Northern Lights

DIRECTOR:    DONDON S. SANTOS  LEAD CAST:   PIOLO PASCUAL, YEN SANTOS, RAIKKO MATEO  SCREENWRITER: ONAY SALES  PRODUCER:  MANNY A. VALERA  EDITOR:  CHRISEL DESUASIDO  MUSICAL DIRECTOR:  FRANCIS CONCIO  GENRE:  ROMANCE, DRAMA  CINEMATOGRAPHER:  ZACH SYCIP  DISTRIBUTOR: STAR CINEMA  LOCATION:  ALASKA, NEW ZEALAND  RUNNING TIME:   100 MINS.

Technical assessment: 3

Moral assessment: 3

CINEMA rating: V14

MTRCB rating: PG

Matagal nang naninirahan si Charlie (Piolo Pascual) sa Alaska. Naiwan niya sa Pilipinas ang kanyang anak na Charlie (Raikko Matteo) rin ang pangalan, at matagal nang hindi niya ito nakikita. Sabik ang bata na makapunta na sa Alaska para makilala ang ama at excited din itong masaksahan ang northern lights sa Alaska. Laking gulat ni Charlie nang malaman na magbabakasyon mag-isa ang anak sa Alaska. Sa kanilang pagkikita, alangan si Charlie sa anak. Hindi nito alam kung paano ito patutunguhan at umiiwas din ito sa mga tanong ng anak lalo’t patungkol sa dahilan kung bakit sila nagkalayo.  Malayo ang damdamin ni Charlie sa anak at mas interesado pa ito sa kanilang bisita na si Angel (Yen Santos) na nagkataong nakasakay ng batang Charlie sa eroplano. Ngunit hindi rin pala bakasyon ang pakay ni Angel. Tulad ng batang Charlie, mayroon din siyang hinahanap.

Kung tutuusin ay napakasimple naman ng buod ng kuwento ng Northern Lights: A Journey to Love—tungkol ito sa mag-aama at mag-iinang nagkalayo at kapwa mga naghahanap ng kasagutan sa mga naiwang puwang sa kanilang puso. Pinakamaganda at pinakamabigat sana kung nanatili sa batang Charlie ang sentro ng kuwento at punto de bista—nasa kanya naman talaga ang bigat ng kuwento. Bagama’t nabigyan ito ng mga maningning na sandal, nalihis pa rin ang pelikula nang mapunta ang kuwento sa pag-iibigan ng matandang Charlie at Angel—bagay na pinilit isingit para lamang lagyan ito ng romansa.  Sayang, sapagkat isteryotipikal na romansa rin ito, samantalang mas mabigat ang mga binitawang tema ng pelikula tungkol sa pamilya, mga Overseas Filipino Workers (OFW), single parents, atbp.  Mahusay pa rin si Pascual bagama’t hindi gaanong bagay ang kabuuan ng karakter sa kanya. Isa namang rebelasyon si Matteo. Si Santos ay may mga mannerisms pa lalo na sa pagbibitaw ng linya—kulang sa pagka-natural. Kamangha-mangha naman ang napili nilang kalugaran at na-maximize naman nila ito ng husto maging ang metaporya ng northern lights. Sa kabuuan namaý masaya pa ring panoorin ang pelikula dahil may mga sandali itong talaga namang pupukaw sa damdamin ng manonood. Mahalaga ang mensahe ng Northern Lights: A Journey To Love patungkol sa pamilya. Tunay na nag-iiwan ng maraming puwang ang pagkawala ng ina man o ama sa pamilya. Sa hiwalayan ng mga mag-asawa, unang naaapektuhan ang mga bata. Kaya’t sa anumang sitwasyon, mahalaga na laging isaalang-alang ang kapakanan ng mga bata—dahil maari nilang pasanin hanggang sa kanilang paglaki ang poot at sakit ng pag-iwan ng kanilang magulang. Binigyang diin din ng pelikula ang kahalagahan ng pagmamahal at pagpapatawad na kaakibat nito. Dahil kapag poot at galit ang pinairal sa puso, wala itong ibubungang maganda. Sa bandang huli, sinasabi ng pelikula na wala sa lugar o panahon ang pagmamahal—lagi itong mahalaga at maipapamalas saan mang sulok ng daigdig. May mga eksena nga lang sa pelikula na sadyang di angkop sa mga bata—at hindi rin maganda ang mensahe nito ukol sa sekswal na relasyon ng dalawang taong hindi pa naman kasal. Isang malaking kasayangan din ito dahil maganda na sana at malinis ang mensahe ng pelikula kung hindi hinaluan ng eksenang kagaya nito. Kung kaya’t ang pelikula sa ganang CINEMA ay nararapat lamang sa mga manonood edad 14 pataas.

