a lot of crude jokes and language in mind for a movie. Black is as annoying as he is in every other one of his movies and fails to immerse himself into the supposed character. Cera is as bland as he is in every other one of his movies and fails to be more than a guy in costume. Because this is a comedy, we can overlook the inaccuracies of the plot. But the confusion and weakness of its development is unforgivable. On the other hand, the technical aspect is satisfactory and the production almost impressive. However, these cannot make up for the shortcomings of the narrative.

It is very uncomfortable to watch a spoof of the Bible; worse that the spoof is laden with crude language, sexual references and toilet humor. Not that Christians are prude cannot take a joke but there are certain things that deserve reverence even if one wishes to poke fun at it. Year One could have chosen a different treatment and achieved a better product instead of taking the shortcut with its low-brow comedy. The ending of the movie tries to argue about one’s destiny and role in God’s master plan. It emphasizes that each one, at the end of the day, is the captains of their own lives because God has given them freewill to decide and choose. However, devoting a few last scenes to suddenly moralize several insensitive and repulsive scenes will not be enough for a movie to deserve an audience. At least an audience with enough decency to choose what is good for their children and even their own entertainment.

Kimmy Dora

Cast: Eugene Domingo, Dindong Dantes, Zanjoe Marudo, Baron Geisler, Meriam Quiambao, Ariel Ureta; Director: Joyce Bernal; Producers: Piolo Pascual; Screenwriter: Chris Martinez; Music: Brian Cua; Editor: Vanessa de Leon; Genre: Comedy; Cinematography: Shayne Clamente; Distributor: Spring Films; Location: Manila; Running Time: 105 min.;

Technical Assessment: 4
Moral Assessment: 4
CINEMA Rating: For viewers 14 and above

Kahit na kambal sina Kimmy at Dora (Eugene Domingo) ay labis na magkaiba ang kanilang personalidad at ugali. Matalino ngunit mapagmataaas at magaspang ang ugali ni Kimmy. Siya ang naatasang mamamahala sa malaking negosyo ng kanilang pamilya Go Dong Hae. Bagama't mahina ang utak at isip-bata, mapagmahal at mapagkumbaba naman si Dora na laging inaapi ni Kimmy ngunit minamahal naman ng labis ng kanilang ama (Ariel Ureta). Nariyan ding ang lalaking gusto ni Kimmy (Dingdong Dantes) ay mas gusto si Dora. Kaya't nang malaman ni Kimmy na mas malaki ang iiwanang pamana kay Dora, labis na lang ang pagdaramdam at sama ng loob nito. Aakalain naman ng kanyang tauhan (Baron Geisler) na nais niyang ipapatay at ipakidnap si Dora. Ngunit dahil sa isang kalituhan, si Kimmy ang makikidnap at mapipilitan si Dora na magpanggap bilang Kimmy upang hindi maapektuhan ang kanilang ama at mapangalagan din ang kapakanan ng kanilang negosyo. Saan kaya hahantong ang palitang ito nina Kimmy at Dora?

Isang tunay na nakakaaliw na pelikula ang Kimmy Dora. Naiiba ang kuwento at talaga namang angat ang uri ng komedya nito. Tama ang timpla ng bawat elemento. Mahusay ang pagkakahabi ng kuwento na hindi lamang basta nakakaaliw kundi may lalim rin. Maganda ang kuha ng kamera at mahusay ang editing. Napakahusay ng pelikula sa kabuuan kaya't nararapat lamang bigyang papuri ang lahat ng nasa likod ng pelikulang ito lalo na ang direktor. Ngunit kung may natatanging yaman ang pelikula, yan ay ang pangunahing tauhan nito na si Eugene Domingo. Tanging siya lamang sa hanay ng mga komedyante ngayon ang makakapag-bigay katarungan sa tauhan nina Kimmy at Dora na bukod sa dual role na ay kinailangan pang magpanggap at magpalit bilang isa't-isa. Hindi magiging matagumpay ang kabuuan ng pelikula kundi dahil sa husay at talino ni Domingo.

