Kurap

Cast: Ashley Rhain Arca, Christian Burke, Jojit Lorenzo, Sherwin Ordoñez; Director: Roni Bertubin; Producer: Antonio de Guzman Jr.; Screenwriter: Romualdo Avellanosa; Genre: Drama; Distributor: Silangan Pictures; Location: Manila; Running Time: 90 min.;

Technical Assessment: 3
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Si Ambet (Sherwin Ordonez) ay isang mandurukot sa Quiapo na pinasok din ang pagbebenta ng mga bagay na nakaw tulad ng cellular phone, kasabwat ang ilang kaibigan. Nang magkasakit ng glaucoma (isang sakit na unti-unting nagpapabulag ng mata) ang kanyang nakababatang kapatid sa ina na si Luchie, kinailangan niya ng mas maraming pera upang maipagamot ito. Sakto namang dumating sa buhay nila si Marlon (Jojit Lorenzo), isang amateur videographer, upang alukin siya ng pera kapalit ang pagtuturo nito ng mga illegal na negosyo sa Quiapo. Mapipilitan si Ambet na ipagkanulo ang mga kaibigan sa ngalan ng pagmamahal nito sa kapatid at sa salaping kanyang makukuha. Ngunit ito rin ang simula ng panganib sa kanyang buhay.

Para sa isang Indie (independent) na pelikula, maayos ang daloy ng kuwento ng Kurap. Malinaw ang karakterisasyon at nagamit nang husto ang lugar ng pelikula. Sinubukan nitong pasukin ang ilang bagong elemento ng paggawa ng pelikula. Nariyan ang kakaibang paggamit ng cinema verite kung saan pawang kunukunan lamang ang mga pangyayari sa makakatotohanang paraan. Naisalarawan ng pelikula ang talamak na kalagayan ng mahihirap sa lungsod. Medyo gasgas na nga lang ang Quiapo bilang kumakatawan sa lahat ng sakit ng Maynila. Hilaw pa rin sa pag-arte ang ilang tauhan bagama't maaari naman itong palagpasin. Marami ring eksenang tuhog at hindi ginamitan ng tripod kung kaya’t lumabas na nakakahilo at magulo--isang kahinaang maituturing ng cinema verite approach sa pagsasapelikula. Labis ring madidilim ang mga eksena kahit na nga ito marahil ay pagbibigay-simbolismo sa madilim na mundo ng mga mandurukot, snatchers, at iba.

Sa isang mundong nababalutan ng kadiliman at kahirapan, kinakailangan ang malinaw na paningin upang malaman kung saan nga ba patutungo ang lahat nang ito. Sa bilis ng mga pangyayari ay maaaring magbago ang takbo ng lahat sa isang kurap. Ito ang nais sabihin ng pelikula. Binuo ang kuwento upang muling buksan ang mata ng manonood sa mga nangyayaring kahirapan at kasamaan. Ngunit pawang naging malabis ang pelikula sa paggamit ng kapangyarihan nitong magsiyasat at magbulgar ng sakit ng lipunan. Maraming elemeto ang walang malinaw na pinanggagalingan at patutunguhan. Sa isang banda ay kapuri-puri ang tapang ng pelikula sa pamumunasa kultura ng mass media kung saan talamak ang kasamaan at pangungurakot. Anito, walang pinagkaiba ang media sa mga snatchers, mandurukot, namimirata at mga prostitute. Sa mundong ito, mas talamak ang korupsiyon at panlalamang sa kapwa. Pero ano’t ano pa man, isang madilim na pelikula ang kurap na walang ipinakikitang pag-asa o inspirasyon man lamang. Labis na nakababahala ang pagkakaroon ng papel ng isang bata sa pelikula na kung saan ay marami siyang nakikitang masama. Maari ngang nangyayari ang mga ito, pero nakababahalang wala man lang pag-asang dala ang isang bata hanggang sa katapusan ng pelikula. Kinokonsinte rin ng pelikula ang pagtatalik ng hindi mag-asawa maging ng mga bakla. Walang pagbabago, walang pagsisisi at walang sinumang mabuti at walang Diyos na pinaniniwalaan ang mga karakter sa pelikula. Idagdag pa rito ang maraming eksena ng paghuhubad at pagmumura ng mga tauhan. Nararapat lamang ang pelikula sa mga manonood na may gulang na at sapat na hinog ng isipan.

