The Last Song

Cast: Miley Cyrus, Greg Kinnear, Kelly Preston, Bobby Coleman; Director: Julie Anne Robinson; Producers: Jennifer Gibgot, Adam Shankman; Screenwriters; Nicholas Sparks, Jeff Van Wie; Music: Aaron Zigman; Editor: Nancy Richardson; Genre: Drama/ Romance: Cinematography: John Lindley; Distributor: Walt Disney Pictures; Location: Georgia, USA; Running Time: 110 mins.;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers age 13 and below with parental guidance

Ronnie (Miley Cyrus) blames her dad for her parents’ divorce. When her mother Kim (Kelly Preston) takes her and her kid brother Jonah (Bobby Coleman) for a summer with their father Steve (Greg Kinnear) in his beach town home on Tybee Island, Georgia, Ronnie doesn’t hide her disgust for her father. She snaps at her father at every turn, spurning his hospitality and kindness, while Jonah, who enjoys a loving relationship with his dad, pleads with her to at least be civil to the estranged father. In spite of his daughter’s boorish ways, Steve—a retired concert pianist who’s now busy making a work of art for the local church—keeps his calm and perseveres as a compassionate father. Ronnie avoids her dad by escaping to the beach, and here’s where she meets hunky Will (Liam Hemsworth), who’s tall, blonde and blue-eyed but fails to attract Ronnie.

If there’s one outstanding feature in this movie, it is the remarkable sincerity in the lead characters’ acting. It is both demanded and generated by the solid story which may be cutesy t first glance but is, on second thought, substantial. Cyrus is in her element playing the alienated daughter, refusing a Juilliard scholarship, remaining hostile to men, raring to be friendless for life. But she’s equally convincing after her character’s conversion—tending a sick parent and unaffectedly sparkling with all the goodness a 17-year-old can muster. Coleman stands toe to toe with the other lead actors, while Hemsworth emotes especially in the intimate close shots as though there were no cameras around him. Lastly, Kinnear’s portrayal of the anguished father would have you believe he has in real life been through such an ordeal. Last Song has strong characters done justice by soulful performances. It is this synergy among Last Song’s lead players that makes the movie memorable.

There are scenes in Last Song that clearly show how far a father’s love can go to protect his daughter from harm: one of them is when Ronnie and Will are keeping vigil over the turtle eggs. A discovery late in the movie showing the reason the reclusive father passionately devotes himself to creating a centerpiece for the church also perfects his persona as a just man.

Last Song is a graphic demonstration of the damage divorce can do to children, and of the triumph of the human spirit in healing the wounds it inflicts upon the soul. It is not just about a pair of intelligent young persons falling in love, although it is an important ingredient in the story; Last Song is really about a father and a daughter split apart by divorce but gradually drawn back to each other through pain, repentance and forgiveness.

The Bounty Hunter

Cast: Jennifer Aniston, Gerard Butler, Gio Perez, Joel Garland; Director: Andy Tennant; Producer: Neal H. Moritz; Screenwriter: Sarah Thorp; Music: George Fenton; Editor: Troy Takaki; Genre: Romance: Cinematography: Oliver Bokelberg; Distributor: Columbia Pictures; Location: USA; Running Time: 106 mins.;

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

Milo (Gerard Butler) is an ex-cop turned bounty hunter who spends his days chasing losers who skip bail and nights being a loser who gets too drunk to wake up the next day. Nicole (Jennifer Aniston) is a dedicated reporter chasing a high profile murder story. They have been married once and divorced after 9 months of irreconcilable differences and now passionately hate each other. Their paths cross when Milo is assigned to arrest his ex-wife after she fails to appear in court in order to pursue her story. Unfortunately, Nicole treads dangerous waters as she uncovers corruption and deception within the police and Milo gets into trouble with his gambling and creditors. The story moves on amidst the couple’s hatred, the bad guys chasing them, Nicole’s determination to get her story and Milo’s desire to get even with his wife for breaking his heart.

One word comes to mind after the first quarter of the movie ... predictable. Audience already know by that time that Milo and Nicole will try to outwit each other until they get back together, that the bad guys will be able to corner them but end up in jail and that the movie will try its best to be funny and memorable but fail to do so. The scoring is cute and choices of songs appropriately capture that comedy of each scene. The pacing is enhanced by vibrant camera works and quick editing. The performances are respectable with a good chemistry between Aniston and Butler. However, all these do not make up for the weak storyline and even weaker development. This might not be the best choice for a feel good romantic movie.