Paano nga bang nagiging magkaiba ang pagkatao ng kambal? Sa kabila ng magkalapit at halos parehong itsura, parehas na mga magulang at parehas na pagpapalaki ay nagiging magkaiba pa rin ang dalawa sa bandang huli. Kung anong buti ng ugali ni Dora ay siya namang sama ni Kimmy. Naipakita naman ng pelikula na ang pag-uugaling ito ay may malalim na pinanggagalingan at wala naman talagang taong likas na masama. Kapuri-puri ang pagkatao ng kanilang ama na walang kinikilingan sa dalawa. Alam lamang niya na mas kinakailangan ni Dora ng pagkalinga kung kaya't mas malaki ang oras at atensiyon ang ibinibigay niya dito habang si Kimmy naman ay may sapat na kakayanan upang alagaan ang sarili. Sa kabila pa rin nito'y labis pa rin ang pagmamahal niya dito. Hindi nga lang ito naramdaman ni Kimmy sa simula kung kaya't inakala niyang siya'y hindi minamahal. Naging salat tuloy sa pagmamahal si Kimmy at nauwi sa galit ang inggit sa kapatid. Sa bandang huli nama'y natutunan parehas nila Kimmy at Dora ang halaga ng bawat isa at namayani pa rin ang pagmamahal sa pagitan ng magkapatid. Pagkatapos ng lahat ng unos sa magkapatid ay hindi pa rin maitatanngi na iisa ang dugong nananalaytay sa kanilang ugat at hindi nila matatakasan ang natatanging dahilan ng kanilang pagkatao – pag-ibig. Bagama't kapuri-puri ang aral ng pelikula ay hindi pa rin ito angkop sa mga batang manonood dahil sa tema nito na may ilang eksena ng krimen, karahasan, at mangilan-ngilang sekswalidad, kung kaya't nararapat lamang ang pelikula sa mga may edad 14 pataas.

Land of the Lost

"ASSESSMENT ONLY"
Cast: Will Ferrell, Danny McBride, Anna Friel, Jorma Taccone; Director: Brad Silberling; Producers: Jimmy Miller and Sid & Marty Krofft; Screenwriter: Chris Martinez; Music: Michael Giacchino; Editor: Peter Teschner; Genre: Comedy/ Fantasy; Cinematography: Dion Beebe; Distributor: Universal Studios; Location: USA; Running Time: 93 min.;

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above


BRIEF FILM SYNOPSIS

On his latest expedition, Dr. Rick Marchall is sucked into a space-time vortex alongside his research assistant and a redneck survivalist. In this alternate universe, the trio make friends with a primate named Chaka, their only ally in a world full of dinosaurs and other fantastic creatures.


OUTSTANDING FEATURES OF THE FILM:

ADDITIONAL REMARKS: May be intended for children but there are sexual insinuations for adults.

Up

Cast (Voice): Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson, Delroy Lindo, Jerome Ranft; Directors: Pete Docter, Bob Peterson; Producer: Jonas Rivera; Screenwriters: Pete Docter, Bob Peterson; Music: Michael Giacchino; Editor: Katherine Ringgold; Genre: Animation; Cinematography: Ricky Nierva; Distributor: Walt Disney Studious Motion Pictures;

Technical Assessment: 4.5
Moral Assessment: 4.5
CINEMA Rating: For viewers of all ages

The freckle-faced boy Carl had an idol—the explorer Charles Muntz (voice of Christopher Plummer) making news by flying his zeppelin over South America trying to capture a colorful 13-foot bird. Carl would soon meet, fall in love with and marry Ellie, a girl who shared his adventuresome spirit. They would have a dream of building a house on a mesa by Paradise Falls, but before this dream could come true, Ellie died. The real life adventure of Carl Fredericksen (voice of Ed Asner) begins when the widower is now a balloon street vendor, and as grumpy as anyone who’s approaching his 80s with an unfulfilled dream. Pestered by real estate developers who wants him committed to a home for the aged, Carl fastens thousands of helium-filled balloons to his house, and using a clothesline as a sail, literally gets away from it all, flying off to the blue yonder to follow his dream. But he has unwanted baggage he cannot shake off—an 8-year old boy scout whose collection of honor medals lacks but one to complete. And that one missing medal is awarded for “assisting the elderly.” Sharing the fragile house held afloat by toy balloons, the dreamer-septuagenarian and the eager boy scout go through a weird and wonderful adventure of a lifetime, along the way meeting talking dogs, the explorer Muntz now a recluse in his zeppelin, and the 13-foot squawking bird that Muntz so desperately wants to capture.