Passengers

Cast: Anne Hathaway, Patrick Wilson, Dianne West, David Morse, Andre Braugher, Don Thompson, Chilah Horsdal, Stacy Grant; Director: Rodrigo Garcia; Producers: Joseph Drake, Nathan Kahane, Julie Lynn, Judd Payne, Matthew Rhodes, Keri Selig; Screenwriter: Ronnie Christensen; Music: Ed Shearmur; Editor: Thom Noble; Genre: Thriller/Romance; Cinematography: Igor Jadue-Lillo; Distributor: Tristan Pictures; Location: Vancouver, British Columbia; Running Time: 93 min.;

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

A plane crashes on a Vancouver beach with most of the one hundred passengers perishing. Claire Summers (Anne Hathaway), a young psycho-therapist, is asked to counsel the few survivors to help them cope with their near-death traumatic experiences. She meets the five of them in group therapy sessions but one of the survivors Eric (Patrick Wilson) refuses to join the group but insists on one-on-one home visits. He is hesitant to talk about the crash but feels reinvigorated with this second chance at life due to his miraculous survival. At least two of the survivors recall seeing a flash of light and a loud explosion before the crash. However, the investigators say the accident is due to pilot error. When her patients gradually disappear or fail to attend the sessions one by one, Claire senses an airline cover-up. Her relationship with Eric becomes more personal and Claire knows she violates her profession’s ethics, having crossed the ethical line with a patient. Some unusual, ominous things start to happen and Claire feels there is some mystery at the heart of things. What will Claire uncover?

In the ads promoting Passengers, the movie is compared to the Sixth Sense and Final Destination and so the spectators expect preternatural happenings and thrills. This could be misleading. Passengers offers very minor thrills, and practically no scares nor dramatic moments. The crash, the opening scene, sets the screen into some mild action, but after that, the film plods on and can be boringly slow with virtually nothing interesting happening. Some characters flit in out of the story like Toni (Dianne West), Claire’s kind neighbor. Then there is gradual romantic bonding between Claire and Eric as Claire begins to open up so that keeps the story progressing. The spectator may not know exactly where the story is heading but must be open to some mysterious climax. And in the last fifteen minutes, the director gives the story a surprising twist and ties up all the loose ends. Far from being a supernatural thriller, the film is a character piece. Anne Hathaway’s and Patrick Wilson’s adept performances are a plus for the film and so are those of some minor characters like Dianne West and Daniel Morse. The cinematography has helped build the dreary, spooky mood with its constant images of the palpable cold weather and dark overcast skies.

The film Passengers has a new slant on the “after-life” and like such films in the same genre, it affirms the fact that there is life after this earthly existence. The film suggests that somehow, the way we live our lives here on earth has some bearing on that other future life. Take Eric, a “survivor” who feels he has to do now what he had always wanted to do but did not, so now in his “present” moment he is in a frenzy of activities among them painting, motorcycle riding, swimming in the cold bay in the dead of night. Or Sharon, another “survivor” who has feelings of regret because somehow she had not been able to set things right with her parents who sort of abandoned her when she was very young. Or even Claire who had problems with her sister. Claire now wants to reach out to her sister and tell her how much Alice her sister meant to her. Probably the film may spur the spectator into a realization that in this short earthly life, there is much to value especially in our relationships with loved ones and others, and that we must choose to make these relationships beautiful, fulfilling and satisfying as we wish--while we still can.