Marriages work only when couple are willing to accept each other’s weaknesses and shortcomings on the one hand, and are ready to admit their own faults and mistakes on the other. Walking out of the marriage is not the solution. Instead, couple should always have the desire and exert effort to work around the differences and focus on the love. Amidst, the chasing and the bickering, the movie wants the audience to realize that when love is real and true, it cannot be easily extinguished by personality clashes or distance. And if only husbands and wives become less self-absorbed and more humble, their love for each other will always prevail. The movie is better suited for older audiences because of its theme, language and some sexual innuendos. (PMF)

You To Me Are Everything

Cast: Marian Rivera, Dingdong Dantes, Jacklyn Jose, Isabel Oli; Director: Mark Reyes; Genre: Romance/ Comedy: Distributor: GMA Films; Location: Manila/ Benguet; Running Time: 100 mins;

Technical Assessment: 1.5
Moral Assessment: 2.5
CINEMA Rating: For viewers age 13 and below with parental guidance

Si Francisca o Iska (Marian Rivera) ay isang Igorota na nagbebenta ng strawberry jam. Magbabago ang takbo ng kanyang buhay nang malaman niyang siya’y pinamanahan ng malaking yaman, mga negosyo at ari-arian ng nasirang ama na hindi niya nakilala. Si Raphael (Dingdong Dantes) naman ay kabaligtaran ang kapalaran. Ang dati niyang yaman ay nawala lahat sa kanya nang makulong sa salang pangdarambong ang kanyang pulitikong ama. Sa isang kakatwang sitwasyon ay magtatagpo ang landas nila Iska at Raphael. Dahil baguhan sa kanyang mundo, maiisipan ni Iska na kunin ang serbisyo ni Raphael upang matulungan siya sa kanyang mga transaksiyon at mga magiging desisyon. Papayag naman si Raphael at maiisip niyang si Iska ang paraan upang maibalik sa dati ang marangya niyang buhay. Ngunit unti-unti ay mahuhulog ang loob nila sa isa’t-isa. Paano kung malaman ni Iska na ginagamit lamang siya ni Raphael?

Isang malaking pag-aaksaya ng panahon ang panonood ng pelikulang ito. Walang bago sa kuwento. Gasgas na at pawang makaluma lahat ng sitwasyon pati na ang dayalogo. Walang anumang aabangan sa kuwento sapagkat walang mabigat na problema ang mga pangunahing tauhan. Walang lalim at walang kurot sa puso. Ninanis man nitong mang-aliw at magpatawa, hindi pa rin naging epektibo dahil pawang pilit ang lahat ng ito. Maging ang pag-arte ng mga tauhan ay malamlam at walang bigat. Nasayang ang magandang chemistry nila Rivera at Dantes na nakapag-bigay naman ng mangilan-ngilang kilig. Sa kabuuan, walang anumang aspeto ang nagsalba sa pelikula. Maging ang magagandang tanawin ay hindi rin gaanong nabigyang halaga. Sayang at nakaka-angat na sana ang pelikulang Pilipino lalo na pagdating sa drama at komedya ngunit pawang nag-aksaya lamang ng pagod ang mga may-gawa ng You To Me Are Everything at wala silang nasa isip kundi ang kumita ng pera sa pelikulang ito. Maging yan, marahil ay nabigo sila dahil kuwento na ang hinahanap ng manonood at hindi lang basta mababaw na kilig.

Sinasadya man o hindi, naging mapanlait ang pelikula sa kabuuan. Mapanlait sa kultura at kalinangang Igorot na wala naman silang malinaw at malalim na basehan. Ipinakita nilang pawang mga mangmang at taga-bundok lamang ang mga kapatid nating ito. Hindi nabigyan ng katarungan hanggang sa katapusan ng kuwento ang paksang ito dahil ang karakter ni Iska ay sumuko at nagpaubaya na lamang. Nakakabahala ang kahinaang ito na ipinakita sa pelikula. Sa kabilang banda, nais namang sabihin ng pelikula na hindi ang yaman ang mahalaga sa buhay kundi pag-ibig. Maganda ang pagpapahalagang ito sapagkat sa mundo ngayon na naging malabis nang materyoso, nararapat pa ring ipaalala sa mga kabataan ang higit na mahahalaga sa buhay – ang pamilya at pag-ibig. Dalisay ang karakter ni Iska na hindi nasilaw at hindi binago ng salapi. Isang magandang halimbawa. Nanatili ring konserbatibo at positibo ang kanyang pananaw sa buhay sa kabila ng maraming tukso sa kanyang paligid.