Chips

DIRECTOR: Dax Shepard  STARRING: Dax Shepard, Michael Peňa, Vincent D’Onofrio, Adam Brody, Rosa Salazar, Vida Guerra, Kristen Bell  PRODUCER: Ravi D. Mehta, Dax Shepard, Andrew Panay, Rick Rosner  SCREENWRITER: Theodore Melfi, Allison Schroeder  BASED ON: Chips by Rick Rosner  MUSIC: Fil Eisler  CINEMATOGRAPHER: Mitchell Amundsen  EDITOR: Dan Lebental  GENRE:  Action Comedy  PRODUCTION COMPANY: Primate Pictures, Panay Films, RatPac-Dune Entertainment  DISTRIBUTOR: Warner Bros. Pictures  COUNTRY:  United States  LANGUAGE: English  RUNNING TIME: 101 minutes

Technical assessment:  3

Moral assessment:  2

CINEMA rating:  V18

MTRCB rating:  R16
A former biker, Jon Baker (Dax Shepard) and an FBI undercover agent, Frank "Ponch" Poncherello, joins the California Highway Patrol for different reasons. Jon aims to make things right in his life especially his marriage while Ponch is investigating on an anomaly inside the CHP. As they both try to focus on their goals, they clash rather than unite when they were partnered for duty and to catch the bad guys.  The Catholic News Service of the US Conference of Catholic Bishops classifies Chips as “O”, morally offensive.  Topics for discussion include failed marriages, Highway Patrol, second chances, sex addiction, friendship, perseverance at work, homosexuality, homophobia, masturbation, sex-objectification of women, etc.

Life

DIRECTOR:  Daniel Espinosa.  CAST:  Jake Gyllenhaal, Rebecca Ferguson, Ryan Reynolds, Hiroyuki Sanada, Ariyon Bakare, Olga Dihovichnaya  SCRIPTWRITER:  Rhett Reese, Paul Wernick  PRODUCER:  Bonnie Curtis, Julie Lynn  MUSIC:  Jon Ekstrand  CINEMATOGRAPHY:  Seamus McGarvey  EDITOR:  Frances Parker, MaryJo Markey

PRODUCER:  David Ellison, Dana Goldberg  DISTRIBUTOR:  Columbia Pictures COUNTRY:  USA  GENRE: SciFi, suspense  RUNNING TIME:   103 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

MTRCB rating:  R13

Aboard an International Space Station, a six-member team tasked to retrieve an unmanned space capsule carrying soil sample from Mars. The team’s biologist, Hugh Derry (Ariyon Bakare) successfully revives the dormant organism, later named “Calvin” by schoolchildren on Earth.  While jubilant that they are in possession of the first proof of extra-terrestrial life, the astronauts implement a safety protocol to ensure that the experiment is contained in the spacecraft’s laboratory.  Calvin grows amazingly fast from single to multi-celled organism, turns hostile, and fatally attacks four of the crew members, starting with Derry followed by American systems engineer Rory Adams (Ryan Reynolds),  Russian commander Katerina Golovkina (Olga Dihovichnaya), and Japanese space pilot Sho Murakami (Hiroyuki Sanada).  The remaining crew members, British quarantine officer Dr. Miranda North (Rebecca Ferguson) and American senior medical officer Dr. David Jordan (Jake Gyllenhaal), separately take two emergency escape pods—one to take Calvin to deep space away from Earth, the other one to return to Earth and report the fate of the mission. 

The opening scene takes the viewer to a dizzying upside-down zoom of the space station. While all too familiar, the shots nevertheless are meticulously rendered and the camera succeeds in giving the viewer a feel of life in space.  Although editing and cinematography are good, the music tends to distract.  The actors struggle with poor script that make them—especially Bakare, Dihovichnaya, and Sanada—sound like they are reading their lines straight from a scientific journal.  Character development, however, is sufficient as a palette for when complications escalate in the story that has Calvin as the star outsmarting the human experts.  Director Espinosa takes care not to let Life become another guess-who-dies-next thriller by maintaining a sober tone and presenting capable characters who problem-solve at the skill level demanded by their profession.  The suspense aspect succeeds in giving thrills to the viewer, with the final sequence sealing Life as a dark, intense, and ominous film.  