Madagascar: Escape 2 Africa

Cast: (Voices) Ben Stiller, Chris Rock, David Schwimmer, Jada Pinkett Smith, Sacha Baron Cohen, Cedric The Entertainer, Andy Richter, Bernie Mac; Directors: Eric Darnell, Tom McGrath; Producers: Mireille Soria, Mark Swift; Music: Hans Zimmer; Genre: Animation/ Action/ Adventure/ Comedy/ Family; Distributor: Paramount Pictures; Running Time: 89 min.;

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

Dance-loving lion Alex (voice of Ben Stiller), lively zebra Marty (voice of Chris Rock), worrier-giraffe Melman (voice of David Schwimmer) and voluptuous hippo Gloria (voice of Jada Pinkett Smith)—a quartet of wild animals pampered in New York City’s Central Park Zoo—find themselves stranded in Madagascar. Longing for the comforts of their city home they agree to take an “Air Penguin” flight across the Atlantic on a refurbished wrecked plane taped together by displaced penguins and chimpanzees. But what do you expect of a makeshift aircraft launched into orbit by a giant slingshot? They crash-land in an animal preserve on an African savanna. Here’s where the zoo-raised foursome get to meet their wilder cousins, problems arise, and the adventure begins.

The story is not complicated enough to interest parents or adult viewers but young ones perhaps couldn’t care less because there’s more than enough to get distracted with: the sunny atmosphere, the lush settings, the magnificent landscapes, thrilling action (sacrifice to a volcano), and the animals’ human antics. All these combine to make of Madagascar: Escape 2 Africa a more engaging movie than the original Madagascar . But does this mean it’s safe enough for viewers of all ages to watch?

Parents are cautioned against the potty humor and the violent moves animations like to think they can get away with. Although on the surface it looks like it’s aimed to please kids, deep within it’s a film for adults (and precocious adolescents, perhaps). The four animals have issues too grown-up for young children to understand or be exposed to. Alex (the lion) tries hard to prove himself to his father. Marty (the zebra) undergoes an identity crisis when he joins a herd of zebras in the wild. Melman (the giraffe) is burning with secret love for Gloria (the hippo) who is in turn smitten by the charms of a he-hippo. It is claimed that with this story-line, Madagascar 2’s directors and co-writers Eric Darnell and Tom McGrath offer lessons about the value of self-confidence and true love. But it could also be perceived as a veiled challenge to the idea of conformity. As a toddler-lion, Alex is a disappointment to his father, the macho leader of the pride, because the son is giggly, loves to dance, plays with butterflies and is too friendly to be leonine. (A father unable to accept a gay kid?) As for the hippo-giraffe partnership—it remains ambiguous. It could be saying that true love knows no class barriers, or that one could defiantly go after one’s heart’s desire regardless of the impossibility of starting a family. For pray, tell us, can a hippo and a giraffe mate to produce an offspring? (Shades of same-sex marriages?) Let’s just hope the implications escape young viewers while providing a moral brainteaser to adult audiences.

Quantum of Solace: 007

Cast: Daniel Craig, Olga Kurylenko, Mathieu Amalric, Giancarlo Giannini, Jeffrey Wright, Judi Dench; Director: Marc Forster; Producers: Barbara Broccoli, Michael G. Wilson; Screenwriters: Paul Haggis, Neal Purvis, Robert Wade; Music: David Arnold; Editors: Matt Chesse, Richard Pearson; Genre: Action/ Adventure; Cinematography: Roberto Schaefer; Distributor: Columbia Pictures; Location: Bolivia, Austria, Italy; Running Time: 110 min.;

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

James Bond, 007 (Daniel Craig) is shocked and badly shaken by what looks like his beloved Vesper Lynd had betrayed him and then she was killed. Determined to go after those responsible for her murder, he follows trails leading to places from London to Italy, Austria and Bolivia. He meets Camille (Olga Kurylenko), who he thinks could lead him to Dominic Greene (Mathieu Amalric) who appears to be working on a coup de tat, who, in turn could lead him to General Medrano (Joaquin Cosio), an exiled Bolivian, who happens to have been the man directly responsible for the massacre of Camille’s whole family. Bond believes that finding them and their Quantum Organization would mean the end of his search. 007 also goes looking for Mathis (Giancarlo Giannini), for some help, although in their previous association (in “Casino”) Bond had not been able to trust him wholly. As he continues his pursuit he is aware that MI6, the CIA, and of course the terrorist syndicate are after him. MI6’s M (Judi Dench) under whom he works does not trust him; neither does he trusts her with what is happening. He is making a desperate try to keep ahead of them and find the culprits he is looking for.