Disney/Pixar (maker of Wall-E and Cars) outdoes itself with this perfect story that has something worthwhile for viewers of any age or inclination. The animation is flawless, the flow of action smooth, and the world created by the colorful characters is at once down-to-earth and otherworldly—a feat seldom achieved by a “cartoon movie”. The use of the montage showing the love story of Carl and Ellie from childhood is a masterstroke at storytelling without words. More than all the glowing praises CINEMA and countless movie critics the world over can heap upon Up, it’s the values in the movie that will take it to the heights of filmdom success. Superior substance and technical excellence make for a winner, and Up certainly has both—and more.

Up opened the Cannes Film Festival this year, gave the critics a high, and has since been uplifting moviegoers everywhere. It’s not a fairy tale, a superhero adventure, or an action thriller. It has a love story but the lovers don’t live happily ever after. It offers adventure but its hero fights the enemy with a walking cane. And just look where all that action comes from! There is something breathtaking and magical about seeing a fully-furnished house being lifted up, up and away by thousands of toy balloons. It wakes up the child in us, makes us believe in the impossible, heightens our sense of wonder, emboldens us to pursue unforgettable dreams. The message in Up is a life-giving one, and being such may be read any which life-giving way by anyone. CINEMA dares to put forth a hypothesis: it is a symbolic yet concrete illustration of the soul’s ascent to God. Heavy? Wait. Listen. Tie some balloons around your neck.

To a child, balloons could very well represent a vehicle that takes one up to the mysterious blue skies it calls heaven—and heaven is, to a child, the dwelling place of God. But a child grows into an adult, and the succession of lights and shadows, highs and lows, sunshine and storms, make up the experience which accompanies the process of growth into adulthood. But, again, adulthood is accompanied by pleasures and desires that lead to attachment, hindering one’s ascent to freedom. In the movie this is graphically illustrated—by the need to lighten up and discard things inside the house in order for the deflating balloons to lift it up again. A picture of Ellie which falls off the wall and breaks is a lesson in detachment from the past, no matter how fulfilling it has been. And the arrival of unfamiliar creatures and unexpected misfortunes presents a challenge to live the moment, be attentive to the present, brave death in order to find your hidden strength. There is so much more to “read” in Up, but you must do it yourself. For now it suffices to say that Up has a subliminal appeal to the contemplative in each of us, but it has to take the form of a movie for children, because it is only through a child’s eyes can we see that part of us that’s aching to take our soul to its final and deathless destination.

District 9

Cast: David James, Sharito Copley, Elizabeth Mkandawie, Greg Melvill-Smith, Jason Cope, John Summer, Nathalie Boltt, Nick Blake, Sylvaine Strike, William Allen Young; Director: Neill Blomkamp; Producer: Peter Jackson; Screenwriters: Neil Blomkamp, Teri Tatchell; Music: Clinton Shorter; Editor: Jukian Clarke; Genre: Sci-Fi; Cinematography: Trent Opaloch; Distributor: Sony Pictures Entertainment; Location: South Africa; Running Time: 110 min.;