Iron Man 2

Cast: Robert Downey, Jr., Sam Rockwell, Gwyneth Paltrow, Mickey Rourke, Scarlett Johanson, Samuel Jackson; Director: Jon Favreau; Producer: Kevin Feige; Screenwriter: Justin Theroux; Music: John Debney; Editor: Dan Lebental, Richard Pearson; Genre: Action: Cinematography: Matthew Libatique; Distributor: Paramount Pictures; Location: USA; Running Time: 120 mins.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Tony Stark (Robert Downey, Jr) is having the time of his life. Six months after he revealed himself as Iron Man, this billionaire industrialist credits himself for what is known to be an era of world peace. Stark is focused on rebuilding his father's version of the World's Fair, the Stark Expo and everything seems to be going for him. However, the government pressures him to turn-over his Iron Man technology, and Justin Hammer (Sam Rockwell), a rival weapons venture capitalist, poses a big threat. Meanwhile, unknown to Stark, a Russian scientist, Ivan Vanko a.k.a. Whiplash (Mickey Rourke) is about to destroy him to avenge for an old family grudge. Hammer eventually collaborates with Vanko and finances his technology to further put down both Stark's business empire and Iron Man. Worse of all, Stark discovers the very technology that powers his heart and his Iron Man suit (the palladium, the substance inside the Ark Reactor) is slowly killing him.

This second franchise of a mega-blockbuster could be the most anticipated film of the year. Iron Man 2 has maintained its charm with Robert Downey, Jr. still in the lead. Downey delivers the Iron Man combination of wit and mischief. Audiences may have flocked the theaters for the film's special effects and fight scenes but the real treasure of the movie lies on the simple, talking scenes with the actors solidly interacting with crisp dialogue. Rockwell delivers a solid performance that almost overshadowed Downey's and Rourke's super villain's role comes out strong and believable. On one hand, some would find Iron Man 2 as a bit talky than the original but then, this sets the film apart from the other movies of the same genre. Although the plot of this second franchise is a lot busier and could be considered convoluted, the genius of the story about a mortal super hero is still there.

Iron Man 2 is about a super hero who has to deal with his own mortality. Unlike other super heroes whose power comes from supernatural forces, Iron Man relies on a man-made technology that celebrates the intelligence of humanity. Iron Man is the epitome of modern-day superhero that epitomizes a combination of super strength and human weakness. The irony of it all is that the very technology that made him super human is the same technology that confirms he is only human. Stark's self-destructive reaction to this realization could be a bit disturbing but the intention, which is to show his human side, is clear. It is also understandable that he questions his worth for he felt unloved and unappreciated by his father. Until he rediscovers how much his father actually loved and appreciated him, he is able to redeem himself once again. Thus, saving the entire world from the evil threats of greed and vengeance in the process. There may be some level of violence in the movie, although without blood and gore, so parents are advised to guide their children while watching.

The Back-Up Plan

Cast: Jennifer Lopez, Alex O’Loughlin, Michaela Watkins, Eric Christian Olsen; Director: Alan Poul; Producers: Jason Blumenthal, Steve Tisch; Screenwriter: Kate Angelo; Music: Stephen Trask; Editor: Priscilla Nedd-Friendly; Genre: Comedy/ Romance: Cinematography: Xavier Perez Grobet; Distributor: CBS Films; Location: New York, USA; Running Time; 106 mins;

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

In romantic comedy The Back-up Plan, pet shop owner Zoe (Jennifer Lopez) is getting on in years and getting tired of waiting for Mr. Right but wants motherhood now. So she gets herself pregnant in vitro although she is not interested in the identity of the sperm donor, a redhead according to her doctor (Robert Klein). Just minutes after she gets artificially inseminated, Zoe meets Stan (Alex O’Loughlin) inside a cab. They bicker over whose cab it is and eventually part ways. Days later Zoe spots the guy at a high end street market, selling cheese. Stan starts pursuit; Zoe, though attracted to Stan, holds back especially when she learns she is pregnant. A couple of dates later, Stan invites Zoe to a weekend in the farm. As it turns out, Stan owns the farm—The Little Goat Farm where he makes the cheeses he sells—and it is not little at all. After a roll in the hay, Zoe confesses to her condition, and a disappointed Stan turns away.