This is the second James Bond movie that Daniel Craig has acted in. It is history that the first Casino Royale was a box office hit. For those who enjoy James Bond and his exploits, Quantum of Solace could also be just as entertaining. It is a 110 minute fast-moving quest for those who killed the only woman 007 loved. He has been restless and unable to sleep because he has yet to catch the culprits, not minding the toll he has to pay for all the dangers he has to endure. He shows the ability of a super hero in the air, on the sea, riding a horse, a chase and fight on the rooftops, among other unbelievable but realistic looking actions. Because of the fast moving sequences of the story, viewers may want or need to watch a second time, so that they could better appreciate the details on the screen.

Take note that the protagonist in most instances in the story shows and acts how terribly angry he is by the murder of his loved one. To quote some lines in an observation from a review: ‘As M (Dench) puts it, if you want to see an anti-hero “so blinded by inconsolable rage that you don’t care who you hurt” then Craig’s ice-cool Bond is the guy to leave you shaken and stirred (Tim Evans, Sky Movies Reviews Editor). A touching scene to look out for is when “Mathis (Giancarlo Giannini) asks James Bond to forgive. He is asking Bond to be at peace with himself and part of that is forgiving Vesper, realizing that he was in love with her and she was in love with him.”(Ruben V. Nepales, Only in Hollywood.)

High School Musical 3: Senior Year

Cast: Zac Efron, Vanessa Anne Hudgens, Ashley Tisdale, Lucas Grabeel, Corbin Bleu, Monique Coleman; Director: Kenny Ortega; Producers: Bill Borden, Barry Rosenbush; Screenwriter: Peter Barsocchini; Music: David Lawrence; Editor: Seth Flaum; Genre: Musical/ Comedy/ Drama; Cinematography: Daniel Aranyo; Distributor: Walt Disney Studious Motion Pictures; Location: Utah, USA; Running Time: 112 min.;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers of all ages

Sweethearts and senior high schoolers in Albuquerque, New Mexico Troy (Zac Efron) and Gabriella (Vanessa Hudgens) face the prospect of pursuing college hundreds of miles apart. A basketball star who loves to sing, Troy could go along with his father’s plan for him to join the team at the University of Albuquerque where his father Jack (Bart Johnson) is coach, or he could go to New York’s Juilliard School where someone had secretly applied on his behalf. The academically gifted Gabriella, on the other hand, has been accepted at Stanford University in California but hesitates to grab it lest she miss the familiar surroundings and her loved ones, especially her one true love Troy. Meanwhile, they are kept high and busy by the coming prom and a play based on their own lives that they have to stage.

A movie that ought to delight local audiences as Mamma Mia recently did—High School Musical 3: Senior Year has for its assets energetic dances, lively music, and songs anybody can sing along with. Viewers can easily follow the simple plot which is kept free of sub-plots and unnecessary glitches. As a big-screen sequel to High School Musicals 1 & 2, HSM 3: Senior Year boasts of crisp cinematography and costumes and sets that are absolutely eye candy. The young actors prove themselves up to their roles, performing their own songs and dances remarkably well. (It should also please the local audiences to know that Vanessa Hudgens is half-Filipino—another Lea Salonga in the making?)

High School Musical 3: Senior Year is family-friendly entertainment all the way, thanks to Disney. While it seems aimed at tweeners (aged between 12 and 19), it is nonetheless appealing for every member of the family, as proven by the response it gets from theater audiences who are mostly parents treating their grade-school kids and high schoolers on a sem break weekend. Some foreign reviewers have criticized the movie to be “too clean it squeaks”—alluding to the chaste relationship between the high school sweethearts—but this only goes to show that such critics must have seen too many Sex and the City episodes that they have come to expect the whole world to be so oriented. So it’s “too clean it squeaks”—what’s wrong with that? Isn’t it good for the family—especially the young members—to see a movie where the teenagers seriously think about education for a decent future instead of drugs and unwanted pregnancies? We asked teenagers who have seen the movie—they like it because they can resonate with the characters who have remained blissfully innocent up to their senior high year. Regardless of the dark realities about the youth that media want to play up, this is the greater reality—that there are still millions of teenagers out there who are emotionally healthy and are not in a mad rush to travel the road to perdition.