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

In Johannesburg, South Africa, an isolated camp 200 kilometers away from civilization has been home to several insect-shaped alien refugees who landed on earth 30 years ago. Apparently, they survived a disaster in their home planet and were stranded on earth because of a mechanical problem in their spacecraft. Finding the aliens hideous and useless, the humans forcibly confined them to live in substandard conditions inside District 9. The aliens, or “prawns” as the humans call them, are too scared and confused to fight back and live by scavenging and selling whatever possessions they have left. The camp is controlled by Multi-National United (MNU), a defense subcontractor who wants to take hold of the aliens’ superb technology and advance weaponry, which, however, turn out to be useless without the alien’s DNA. Over the years, people have grown more hostile towards the aliens and now want them transferred to another isolation camp. The task of serving their eviction was given to a shy but annoying MNU employee named Wikus Van De Merwe (Sharlto Copley). He carries out the job with arrogance and ruthlessness until an accident with a deadly chemical that turns him into one the prawns. Wilkus is forced to be a fugitive from the government and becomes an outcast like the prawns. He then realizes the mistakes of prejudice and segregation. He befriends an alien who was given the human name Christopher Johnson (voiced by Jason Cope), and works against odds to save their race.

DISTRICT 9 is a well crafted story that re-contextualizes the alien theme from man’s most shameful moments during the 1966’s apartheid. The storytelling technique using hand held and continuous cinematography engages the audience closer to the drama. The plot develops smoothly with a strong performance from the protagonist and a clever socio-political commentary about discrimination. The CGIs and production design are decent and satisfactory. But the real strength of the movie is in the director’s interpretation of the script that turns a violent science fiction into a powerful statement against prejudice.

Amidst the blood and gore, the movie develops the theme of acceptance quite well. It illustrates how people should learn to go beyond appearance, race or beliefs. The physical and moral metamorphosis of Wilkus shows how the world would be so much better when man achieves universal solidarity. The secondary theme of marital love is also demonstrated by loyalty and sincerity of Wilkus to his wife.

As a whole, the film is a tight production with a strong message. However, it contains several scenes of graphic violence, brutal action and offensive language. The explicit dark tones of the movie may not appeal to the sensitivities of most viewers. Adults and parents should guide their very young children when watching the movie.

Tarot

Cast: Marian Rivera, Roxanne Guinoo, Ana Capri, Dennis Trillo, Gloria Romero; Director: Jun Lana; Producers: Jun Lana, Rosselle Monteverde-Teo; Screenwriters: Jun Luna, Elmer L. Gatchalian; Editor: Tara Illenberger; Genre: Horror; Cinematography: Mo Zee; Distributor: Regal Films; Location: Philippines; Running Time: 102;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Nakalakihan ni Cara (Marian Rivera) ang panonood sa kanyang Lola Auring (Gloria Romero) na mabisang nanghuhula sa pamamagitan tarot cards kaya di nakapagtataka na matutunan din niya ito. Subalit ng mamatay si Lola Auring ay wala siyang pinamanahan ng baraha sa halip ay hiniling niya na isama ito sa kanyang puntod. Makalipas ang panahon ay naging kasintahan ni Cara si Miguel (Dennis Trillo). Naisipan nila na mamasyal sa gubat kung saan misteryosong maglalaho si Miguel. Hindi matanggap ni Cara na mawala ng tuluyan ang nobyo kaya naisipan niyang gamitin ang bisa ng tarot cards ng kanyang lola upang matunton ang nobyo. Di naman siya binigo ng tarot na hinukay pa niya sa puntod ng kanyang lola dahil nagkita at nagkasama uli sila ni Miguel. Subalit kasabay ng kanilang pagtatagpo at paghawak ni Cara ng tarot cards ay ang pagkakaroon ng mga nakakatakot na kaganapan at pagbabanta sa kanilang buhay.

Masalimuot ang kuwento ng Tarot at parang pinilit lang na ipasok ang tema ng pagbabasa ng tarot cards sapagkat tipikal na katatakutan lang na dulot ng mga ligalig na kaluluwa ang istorya nito. Tila kulang sa pagpiga ng emosyon katulad ng tila lumipas lang na pagbubuwis ng buhay ng isang ina at walang hatid na kilig ng tambalang Marian at Dennis dito. Gayunpaman ay tagumpay sa layunin na makapanakot ang pelikula dahil sa mahusay na paglalapat ng tunog at special effects. Mahusay ang transition ng mga eksena mula sa panaginip at imahinasyon pabalik sa katotohanan. Halata na naging maingat ang aspetong ito ng editing. Sa kabuuan ay naisalba ng mga nabanggit na aspetong teknikal ang mahinang kuwento.