There is only one Creator of life—God, and not even the most highly educated human scientists.  Scientific research should be carried out from God’s gifts of knowledge, talent and skills to mankind.   Life delves into the broader theme of bioethics, demonstrating how man uses biology and medicine to create new life. The intent of the mission’s team is noble: to test, to culture, and possibly to evolve an organism that may someday help mankind.   In the film, nature destined the organism from Mars to remain dormant in space, but man interfered and changed the ecosystem.  Hence the destruction. The film does not prevaricate in showing the destructive side of the issue, and for that it is commendable.  Commendable, too, is the willingness of the members of the space mission to sacrifice their lives to contain the alien life form in space and keep it from invading earth.

Power Rangers

DIRECTOR: Dean Israelite  LEAD CAST: Elizabeth Banks, Bryan Cranston, Dacre Montgomery, RJ Cyler, Naomi Scott, Ludi Lin, Becky G.  SCREENWRITER: John Gatins  PRODUCER: Haim Saban, Brian Casentini, Marty Bowen, Wyck Godfrey  EDITORS: Martin Bernfeld, Dody Dorn  MUSICAL DIRECTOR:  Bryan Tyler  GENRE: Action/Adventure  CINEMATOGRAPHER:  Matthew Lloyd  DISTRIBUTOR: Lionsgate  LOCATION: USA  RUNNING TIME: 123 minutes

Technical assessment:  3

Moral assessment:  3.5

CINEMA rating:  V13 (Viewers 13 and below with parental guidance)

MTRCB:  GP

Five high schoolers in Angel Grove, California find themselves drawn to an abandoned gold mine: jock Jason  (Dacre Montgomery), who is at odds with his father; Billy (RJ Cyler), a nerd who happens to be black; Kimberly (Naomi Scott), an ostracized cheerleader; Trini (Becky G), who has communication issues; and Zack (Ludi Lin), outwardly cocky but is a devoted son.  They find and come to own five colored stones which they discover soon give them incredible physical strength.  They decide to go back to the mine where they disover further superhuman abilities.  Exploring the area leads them to an underground spaceship where they meet Alpha 5, a talking robot (voiced by Bill Hader) who introduces them as to Zardon (Bryan Cranston), mentor of the Power Rangers.  They are told they are the “chosen ones”—the Power Rangers whose mission is to save the planet from a 65-million year old “fallen” Power Ranger Rita Repulsa (Elizabeth Banks).   

Power Rangers’ most valuable asset is its simple plot.  While the candy-colored superhero outfits are slick, the CGIs are not really that impressive; other superhero movies have offered bigger spectacles and more earth-shattering battle scenes.  However, the movie shows sincere effort to blend teen drama and superhero mythos that is cohesive enough to advance the narrative, resulting in an entertaining, relatable presentation. That the five protagonists are relatively unknown helps to heighten the credibility of their roles.    Banks is topnotch as Rita Repulsa the repulsive villain (as her name implies)—a bit hammy but effective, and qualifies her to play against the Joker in some foreseeable future.

There are two outstanding lessons taught in the movie.  The five teenagers chosen to become the Power Rangers are each a misfit or a social outcast.  Burdened with their individual angst, and coming from different racial backgrounds, it is obvious that these “teenagers with attitude” compose a mismatched team.  But they are warned that they cannot morph into Power Rangers unless they first learn to be a team—only in harmony with one another can they succeed in their mission of saving Earth.  This underscores the need to selflessly focus on a goal bigger than oneself if one must make a difference in the world.  They are also repeatedly reminded to be humble, to “live humbly” among ordinary mortals, and not to flaunt their powers—an advice which they take to heart until they mature from the high school kids wildly trying their new-found abilities into the real heroes gaining depth and wielding their powers with grace and anonymity.