My Only U

Cast: Toni Gonzaga, Vhong Navarro, Dennis Padilla, Arlene Muhlach; Director: Cathy Garcia-Molina; Producer: Malou Santos; Screenwriter: John Roque; Genre: Romantic Comedy; Distributor: Star Cinema; Location: Manila; Running Time: 110min.;


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

Walang inaabot ng 25 anyos sa lahi ni Winona (Toni) sa kanyang mother side kung kaya’t nangangamba siyang bago sumapit ang kanyang ika-25 na kaarawan ay mamamatay rin siya. Ito rin ang dahilan kung bakit hindi siya nagpapaligaw kahit kanino at ibinuhos na lamang ang oras sa paghahanapbuhay para sa bulag na ama (Dennis Padilla). Hindi niya alam na may lihim na pagtingin sa kanya ang kanyang kababata at kasero na si Bong (Vhong Navarro). Nang sumapit ang kaarawan ni Winona ay tuwang-tuwa siyang nakaabot siya ng 25 anyos. Itinuturing niya itong extension ng kanyang buhay. Ngunit malalaman ni Bong na may malubha palang sakit si Winona at hindi na rin magtatagal ang buhay nito. Ililihim ito ni Bong kay Winona sa pagnanais na bigyang kasiyahan at pag-asa ito sa mga nalalabi pa nitong araw. Ipinangako ni Bong sa sarili na babantayan at poprotektahan niya si Winona. Pero darating ang oportunidad kay Winona na makapunta ng Japan. Mapigilan kaya ni Bong lumayo si Winona? Paano kung malaman ni Winona ang paglilihim na ginawa ni Bong tungkol sa kanyang sakit? Magkatuluyan pa kaya sila?

Tulad sa inaasahan, isang nakakaaliw na pelikula ang My Only U. Bago at hindi karaniwan ang kuwento nito at sadyang nagampanan ng husto ng mga artista ang kani-kanilang papel. Ngunit hindi maitatatwang minadali ang pelikula kung kaya’t pawang maraming eksena ang kulang sa hagod ng emosyon. Ang labas tuloy ay sobrang de-numero ng istruktura nito at kitang-kita ang kamay ng manunulat sa buong kuwento. Bagama’t may kurot, wala gaanong kilig na mararamdaman sa kuwentong pag-ibig ng pelikula. Masyadong tumutok sa mga lumang joke at patawa na hindi naman gaanong naging epektibo. Nagbabalik ang mga lumang istilo ng mga pelikula na mayroong sayawan, kantahan, at mga gasgas na karakter na ngongo, mataba at andres de saya. Pati ang ilang pagsingit ng mga artista at karakter sa ibang pelikula ng Star Cinema ay pawang nakagulo sa daloy ng kuwento.

Sadyang nakalilito ang mensahe ng pelikula. Bagama’t sinasabi nito na ang tunay na pag-ibig ay naghihintay at nagtitiis, naging pawang makasarili pa rin ang bida sa pagtatago ng katotohanan. Sa pagkakataon bang ito ay tama lamang ang magsinungaling? Masyado ring pinangungunahan sa pelikula ang buhay at kamatayan. Kinondena nito ang pagiging mapaniwalain sa mga haka-haka, signos at kung ano pa mang kapangyarihan na hindi akma sa turo ng simbahan. Sadyang nakababahala rin ang mga eksena ng pamamatok ng asawang babae sa asawang lalaki at ang paggamit sa kapansanan ng tao bilang katatawanan. Sa kabila nito’y may mabuti namang mensahe ang pelikula ukol sa pagmamahal ng anak sa magulang,pagkakaisa ng magkakapit-bahay at pagmamahalang wagas hanggang kamatayan. Kapuri-puri rin ang ilang eksena na nagpapakita ng pagka-relihiyoso ng mga karakter. Yun nga lang, ang paniniwala nila sa Diyos ay pawang hanggang doon lang. Kapupulutan din ng aral ang masayahing disposisyon ng mga karakter sa gitna ng problema. Ang pagpapakitang ang kamatayan ay hindi lang isang malungkot na yugto ng buhay kundi maari ring maituring na masayang katapusan at simula ng panibagong paglalakbay.