Ipinakita sa pelikula na ang panghuhula katulad ng pagbabasa ng tarot cards ay maaaring masapian ng masamang elemento o pwersa at makapaghatid ng kapahamakan o kamatayan sa mga nilalang. Samakatwid ay di dapat panaligan sa halip ay dapat mag-ingat dahil wala namang tahasang makapagsasabi ng mangyayari sa hinaharap. Marami din namang positibong mensahe ang pelikula katulad ng tapat na pagmamahal ni Cara kay Miguel, pagmamalasakit sa kaibigan, at katatagan ng loob sa kabila ng mga pagsubok. Kapansin-pansin lamang na sa kabuuang daloy ng pelikula ay tila walang pag-uukol sa paghingi ng kalakasan sa Diyos na siyang pangunahin sa kultura ng mga Pilipino. Nagwakas ang pelikula sa nakababahalang patuloy na paghahasik ng takot at pinsala ng masamang elemento sa buhay ng tao.

Bandslam

ASSESSMENT ONLY
Cast: Gaelan Connell, Vanessa Hudgens, Alyson Michalka, Lisa Kudrow; Director: Todd Graff; Producer: Elaine Goldsmith-Thomas; Screenwriters: Josh A. Cagan, Todd Graff; Editor: John Gilbert; Genre: “Dramedy” Comedy, Drama, Music; Cinematography: Eric Steelberg; Distributor: Summit Entertainment; Location: USA; Running Time: 111 min.;

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above


BRIEF FILM SYNOPSIS

When gifted singer-songwriter Charlotte Banks (Michalka) ask new kid in town Will Burton (Connell) to manage her fledgling rock band, she appears to have just one goad in mind: go-head-to-head against her egotistical musician ex-boyfriend, BEN (Porter), at the biggest event of the year, a battle of the bands. Against all odds, their band develops a sound all its own with a real shot at success in the contest. Meanwhile, romance brews between Will and SA5M (Hudgens), who plays a mean guitar a has a voice to die for. When disaster strikes, it's time for the band to make a choice: Do they admit defeat, or face the music and stand up for what they believe in?

OUTSTANDING FEATURES OF THE FILM: Peer influence on the character development of a teenager, as presented in the movie, is commendable for discussion.

Shorts

Cast: James Spader, Wiliam Macy, Leslie Mann, Jon Cryer, Jimmy Bennet, Jake Short, Trevor Gagnon, Jolie Vanier; Director: Robert Rodriguez; Producers: Robert Rodriguez, Elizabeth Avellan; Screenwriter: Robert Rodriguez; Music: Robert Rodriguez, Carl Thiel; Editor: Robert Rodriguez, Ethan Maniqius; Genre: Fantasy Comedy, Children’s film; Distributor: Warner Bros.; Location: USA; Running Time: 99 min.;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

The story is set in a community called Black Hall where Mr. Carbon Black (James Spader) its richest and most powerful citizen owns a monolithic corporation that manufactures a super-gadget called the Black Box. This little box can be carried around, deconstructed in various shapes and can do all kinds of tasks, trivial or significant say be a cellphone, a computer or hair trimmer. Mr. Black’s corporation employs most of the townspeople and he tyrannically wants them to aggressively market this device, eliminating all competition. Anyone who does not foe the line gets fired. The Box has greatly affected the lived of most of the townspeople. In the community, there are lot of queer people, and families have become dysfunctional, like the family of nine-year-old Toby “Toe” Thompson (Jimmy Bennett). Toe is detached from his family (who miscommunicates with one another), lacks self-confidence, has no friends and is often bullied, especially by the evil children of Mr. Black. Toe’s situation improves when he comes into the possession of a multicolored stone which has magical powers so anyone who holds it can wish for anything. Nine year old Loogie (Trevor Gagnon) and his two friends find it after a thunderstorm and have wished for the most incredible things. Somehow, the stone inadvertently gets passed around from one person to another granting all preposterous wishes. The rock affects (often negatively but hilariously) the lives of various families including Mr. Black’s. Will it be able to destroy the Black Box or vice-versa?