Beauty and the Beast

Direction: Bill Condon;  Cast: Emma Watson, Dan Stevens, Luke Evans, Kevin Kline, Ewan McGregor, Emma Thompson, Stanley Tucci; Story: based on Disney and Jeanne-Maria Leprince de Mount Beauty and the Beast; Screenplay: Stephen Chbosky, Evan Spoliotopoulos; Cinematography: Todias Schiessler; Producer: David Hoberman, Todd Lieberman; Music: Alen Menken; Genre: Fantasy/Musical; Distributor: Walt Disney Motion Picture; Location: France  Running Time: 129 minutes;

Technical assessment :  3.5

Moral assessment : 4

MTRCB rating : G

Cinema rating : VA (Viewers of all ages)

During the 18th century France, a self-absorbed Prince (Stevens) is cursed and transformed into a hideous Beast after he turns away an enchantress disguised as a beggar looking for shelter. The rest of the castle’s household are transformed into objects and their existence is erased from the mind of the villagers. The enchantress gives Beast a rose and tells him that the curse will remain unless he learns to love and earns the other person’s love in return before the last petal falls. Meanwhile, Belle (Watson), a young free spirited lady who loves books and adores her father is laughed at by the entire village for her strangeness. One night, Maurice (Kline), Belle’s equally eccentric father, is captured and imprisoned by Beast for trying to steal a rose in his garden. Belle travels to the castle and frees Maurice in exchange for herself. In the process, Belle and the Beast discover each other’s real self and eventually fall in love. But Gaston (Evans), a vain soldier who will stop at nothing so he can marry Belle, stands in the way as a threat to their love and life.

Beauty and the Beast has an important factor playing both for and against it. It precedes a successfully popular animated version. Automatically, there is a captive audience familiar with the set up and music on the one hand and an outstanding version quite hard to forget and match. Production-wise, the live version is impeccable. Every last detail is either a charming replica of the animation bringing memories for the older generation and enchantment to the first time viewers. The music is familiar and enhanced with the modern interpretation and some new inspired songs. Evan’s Gaston is iconic and made memorable with his performance. Kline’s Maurice is a thoughtful and honest. We cannot same the same with Watson’s Belle and the CGI’d Beast. They just feel flat and sluggish in delivering their lines and belting the songs amidst the textures of the production. The single expression on Watson makes her a weak heroine. (Also there is too much Hermoine in her). The choreographies are unexciting as well. While the movie is indeed faithful to the animated version, it feels a little too faithful offering nothing new except it is no longer animated. Nonetheless, it still is a must-see film that transitions literature into animation and live action.

The movie celebrates individuality and acceptance. Belle, Maurice, Agatha (the enchantress) and Beast are misfits. But then, when we come to know their hearts and see them for the persons they really are, we realize that being different is not a liability. The movie also shows us that acceptance cannot come from others unless we transcend our struggles to accept and become comfortable with who we are. People sadly tend to prefer to see our flaws and weaknesses and belittle our potential to be great. If we rely on their impressions, we will be left depressed and desperate to fill that void by being self-absorb and vain—as Gaston is and as the Prince was. Real beauty is not skin deep but radiates from a heart that knows how to love, forgive and be unselfish.

Get out

DIRECTOR:  Jordan Peele  LEAD CAST:  Daniel Kaluuya, Allison Williams, Bradley Whitford  SCREENWRITER: Jordan Peele  PRODUCER: Jason Blum, Edward Hamm Jr., Sean McKittrick & Jordan Peele  EDITOR: Gregory Plotkin  MUSICAL DIRECTOR:  Michael Abels  GENRE: Horror  CINEMATOGRAPHER:  Toby Oliver  DISTRIBUTOR: Universal Pictures  LOCATION: Alabama, USA  RUNNING TIME: 104 mins.

Technical assessment:  4

Moral assessment:  3

CINEMA rating:  A14

MTRCB Rating:  R13

Chris (Daniel Kaluuya) packs his bags for a weekend break upon the invitation of his girlfriend, Rose. He is meeting her parents for the first time. Chris becomes upset upon learning that Rose fails to mention to her parents that he is black. The latter explains that her parents are not closed-minded, and surely are not racists and that made him less anxious.  Sure-enough, both parents welcome Chris with atypical warmth, but Chris gets a creepy feeling as he notices the freakish behaviors of their black household helpers Georgina and Walter.  His apprehension builds up some more with the suspicious behaviors of everybody in the house except Rose.  Are his suspicions valid or are they just a byproduct of the fear of racial discrimination which he still encounters every day of his life?