Despite its great-looking lead actors and a story that might appeal to so-called “liberated” women, this romantic comedy wants in romance. No chemistry whatsoever between Lopez and O’Loughlin. Their interaction is so mechanical that the viewer—instead of getting carried away by a supposedly searing and endearing love story—remains unmoved as he quips, “Is that it?” And as far as comedy goes, call this predictable, relying on poop and genital humor and pathetically spoofing childbirth. That particularly dreadful scene where a single mother raises hell through a water birth is not only not funny, it is even vulgar.

While on the surface The Back-up Plan may elicit laughter from indiscriminating viewers, the movie actually reflects a dangerously distorted view of parenthood, undermining the Church’s teachings on the need to maintain the link between the unitive and procreative aspects of married love. It says that a woman can choose to be a mother without benefit of coitus with a man she is married to. While science has so advanced as to make such a situation possible, viewers must be spurred to examine the morality of such a decision. Must a woman be so impatient for motherhood that it’s all right to buy sperms to get pregnant? A woman can be impregnated, in exactly the same way as a cow, but what are its implications on the future relationship between her and her child? Why want a baby and then deprive it of its natural father’s presence, nurture and affection? By presenting childbirth as a grossly laughable experience, and then giving the movie a happy ending, The Back-up Plan just might succeed in making teen girls dread childbirth while deluding them into thinking they can go ahead and get impregnated like a cow and hope to find a rich gentleman farmer with soulful eyes who’ll love them forever and ever no matter what.

Losers

"ASSESSMENT ONLY"
Cast: Jeffrey Dean Morgan, Zoe Saldana, Chris Evans, Idris Elba; Director: Sylvain White; Producers: Kerry Foster, Akiva Goldsman, Joel Silver; Screenwriters: Peter Berg, James Vanderbilt; Music: John Ottman; Editor: David Checel; Genre: Detective/ Action: Cinematography: Scott Kevan; Distributor: Warner Bros. Pictures; Location: South America/ USA/ India; Running Time: 95 mins;

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

BRIEF SYPNOSIS

The government is able to catch an evil wealthy person with the help of a woman

Kick-Ass

Cast: Aaron Johnson, Nicolas Cage, Chloe Moretz, Christopher Mintz Plasse, Mark Strong, Michael Rispoli; Director: Matthew Vaughn; Producers: Adam Bohling, Tarquin Pack, Brad Pitt, David Reid, Kris Thykier, Matthew Vaughn; Screenwriters: Jane Goldman, Matthew Vaughn; Music: Marius De Vries, Ilan Eshkeri, Henry Jackman, John Murphy; Editor: Eddie Hamilton, Jon Harris, Pietro Scalia; Genre: Action/ Crime Sotory: Cinematography: Ben Davis; Distributor: Lionsgate; Location: USA; Running Time: 117 min.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Dave Lizewski (Aaron Johnson) is an unnoticed lackluster high school student much addicted to comics. He dreams of becoming a superhero and calls himself “Kick- Ass”, though he has no superpowers, no special training or skills. He dons a superhero costume and patrols some seedy neighbourhoods where he prevents thieves from plying their trade and gets beaten and stabbed instead. Meanwhile Damon (Nicolas Cage), a cop who was framed and imprisoned through the machinations of Frank d’ Amico (Mark Strong), the crime czar, has been released from prison and has been preparing to eliminate organized crime and evil. After building an arms arsenal and training his eleven-year old daughter Mindy in martial arts and the use of weapons, Damon now assumes the identity of the superhero “Big Daddy” and Mindy is called “Hit Girl”. The duo become a deadly fighting machine hitting the crime empire of Frank d’ Amico. To catch the superheroes, including “Kick-Ass”, who has earned some fame through the help of “Big Daddy” and “Hit Girl”, Frank’s young son Chris (Christopher Mintz Plasse) takes on the identity of ‘Red Mist”, a self proclaimed superhero. “Red Mist” sees “Kick-Ass” in costume and befriends him, being a fellow superhero. How will the “superheroes” and anti-hero fare in the end?