Shorts may be a children’s movie but it is likely that a child will not find it easy to follow and understand the film. Using the non-linear method of storytelling, it is presented in episodes which are jumbled up with no attempt at chronology or logic. It is narrated by Toe Thompson who zigzags through the tale of the wishing rock like only a nine year old boy can. It begins with episode 2, goes back to episode 1 and goes on merely rearranging and presenting colorful, kinetic and engrossing images (to the child at least) with some newly minted characters like the giant one-eyed booger monster. The children get to be happily entertained and never mind if the film is quite confusing with the virtual absence of a plot. The adults may find some humor (though rude at times) in the absurdity of it all. The film is populated by such weird characters that one wonders if anyone can identify with any of them. Perhaps a nine year old who gets bullied outside the home and finds no adult sympathetic or interested in his plight inside his supposed place of refuge, can connect with Toe Thompson. Ironically, this character maybe considered a misfit but he is not rare in our own “saner” world. Though at times exaggerated for effects in their acting, the cast especially the children characters do adequately well. The photography is acceptable. Director Robert Rodriguez probably wanted to do something similar and yet different from his earlier well received work, Spy Kids.

In Shorts, one observes the effects of miscommunication or lack of it. It can make a family like the Thompsons dysfunctional. But better communication and getting “connected” can help make the family whole again. Also, one sees the effects of wishing for things that are inappropriate for one’s situation. Like Loogie and his friends who get the wish of a fortress surrounded with a moat and protected by crocodiles and snakes only to realize the danger they find themselves in. And one sees how ridiculous and limiting life can be if one is extremely obsessed with anything like Dr. Noseworthy with his horror of germs. And probably, one realizes like Mr. Black that rather than create a black-box that can be used to terrorize and indignify people, one can instead create something that can make life better for each one.

Love On Line

Cast: Sotto, Jose Manalo, Paula Taylor, Gina Pareno, Leo Martinez, Ricky Davao, Manilyn Reynes; Director: Tony Reyes; Distributor: Octoarts Films; Location: Manila; Running Time: 110 min.;

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Madalas pag-initan ni Samson (Vic Sotto) ang kasambahay na si Tot (Jose Manalo) dahil sa katamaran nito. Hindi nga lang magawang palayasin si Tot dahil tanging ito lamang ang nakakapag-bigay ng dugo para sa ina ni Samson (Gina Pareno) na may kakaibang karamdaman. Sa halip na gawin ang trabaho, nauubos ang oras ni Tot sa Internet kakahanap ng magiging kasintahan. Minsang nilagay ni Tot ang larawan ni Samsom sa kanyang profile sa isang social networking website, dumagsa agad ang mga nais makipagkaibigan sa kanya. Isa sa nagustuhan ni Tot si Paula (Paula Taylor) at pumayag agad itong makipag-eyeball o makipagkita sa kanya. Sa una’y magagalit si Samson nang malaman nitong ginamit ni Tot ang kanyang larawan ng walang paalam ngunit kalauna’y mapapapayag din niya ito na makipagkita kay Paula dahil ang alam ni Paula, si Tot ay si Samson. . Agad na magkakasundo at magkakamabutihan sina Samson at Paula na labis na ipagseselos ni Tot at dahil diyan, gagamitin ni Tot ang isang mahika kay Samson kung saan ay magkakapalit sila ni Samson ng pagkatao sa loob ng tatlong oras araw-araw. Magdudulot ito ng kalituhan kay Paula na siyang magpapagulo sa sitwasyon ng kanilang relasyon. Malusutan kaya ito ni Samson?