City of Ember

Cast: Harry Tradeaway, Saoirse Ronan, David Ryall, Ian McElhinney, Tim Robbins Bill Murray, Lucinda Dryzek; Director: Gil Kenan; Producers: Gary Goetzman, Tom Hanks, Steve Shareshian; Screenwriters: Caroline Thompson, Jeanne Duprau; Music: Andrew Lockington; Editors: Adam P. Scott, Zach Staenberg; Genre: Fantasy/ Drama/ Suspense; Cinematography: Xavier Perez Grobet; Distributor: Pioneer Films; Location: Northern Island, UK; Running Time: 95 min.;

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

Two hundred years ago, some kind of a terrible devastation rendered the earth no longer livable, driving the human survivors to dig deep down inside this earth and build a refuge- the City of Ember- for their safety and survival. Now having passed the two hundred years, increasing signs start to show that the City of Ember is breaking apart. The one huge power generator that takes care of the city’s power supplying air, light and heat is continuously breaking down. The water supply is affected by leaks and busted pipes. The food supply- in tin cans- for the people is running out. People are called together and assigned to do various tasks: To investigate, do repairs, make reports, run errands, etc. Two young persons given their chores are Doon Harrow (Harry Treadaway) and Lina Mayfleet (Saoirse Ronan). They know one another because her father drowned when he was trying to escape with Doon’s dad, Loris (Tim Robbins). Doon and Lina appear to think that there were certain hidden things going on in the city that do not appear to be right. They pair up and begin to do a search of what is really happening. They discover the easy going and corrupt Mayor Cole (Bill Murry) has a well hidden stash of canned food for himself. More important they also find evidence through maps, hidden papers and poorly kept documents that there are clues showing an exit to the above outside earth and instructions on how to get there: their (all from the inner earth) only chance to escape from the deteriorating city deep under them.

Giving the main focus of the story to two young people: Harry Treadaway as Doon, and Saoirse Ronan as Lina shows the movie’s intent to catch the interest of the young viewers. In addition, advertisements about the possibility that City of Ember could be comparable to the Harry Potter films/stories serves as an enticement to potential viewers to check on it. The movie has a big cast and fast moving sequences to show the many events that have to take place to reach the planned ending. There are some interesting tenseful moments, aside from the many subplots. Harry and Saoirse, though seem to be unknown actors, did well in their roles. It cannot be helped that the lighting has to be darkish because of the location of the story: way down inside the earth.

Harry and Lina show their daring and willingness to risk themselves in finding the truth. They tried using the narrow and light boat against the rushing water flow to see if they could make the exit. They did, then sent a message to the people down below that there is a way out! Overall, there is the message of hope, to be saved. The darkness of the scenes: passage ways, rooms; a large fierce crab-like creature that runs after people and bites, are scenes not advisable viewing for young children.

Nights in Rodanthe

Cast: Richard Gere, Diane Lane, Scoot Glenn, Christopher Meloni, Viola Davis; Director: George C. Wolfe; Producer: Denise Di Novi; Screenwriters: Ann Peacock, John Romano; Music: Jeanine Tesori; Editor: Brian A. Kates; Genre: Drama, Romance; Cinematography: Alfonso Beate; Distributor: Warner Bros. Pictures; Location: Carolina, USA; Running Time: 97 min.;

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

Adreinne Willis (Diane Lane) has lived the life of a broken family for sometime since her husband Jack left her for someone else. She has been putting her life together, with her children- the hard-to-handle Amanda who wants her father back, and Danny, the younger boy. Suddenly, her husband shows up to convince her to take him back, to let him “come home”. Terribly upset and not knowing how to deal with the situation, Adrienne leaves the children in Jack’s care and goes away to some place quiet to think things over and decide what answer she is going to come up with. She volunteers to manage and care for her best friend Jean’s small seaside inn in Rodanthe, Carolina for the few days that the friend would be away. She has barely started to attend to things and settle down at the inn on the first day, when the first guest walks in, due to the coming storm. This is Doctor Paul Flanner (Richard Gere) the first-comer. He is also facing problems of his own, and is trying to find some quiet to think, and someone to talk to. The fierce storm breaks, threatening to bring down the whole inn. In their fright, and concern to protect each other from the flying and falling debris, the two quickly become close and begin to realize how they are feeling for each other.