Kick-Ass is the latest screen adaption of a comic book written by Mark Millar and John S. Ramita, Jr. Said to be a faithful reproduction of the comic book, the movie is fully packed with action and brutal violence to the nth degree. As in most action pictures, there is not much of a story or plot. The narrative line is there to hang the actions on. The photography captures efficiently the guts and gore in the well orchestrated fight scenes. At the start, when ‘Kick-Ass” begins narrating the story of his life, everything seems quiet and uneventful. But soon the tension mounts with the introduction of Big Daddy’s training of Hit Girl where the latter has to overcome her fear even when shot at point blank range with live bullets (she wears a bullet proof vest). “Hit Girl” becomes a formidable one-girl killing machine near the end when she massacres scores of well armed gangsters with precision and finesse, without feeling or compunction, like she were targeting figures in a TV games. Unbelievable one may say but she succeeds in holding the viewers attention and not because of her appealing presence as eleven year old ordinary girl Mindy. In spite of his fighting prowess, Nicolas Cage comes across as a poignant character after his sad past. Christopher Mintz Plasse as the affected, smug, self- satisfied son of his gangster father delivers on his role. Languagr is frequently vulgar and the depiction of sex scenes is in bad taste, to say the least.

Kick-Ass may be considered exciting entertainment especially by action film aficionados but that does not make it good entertainment for all, especially the impressionable young movie audience. It is true that the theme is laudable, the desire of even ordinary citizens to try to eliminate crime and evil, even in the face of much danger and formidable forces of the enemy. Also, the depiction of relationship like that between father and daughter (Cage and Chloe Moretz) is tender and affectionate though one would wonder if a father who so loves his daughter would expose her to so much danger in that early age and train her in the lethal “art” of killing instead of sending her to school and letting her enjoy her childhood. The relationship also of the crime czar and his son looks fine and here no one notices the efforts of the father not to let his son know of his immoral business though at the end, he uses him for his ends. The film may have some positive values but these cannot overturn the pervading objectionable features of the film. Kick-Ass goes overboard in its violence, so brutal, gory and ruthless. One may have been entertained by the expertise of the gifted Chloe Moretz in fighting the evil elements but on reflection, one is disturbed that a child can be so used and trained to kill without any emotion, qualms or regret. The film will desensitize the young to brutality and cruelty and, who knows might encourage other children to follow the footsteps of “Hit Girl”. The film is awash with gross language. Sex which should be considered a beautiful thing, something to bond people in love, is here degraded. The depiction of the sex scenes with the frontal baring and mashing of breasts is not only in had taste but also they are immoral. Drug use especially by children is objectionable. This film should be seen only by mature audiences, at least 18 years of age.

Working Girls

Cast: Eugene Domingo, Eula Valdes, Jennylyn Mercado, Iza Calzado, Cristine Reyes, Bianca King, Ruffa Gutierrez; Director: Jose Javier Reyes; Producers: Tony Gloria, Annete Gozon-Abrogar; Screenwriter: Jose Javier Reyes; Genre: Comedy/ Drama; Distributor: Unitel and GMA Films; Location: Manila; Running Time: 110 min.;

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

Isang sanga-sangang kuwento ng iba’t-ibang kabababaihan ng makabagong panahon. Si Paula (Eugene Domingo) ay itinataguyod ang kanyang pamilya sa pagbebenta ng mga pekeng bag at kung anu-ano pa dahil ang kanyang asawa ay isang batugan. Si Cleo (Eula Valdes) naman ay isang sikat na doctor ng pagreretoke na kinakalaban ng mga grupong feminista. Si Marilou (Ruffa Gutierrez) naman ay isang dating beauty queen na mabibiyuda ng kanyang mayamang asawa ngunit malalaman niyang walang yaman na iniwan sa kanya. Si Teresa (Iza Calzado) naman ay isang nurse na mapipilitang alagaan ang asawa ng lalaking nang-iwan sa kanya noon. Si Ada (Jennylyn Mercado) ay isang single mother na nawawalan na ng panahon sa kanyang anak dahil sa kanyang trabaho bilang call center agent. Habang ang promo girl na si Wendy (Cristine Reyes) ay pilit na hinahanap ang lalaking mag-aahon sa kanya sa kahirapan, si Dara (Bianca King) nama’y piniling maging isang mamamahayag sa kabila ng kanyang mayamang pamilyang pinagmulan.