Get Out is an intelligent and modern take on racial discrimination in America which many thought and believed, has already been addressed accordingly.  The director is able to work around the theme well with the genre.  The filming is solid and storyline is focused.  Daniel Kaluuya excels in the film—his facial expression and emotion speaks of appropriate fears absent in the dialogue.  He is the kind of protagonist that audiences would really care deeply about.  The entire ensemble of actors delivers perfectly well.  As the audience is entertained with the thrills inherent to the genre, they are also taken into a world where one may ponder basic questions on humanity.  It’s quite rare nowadays to see a film that would elicit such profoundness in the seemingly mundane details of daily human existence.  What is even remarkable is that though the film tackles racial violence—it manages not to wallow in excessive violence.  The film leaves a lingering feeling of disgust, guilt, fear and vindication.  For sure, one will never take racial discrimination for granted again after seeing this film.

Get Out speaks of how far and low humans would go just to maintain the status quo.  The root of racial discrimination is deeply embedded in the tenets of human civilization and has not really been eradicated yet even if the United States has already had an African-American president—and even when there are already internationally-recognized black high-achievers.  Many African-Americans still fear being discriminated against. The hate is still real. The violence is real.  The film even transcends the resistance and dialogue even more in the treatment of the black’s superior qualities—of bodily strength, uniqueness of color, etc. as object of envy and a cause of their doom rather than salvation.  The character of Chris shows that love makes all humans equal regardless of race or origin.  Superiority is only a product of illusion—of lies told over the years and accepted as truth.  Another lie which humans have the tendency to believe is that they are equal with God and therefore can also create and re-create and manipulate human life on whim. Using science and human intelligence as shown in Get Out, where humans are motivated by greed and pride, is evil.  In the end, though, good triumphs over evil—a proof that God saves the righteous—and He does not look at the color of one’s skin as He created men equal, very different from one another for a reason, but equal.  For humans, that may be far-fetched, but for God, it has always been that way. For its mature theme, and for graphic scenes of gore and violence in the film, although in context, CINEMA deems Get Out as appropriate only for audiences aged 14 and above.

Kong: Skull Island

DIRECTOR: Jordan Vogt-Roberts  STARRING: Tom Hiddleston, Samuel L. Jackson, John Goodman, Brie Larson, Jing Tian, Toby Kebbell, John Ortiz, Corey Hawkins, Jason Mitchell, Shea Whigham, Thomas Mann, Terry Notary, John C. Reilly  PRODUCER: Thomas Tull, John Jashni, Mary Parent, Alex Garcia  SCREENWRITER: Dan Gilroy, Max Borenstein, Derek Connolly

BASED ON: King Kong by Merian C. Cooper  MUSIC: Henry Jackman  CINEMATOGRAPHER: Larry Fong  EDITOR: Richard Pearson  GENRE:  Sci-Fi  PRODUCTION COMPANY: Legendary Pictures, Tencent Pictures  DISTRIBUTOR: Warner Bros. Pictures  COUNTRY:  United States  LANGUAGE: English  RUNNING TIME: 118 minutes

Technical assessment:  4

Moral assessment:  3

CINEMAQ rating:  V14

In 1973, the US sends a team to an uncharted island in the South Pacific—that is perpetually enveloped in clouds and is recently discovered by satellite—to see if the island is inhabited.  British agent James Conrad (Tom Hiddleston), a former Special Air Services captain, is hired to be chief hunter-tracker, while Lt. Col. Preston Packard (Samuel Jackson), heads the military’s helicopter squadron, the Sky Devils, to chopper the team to Skull Island.  The only woman in this team of soldiers and scientists is an anti-war Life photographer, Mason Weaver (Brie Larson), who suspects the mission is a military operation hiding a dark agenda.  Scattered and scampering for safety after their choppers are crushed like toy drones by a 100-foot tall bipedal ape, some team members encounter stranded American pilot Hank Marlow (John C. Reilly), and get to come up close and personal with Kong.