Ang Love On Line ay tumutukoy sa makabagong teknolohiya ngayon, ang Internet at ang lawak ng impluwensiya nito maging sa pakikipagrelasyon. Ngunit naging pawang mababaw at makaluma pa rin ang naging pagtrato ng pelikula sa dapat sana'y napapanahon at modernong konsepto. Ang pagpasok ng mahika sa gitna ng pelikula ay pawang hindi angkop sa nais nitong palabasin. Nakapanghihinayang na sa kabila ng hindi matatawarang galing sa pag-arte ng mga tauhan, hindi pa rin nakawala ang Love On Line sa pagiging slapstick nito sa pagpapatawa. Nariyan pa rin ang pambabatok, pananampal, paggamit sa mga bakla at pangit bilang mga instrumento ng patawa. Labas tuloy ay pawang kulang sa sinseridad ang buong kuwento at walang anumang bigat o lalim ang buo nitong daloy. Hindi iniaangat ng Love On Line ang komedyang Pilipino, sa halip ay pinapalala pa nito ang kalagayan ng naghihingalong industriya.

Ang pangunahing tauhan na si Samson ay wagas at dalisay ang hangarin sa ngalan ng pag-ibig. Hindi rin matatawaran ang pagmamahal niya sa kaniyang ina na hindi niya iniiwan sa gitna ng karamdaman nito at tinutulungan pa niya ito sa negosyo.. Ngunit hindi maiaalis na ang buong kuwento ay halos sumentro kay Tot, isang taong tamad, mapagkunwari at mainggitin. Maaring si Tot ay simbolo ng mga taong walang pag-unlad dahil na rin sa taglay nitong masasamang katangian. Nariyang ubusin ang oras sa Internet para sa mga walang kapararakag gawain, at nagbabalatkayo para lamang makakuha ng atensiyon lalo na sa mga kababaihan at pawang hindi naman relasyon ang hanap nila kundi panandaliang aliw lamang. Gayunpaman, naging instrumento pa si Tot upang matutong umibig muli si Samson na nakaugat naman sa pagbabalatkayo. Tuloy kahit mali ay kinunsinte na rin ni Samson si Tot. Mababaw naman ang samahang Samson at Paula na hindi halos maaaring ituring na tunay na pag-iibigan. At sa dami ng kabataang gumagamit ng Internet sa ngayon ay hindi magandang halimbawa ang pelikula sa paghubog nito sa makabagong konsepto ng pag-ibig. Hindi masama ang teknolohiya hanggat ito ay ginagamit sa kabutihan sa halip na sa pagbabalatkayo. Ang paggamit rin ng kapangyarihang itim at mahika na labis na nakaapekto sa daloy ng kuwento ay nakababahala rin. Hindi dapat paikutin ng mahika o teknolohiya ang takbo ng buhay ng tao.

The Time Traveler's Wife

Cast: Eric Bana, Rachel McAdams, Ron Livingston, Arlis Howard; Director: : Robert Schwentke; Producers: Brad Pitt, Nick Wechsler, Dede Gardner; Screenwriter: Audrey Niffeneger, Jeremy Leven, Bruce Joel Rubin; Music: Mychael Danna; Editor: Thom Noble; Genre: Sci-fiction Romance; Cinematography: Florian Ballhaus; Distributor: Warner Bros; Location: Chicago; Running Time: 107 min.;

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

On a snowy Christmas day, young Henry DeTamble (Alex Ferris) and his mom drive through the slippery streets, singing jolly Christmas songs to their hearts content, unmindful of the approaching car ahead. But just before they crash, young Henry slowly disappears inside the back seat and reappears a few yards away with an older man who tells him he is the future version of himself. This incident begins a series of time tossing to the past and future for Henry. His time travels are beyond his control and he is unable to take anything with him, even his clothes on his body, which forces him to break into houses and steal people’s belonging’s to cover himself and survive. The next time we see him is in the library where he meets Clare Abshire (Rachel McAdams), who recognizes him instantly although he has never seen her before. Apparently, Clare recognizes him because of several meetings they had in the past beginning when she was 6 years old. Eventually, they get married despite his genetic “chrono-impairment” condition which gets worse whenever he is stressed or upset. At first they seemingly have a happy life until Henry disappears for awhile and reappears again, sometimes as an older man, sometimes a young boy.