Isang nasayang na kuwento ang pelikula na dapat sana’y karugtong ng orihinal na Working Girls na ipinalabas noong dekada 80. Hindi gaanong naka-sentro sa buhay-trabaho ng mga kababaihan ang pelikula kundi natuon lamang ang karamihan ng kanilang kuwento sa kanilang buhay pamilya at buhay pag-ibig. Malayo sa orihinal na kuwento na naka-sentro sa buhay ng mga kababaihan sa kanilang trabaho at ang hirap na kanilang dinaranas dahil sa sila ay mga babae. Nalihis ang bagong Working Girls sa sanga-sangang kuwento ng kababaihan na may iba’t-ibang problema ngunit nawala ang dapat sana’y pinaka-kaluluwa ng pelikula. Lumalabas tuloy na isang karaniwang kuwento ng mga kababaihan lang ang napanood at hindi patungkol sa iba’t-ibang klase ng hanap-buhay ng mga babae. Sayang ang lahat ng magagandang intensiyon ng pelikula dahil sumabog ang konsepto nito sa kabuuan. Higit na sayang din ang mga talino ng mga nagsiganap lalo na si Domingo na siyang nagbigay-buhay sa pelikula. Sa kabila ng mga kakulangang ito’y marami pa rin namang magaganda at nakakaaliw na eksena sa pelikula kung kaya’t hindi rin naman gaanong sayang ang panonood nito.

Dahil sa dami ng pinagsiksikang kuwento, hindi naging malinaw ang kabuuang mensahe ng pelikula ukol sa mga kababaihan. Sa isang banda, sinasabi nitong malaki at mahalaga ang ginagampanang papel ng mga kababaihan sa lipunan lalo na sa mga industriya dahil karamihan sa mga ito ay babae na ang nagpapatakbo at babae ang mangagawa. Sa kabilang banda naman ay nariyan ang lantarang paggamit sa panlabas na kagandahan ng kababaihan upang ibenta ang isang produkto. Sa pagbebentang ito ay lumalabas na halos ibenta na rin ng babae ang kanyang sarili at pawang walang moralidad ang nasa ganitong uri ng trabaho. Isa itong masamang imahe para sa maraming kababaihan na nasa ganitong propesyon. Nariyan din ang isang babaeng natuksong pumatol sa iba sa kabila ng pagkakaroon niya ng asawa’t anak. Ang kaniyang pagtataksil ay nasaksihan pa ng mga bata pa niyang anak. Nakababahala ang mga ganitong uri ng eksena. Ipinakita naman sa pelikula kung gaanong katindi ang sakrispisyo ng isang babae ng kumita ng pera para kanyang pamilya habang pinagsasabay-sabay niya ng iba pa niyang papel bilang asawa at ina.

Date Night

Cast: Steve Carell, Tina Fey, Mark Wahlberg, Taraji P. Henson; Director: Shawn Levy; Producers: Shawn Levy, Tom McNulty; Screenwriter: Josh McLaglen; Music: Christophe Beck; Editor: Dean Zimmerman; Genre: Comedy/ Romance: Cinematography: Dean Semler: Distributor: Twentieth Century Fox Film Corporation; Location: USA; Running Time: 88 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Clair and Phil Foster (Tina Fey and Steve Carrell) are an ordinary though likable suburban New Jersey couple whose idea of married bliss is hiring a baby sitter once a week so they could enjoy their “date night” on the town. And their weekly date night—far from being a moment of exotic erotica to revive romance in midlife—simply means dining out and privately making fun of unsuspecting diners who stimulate their imagination. On this particular date night, Steve takes Clair to a new fancy restaurant in New York. Skipping the long queue to be seated, they grab a reservation for two for “the Tripplehorns”, pretending to be the absent couple. Then two gun-toting hit men pop into the scene, demanding that the Tripplehorns surrender a sensitive computer gadget or else… They cannot argue at gunpoint that they are not the real Tripplehorns, thus they are tossed into a crazy chase involving two crooked cops (Jimmi Simpson and Common) and their mob boss (Ray Liotta), the real “Tripplehorns” Taste (James Franco) and Whippit (Mila Kunis), and a security expert who’s an untypical combination of muscles and sympathy, Grant Holbrook (Mark Wahlberg).