Kong: Skull Island opens with two WWII fighter pilots engaged in hand combat; as one is about to kill the other, a giant ape appears, interrupting the fight and making the combatants flee for dear life.  This prologue is essential to the plot’s unfolding.  If you expect the story to be about an oversized simian getting infatuated with a beautiful human female, you’ll be disappointed.  Kong here is a celibate loner, the last of his kind, is revered by the island’s human population as god and king, and picks only on enemies his size.  The film’s CGI, especially the ones with Kong fighting the alpha Skullcrawler and the monstrous octopus, combined with a humane story and a dash of humor should make entranced audiences feel how 118 minutes fly so swiftly.      

Kong: Skull Island is really about the beauty of the beast.  It may be fiction, meant to entertain us, but the movie teases the imagination and offers many points worthy of discussion.  For one, there is something poignant about a formidable ape—who’s two and a half times as tall as Luneta’s Rizal Monument—protecting the environment and a lost human tribe from giant predators.  Are simians supposed to be that intelligent and compassionate that they could put to shame military characters who out of smugness would mindlessly destroy the life and beauty in an unknown territory? Another is destructive human aggressiveness: consider the bombing of Skull Island and ask why humans make such powerful, destructive weaponry—is it just out of self-preservation and national defense, or out of a lust to conquer territories ahead of a rival world power?  Which is more frightening, man-made violence or the wrath of nature provoked?  CINEMA cautions elders (who may be intending to watch a DVD copy of the movie at home) to keep children out of the viwing area.  Grisly deaths and multiple dangers facing characters in the movie might prove too scary, even traumatic, for them.        

Hidden Figures

DIRECTOR:  Theodore Melfi  SCREENWRITER:  Theodore Melfi, Allison Schroeder PRODUCER:  Peter Chernin, Donna Gigliotti, Theodore Melfi, Jenno Topping, Pharrell Williams EDITOR:  Peter Teschner. MUSICAL DIRECTOR:  Hans Zimmer, Pharrell Williams, Benjamin Wallfisch. CINEMATOGRAPHER:  Mandy Walker  DISTRIBUTOR:  20th Century Fox LOCATION:  United States  GENRE:  Biographical drama RUNNING TIME: 127 minutes.

Technical assessment:  4                                          

Moral assessment:  4

CINEMA rating: V14

Hidden Figures tells the true story of three African-American women mathematicians in NASA who played major roles in the successful launch of astronaut John Glenn’s historic multiple orbits around the earth in the 1960s. The three are called ‘colored human computers’ at a time of deep racial segregations.  Katherine Goble (Henson) is promoted to work in the Space Task Group headed by Al Harrison (Costner).  Dorothy Vaughan (Spencer) acts as supervisor to a group of fellow African-Americans, but whose pleas for promotion are ignored by her white female supervisor.  Mary Jackson (Monáe) goes to court to win the right to be the first black female to study and train as a NASA engineer.

The film is an adaptation of Margot Lee Shetterly’s book of the same title.  Overall, the scenes are beautifully shot—the period costumes delight visually, albeit the performances sometimes tend to go over the top. Despite its dark theme of segregation and misogyny, the film is upbeat in sights and sounds. The first scene of all three women stranded together by the highway fixing their car while chatting leisurely under a beautiful blue sky is shattered subtly by the tension brought by the arrival of a police car driven expectedly by a white male officer. And yet that scene ends up with the three women singing along as they are escorted to NASA by the same officer.  It then sets the stage for subsequent vignettes backed by Pharrell Williams’ soulful pop music, all appearing in between or during each woman’s struggle and fight for her rights.

Hidden Figures is inspiring as much as it is revealing in its treatment of segregation issues. We are in awe at the exemplary individual achievements of the three lead characters. They do represent the inherent dignity that is accorded each human being—not on account of race, color, gender, or faith. That they are human beings gives them equal access, as with everyone else, to lead a life that would allow them to reach their full potentials. In the movie, we see this as access to education, fair treatment at work, promotion based on merit, and yes, even the use of a toilet. Yet we wonder: what about those who are not as gifted as Katherine, Dorothy, and Mary—the poor in the fringes? The film puts them in the backdrop, with Martin Luther King organizing these African-American groups to fight for equality. To this day, we face the same issues of hate and segregation. The film gives us the message several ways. Maybe not all, but we get something good. It gives us hope, in individual achievement and the social movement. That is what good movies are great for. 