Time Traveler’s Wife is the film adaptation of Audrey Niffeneger’s novel of the same title. Although, director Schwentke remains faithful to the literary version, the execution is weak and faulty. For one, Bana and McAdams do not have enough chemistry to make the audience believe and sympathize with their unrequited love. The plot development is confusing and stuck at the surface level. The characters critical to push the story forward are mere cardboard cut-outs used to fill in some gaps in the scenes. By the time we get involved with Clare and Henry, the end credits are already rolling.

The film underscores the power of love against time, distance and uncertainty. Henry and Clare’s love for each other is admirable and courageous. Despite the struggle and complications their relationship poses, they choose to remain faithful and committed to their marriage. Their situation can mirror most marriages nowadays when one spouse has to work away from home for a long time and husband and wife’s relationship is challenged by the loneliness and temptations created by time and distance. Further, the movie reiterates the value of life despite the many difficulties surrounding pregnancy and motherhood.

There is some light nudity, non-graphic premarital relations, and mild inappropriate language in the movie. Parents are advised to guide their young children who might watch with them.

The Hangover

Cast: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Jeffrey Tambor, Rachel Harris, Heather Graham, Rob Riggle; Director: Todd Phillips; Producers: Daniel Goldberg, Todd Phillips; Screenwriters: Jon Lucas, Scott Moore; Music: Christophe Beck; Editor: Debra Neil-Fisher; Genre: Comedy; Cinematography: Lawrence Sher; Distributor: Warner Bros. Pictures; Location: Las Vegas, USA; Running Time: 100 min.;

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

On the day of the wedding, three groomsmen Phil, Stu and Alan (Bradley Cooper, Ed Helms and Zach Galifianakis) wake up in a $4,200-a-night-suite in Las Vegas with a chicken in the bedroom, a tiger in the bathroom, and a baby in the closet—but without the fourth member of the past night’s stag party: bridegroom Doug (Justin Bartha). They had meant to spend Doug’s last night as a bachelor by drinking and gambling and be home for the wedding the next day, but now they must first find the bridegroom. Phil, Stu and Alan have absolutely no memory of the night before, and in their search for Doug, they encounter people who remember them and recall for them bit by bit what took place during the (unmemorable) night. Encountering more mishaps in their search, they piece together the events until the fact surfaces that Alan had secretly laced their drinks with a drug that would disable the memory while the user is under its influence.

Much of the humor in and the structure of the The Hangover revolve around the four friends’ getting lost. Clueless about what they have done since they shared some potent drinks on the roof of Caesar’s Palace and desperately trying to find explanations for a virtual “rude awakening”, they provide really funny situations to an otherwise inconsequential movie. The movie succeeds in involving the viewer in this ridiculous whodunit situation, and the acting and dialogue are so good that you may even come to the point of caring about the crazy quartet, believing in the angelic-faced hooker, being entertained by the diminutive but mean Chinese mobster, hoping they find the groom safe and sound, and praying that nothing that bad happens to the baby in the pram tailing a delivery truck. This movie deserves credit for its being specifically written, not assembled from recycled parts of other comedies corny, vulgar, half-baked or all three combined. There is a solid story, and the extraordinary level of detail in the dialogue complements the characterization to a credible degree.

A plus in the movie is the power of friendship—what friends would go through to ensure the wellbeing of another. Ironically, this positive element also constitutes the negative one—what stupid and dim-witted risks these friends would take for the sake of the missing one. This is a movie men would enjoy and whose characters they would secretly relate to. Women should also learn something about male instincts from this movie, and brides can take a hint or two about how to occupy their fiancés to spare the latter from similar situations a few nights before the wedding day. While the laughable parts of the movie seem harmless enough for younger viewers, CINEMA would still rate it for adult viewers 18 years old and up for its raunchy theme depicted in flash still shots towards the end, and its treatment of life-trivializing and therefore life-endangering situations (tiger in a bathroom, baby in a pram towed through traffic).