Fey and Carell wouldn’t have been better cast as the Foster couple in Date Night. They—or their performance—are what makes the movie really funny. They can make us believe they’re a real couple from suburbia who are….well, who are who the Fosters are! And they involve the viewer in the whole 88-minute film run! When actors in a comedy don’t seem aware that they’re acting out a comedy, they become really funny. The plot is, of course, as bizarre and implausible as all comedy-action plots go, but the dialogue is smart, the characterization precise, and the direction by Shawn Levy flawless. Few cinematic couples exhibit this high degree of chemistry as Fey and Carell do in their roles here. If Angelina Jolie and Brad Pitt sizzle in Mr. and Mrs. Smith, and Kate Winslett and Leonardo DiCaprio smolder in The Titanic, Tina Fey and Steve Carell bubble over in Date Night.

Date Night is a perfect movie for a date night, especially when your date is the person you’re married to. There are no “moral lessons” to speak of in Date Night, but it offers a sensible tip for fine-diners: when at a chi-chi restaurant in, wait for your turn and suffer the gay receptionist because, as the Tripplehorns show, impatience is a punishable crime. Date Night also affirms the reality of mob-employed cops, and proves that even tattooed toughies can kiss and make up like ordinary suburban couples. Date Night also makes you realize that not all ex-spies are dehumanized by their careers and die biting a dagger—some retire while they’re still human and become compassionate “security experts” with state-of-the-art espionage gadgets and state-of-the-heart sex appeal.

Shutter Island

Cast: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow; Director: Martin Scorsese; Producers: Brad Fischer, Mike Medavoy, Arnold Messer, Martin Scorsese; Screenwriters: Laeta Kalogridis; Dennis Lehane; Editor: Thelma Schoonmaker; Genre: Suspense/ Thriller; Cinematography: Robert Richardson; Distributor: Paramount Pictures: Location: USA: Running Time: 138 min.;

Technical Assessment: 4
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Shutter Island is adapted from Dennis Lahene’s book published in 2003. It centers on Teddy Daniels (Leonardo DiCaprio), a US Marshall sent to Ashcliffe Psychiatric Correctional Facility in Shutter Island to investigate the mysterious disappearance of Rachel (Emily Mortimer). Since the security in Shutter Island is tightly controlled, Teddy suspects foul play in the case. Meanwhile, Dr. Cawley (Ben Kingsley), the hospital’s administrator, is pushing for a new method in treating his patients. As the movie progresses, one will realize that things are not what they seem. Apparently, Rachel, her killer, and Teddy’s wife are all interconnected. Teddy has visions of his wife and children who died in a fire caused by Andrew Leaddis. As he investigates further into the disappearance of Rachel, he comes closer to the past he has been trying to run away from and the tragedy in his life.

Amidst the psychopaths and Teddy’s past, the lines are blurred between reality and absurdity. The film brilliantly plays with the audiences’ minds as it is creatively interpreted by Robert Richardson’s cinematography within the perfect 1950’s setting adding to the creepiness. Martin Scorsese leads the audience into a thrilling maze of anxiety and uncertainty as they start feeling trap in a world they cannot understand. The artistic elements are outstanding and DiCaprio and Kingsley’s performances memorable. Surely, this is a film that will be remembered for long because of the powerful images that leaves an aftertaste of fear mixed with depression.

There are several positive aspects in Shutter Island. One, we see the efforts of Teddy to make good of his life despite all the tragedies he has been through. His desire to meet his wife’s killer does not stem from revenge but from justice. And even if he had a primary agenda in coming to Shutter Island, Teddy is still willing to sacrifice himself for the safety of his partner.

However, the movie is definitely not for children. The movie is too dark, violent and seemingly hopeless if one would look at the outcome of main characters lives. The scenes feel heavy and a lot of sensitivities will be crossed. Although teenagers ages 14 and above will be able to understand the movie, it is preferred that it be restricted to adults because of some concerns in language and content, extreme violence, some nudity and obscenity.