A dog's purpose

Director: Lasse Hallstrom  Lead Cast: Robert Quaid, Brid Robertson, Josh Gad, Kj Apa, Juliet Rylance  Screenwriter: W. Bruce Cameron, Cathryn Michon  Producer:  Gavin Polone  Editor:  Robert Leighton  Musical Director:  Rachel Portman  Genre: Comedy Drama  Cinematographer:  Terry Stacey  Distributor: Universal Picture  Location:  United States  Running Time:   120 minutes

Technical assessment: 3

Moral assessment: 3.5

CINEMA rating: V13

MTRCB rating: PG

The film follows the four lifetimes of a dog (voiced by Josh Gad).  During his first life, as a golden retriever, he's rescued from a dangerous situation and adopted by 8-year-old Ethan Montgomery (Bryce Gheisar). Ethan's mother (Juliet Rylance) welcomes this addition to the household, and helps convince his father (Luke Kirby), to accept the puppy whom Ethan names Bailey. He becomes Ethan's inseparable companion as Ethan grows into a high school football star (KJ Apa) and finds true love with Hannah (Britt Robertson). His bond with Ethan proves the most enduring of his relationships with humans. But still, during his succeeding lifetimes, Bailey serves as a police dog called Ellie and later becomes a Corgi named Tino. Ellie does her best to comfort her lonely trainer, widowed Chicago police officer Carlos (John Ortiz), and Tino helps to liven up the stagnant social life of his companion single young lady Maya (Kirby Howell-Baptiste). In all this life cycles of living and dying, Bailey desperately tries to ponder on the real purpose of his existence.

A Dog’s Purpose is a charming adaptation of a 2010 best-selling novel by author W Bruce Cameron. It will be easy for pet lovers to fall in-love with the film and the dog protagonist but non-pet lovers will be endeared to the film’s universal appeal as well. The storyline though is quite simplistic and devoid of spectacle but it is able to show its heart. Gad as the voice-over is terrific and the other casts are as effective. It might have really been a challenge as well to make dogs act but the film is able to do that with flying colors. One will really never see dogs the same again after seeing the film as it will really make one feel dogs’ human side. The film does not really climax though – but such is forgivable for the film is meant to make the audience ponder on the very core of humans and dogs purpose of existence. And it really is just as simple as the film.

The film banks on its simple charm and the simple but powerful message—live in the present moment, one simple truth that most may have already forgotten. In the hustle and bustle of urban life, most take present moments for granted. Humans are either busy in the present, resentful in the past or anxious of the future. Bailey lived each moment of his life, in all the four lifetimes, by the present moment. He acknowledges his emotions at the moment and forgets his ego—all for the sake of his master. Dogs love unconditionally and live a life of no regrets because they have given their all to their owners. They know that they do not own their life and that they are always dependent on their master. They provide joy and bring cheer to the lives of people and yet, when they are neglected, they do not harbor hatred. They are loyal to the core both to their master—and to their purpose. Truly, humans can learn so much from dogs. God created man for a purpose—to love. And dogs are created to remind humans of that purpose.  But we must also be reminded that unlike this dog in the movie, humans live only one life.  For some of its mature themes on teenage love, family life, and alcoholism, the children must be accompanied when watching, but all ages must be guided on the concept of reincarnation which underlies the plot of the movie.

Puwera Usog

DIRECTOR: Jason Paul Laxamana  LEAD CAST: Devon Seron, Joseph Marco, Sofia Andres  WRITER: Jason Paul Laxamana  SCREENWRITER: Jason Paul Laxamana  PRODUCER:    Lily Y. Monteverde  MUSIC: Paulo Protacio  FILM EDITOR: Ilsa Malsi  GENRE: Horror  CINEMATOGRAPHY: Rommel Sales  PRODUCTION DESIGNER: Melvin Lacerna  PRODUCTON COMPANY: Regal Films, LargaVista Entertainment  SPECIAL EFFECTS: Imaginary Friends Studio  SOUND DESIGNERS: Lamberto Casas Jr., Immanuel Verona  RELEASED BY: Regal Entertainment, Inc.  COUNTRY: Philippines  LANGUAGE: Filipino, Tagalog   RUNNING TIME: 95 minutes

Technical assessment:  3.5

Moral assessment: 2.5

CINEMA rating: V14

MTRCB rating: R13

Katuwaan ng spoiled brat  na si Jean Cordero (Sofia Andres) at ng kanyang mga kaibigan na kapwa anak-mayaman, sina Val (Cherise Castro) at Bobby (Albie Casiño). na manakot ng mga tao sa kanilang lugar, kunan ito ng litrato, at ilabas ito sa kanyang social media channel account. Maiisipan ni Jean na maghanap ng mga bagong mapagkakatuwaan at makukumbinse niya ang ex-boyfriend na si Sherwin (Joseph Marco) upang ipagmaneho sila. Hahantong sila sa isang ilang na lugar kung saan matatagpuan nila ang pulubing si Luna (Devon Seron).  Tatakutin nila ito at tatakbo hanggang sa mahulog sa matarik na abandonadong gusali.  Aakalain nila na namatay ito dahil sa sama ng pagkakabagsak subalit sa kanilang pagkabigla ay mawawala ito na parang bula mula sa pinagbagsakan nito. Magmula noon ay magkakaroon na sina Jean, Val at Bobby ng mga kakaibang panaginip at pakiramdam na may nakasubaybay sa kanila na nagdudulot ng kilabot hanggang sa misteryosong mamatay si Bobby.  Kukutuban si Jean na may kinalaman ito sa pulubing biktima ng kanilang pananakot kaya magpapasama siya kay Sherwin upang bumalik sa lugar ng pangyayari at humingi ng tawad.  Sa pagbabalik nila sa lugar ay makilala nila si Quintin (Kiko Estrada), anak-anakan ng albularyong si Nanay Minda (Aiko Melendez)  at malalaman nila na malakas na uri ng “usog” ng isang namatay na mangkukulam na si Catalina (Eula Valdez) ang tumama sa kanila.

Maganda ang kuwento ng Pwera Usog.  Maayos  na naipakita nito kung paano nagkaroon ng  pag-unlad at pagbabago, at paniniwala sa mga tauhan. Bagamat exaggerated  ay nakapagbigay ito ng kaalaman tungkol sa “usog” na isa sa mga sinaunang pamahiin ng mga P ilipino na umiiral pa rin hanggang sa kasalukuyan. Dahil marahil sa temang katatakutan ay labis nitong iniugnay ang “usog” sa isang di matahimik na kaluluwa at makapaghasik ng kapahamakan.  Mahusay ang mga pagganap nina Andres, Marco, Seron, at Estrada kahit mga baguhan ay nakipagsabayan sa husay ng mga batikan na sina Melendez at Valdez. Epektibo ang pagkakadirehe sa kanila at  kabuuang trato sa kwento.  Maganda ang disenyo ng produksyon at ang mga kuha ng kamera sa iba’t ibang setting.  Malaki ang naitulong ng malinis na editing dahil naipakita ang kaugnayan ng bawat lugar mula sa sibilisasyon hanggang sa lumang bahay, gusali at simpleng bahay kubo.  Lalong nakapagbigay saysay at epektibong paghahatid ng takot at gulat sa mga manonood  ang mga ginamit na ilaw, musika, at tunog.  

Ipinakita sa pelikula kung saan pwedeng dalhin ang mga kabataan ng malilikot nilang ideya sa paggamit ng social media lalo na kapag walang nakatutok na paggabay ng magulang.  Isa ito sa mga nagiging epekto sa mga anak ng mga hiwalay na magulang.  Hindi makatao na paglaruan at gawing katatawanan ng sinuman ang kanyang kapwa katulad ng pinakita ng pelikula.  Kung hindi pa nagkaroon ng kakaibang kaganapan at pagbuwis ng buhay ay hindi maiisipan ang paghingi ng tawad.  Samantala, tradisyong pagano ang ipinakitang trato sa “usog” sa pelikula—mapapansin na wala man lamang patungkol sa kristyanong ispiritualidad, sa halip ay mga espiritu ng mga yumaong ninuno ang hiningan ng kalakasan ni Quintin para magapi ang masamang espiritu; naging sanggalang o pangontra din ang mga anting-anting.  Sa bandang huli ay nanaig naman ang kabutihan at nagpanibago sa buhay ng mga tauhan.  Subalit sa kabuuan ay nakakabahala ang tema ng pelikula dahil sa mga mensahe ng paganong paniniwala, at ang pag-aanak kahit hindi nagpapakasal bilang hugot ng isang anak mula sa broken marriage.