It is a very well made movie, showing as is, a realistic view of marriage and family life. The problems that come between spouses, parents and their children are simply presented and shown as they happen in real life, easily recognized by the movie viewers. The external, on screen presentation, of the rushing in and then the crashing course of the hurricane help to enhance, for the viewers, the inner turmoil being felt by the troubled Adrienne and Paul. Richard Gere and Diane Lane’s acting is convincingly exceptional. The fine work of George C. Wolfe as the director should be acknowledged.

Nights in Rodanthe deals with problems and conflicts in marriage and family life that could break up a home. Here Adrienne and Paul have similar troubles: Jack left Adrienne and children Amanda and Danny for someone else. Amanda wants her father back, and blames the mother for the chaotic situation they are in. Paul’s wife left him a long while ago, because of it, their son, also a doctor, hates his father. The short time that Adrienne and Paul had together, helped them to talk about each other’s struggles as spouse and parents, and discover where they had gone wrong or been remiss. Each returns to their children, with self-confidence, boosted by their sympathy for and affirmation of each other. They continued to frequently keep touch through letters that sustained their love for each other. True love between people help them to help the loved ones become better persons. Between work and family, the home or family has priority. The sexual issues though not frequently presented, are rather highly intense. Sex outside married life is morally not acceptable.

The Strangers

Cast: Liv Tyler, Scott Speedman; Director: Bryan Bertino; Producers: Doug Davison, Nathan Kahane; Screenwriter: Bryan Bertino; Music: Tomandandi; Editor: Kevin Greutert; Genre: Horror/ Suspense; Cinematography: Peter Sova; Distributor: Rogue Pictures; Location: USA; Running Time: 90 min.;

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

James Hoyt (Scott Speedman) and Kristen McKay (Liv Tyler) arrive at the Hoyt family’s remote summer home in the middle of the night after attending a friend’s wedding reception. Both look sad and miserable. It turns out, Kristen just turned down James marriage proposal for some reason. After minutes of indifference and silence, they kiss and make-up and almost made-out but they are interrupted by the loud knocking at the door. James opens the door and to their surprise, at 4:00 in the morning, a lady stranger is looking for somebody who never lives in the house. Without the couple knowing it, they are stalked and menaced by three masked strangers who are able to get into the house.

Based on real events, The Strangers is another horror flick with no other point than scaring the audience. The movie actually succeeds in keeping its audience at the edge of their seats. There is enough suspense, thrill and madness required for the film’s genre. Liv Tyler delivers a fine performance and the audience has actually seen real humans in the presence of the two lead casts. But then, the movie lacks soul for there is no explanation on the killings. The plotline is too simplistic for a full length feature. The scary tactics are effective at the start, but towards the end, the audience gets tired of it and looks for more meat in the story otherwise the film becomes utterly predictable.

We are not safe anywhere, not even in our homes because strangers can just get in and spread horror and terror without any reason. This is all The Strangers has to say. It can be true that evil really exists. However, evil should not be deemed nor portrayed as an all-powerful force. The movie could have been better if there was at least a glimmer of hope for justice. The presence of the two Christian boys at the end is nothing more than a sign of desperation. It either says God is too late or God never rescues. The genuine love between Kristen and James is the only saving grace in the movie although it did not save them; their love made them stronger and bonded them together until death. Aside from the violence, blood and gore which may cause nightmares for the very young audience, parents should also be warned on the context of fornication and some degree of profanity in the movie.

Living Hell

Cast: Jonathan Schaech, Erica Leerhsen, James Mcdaniel, Jason Wiles; Director: Richard Jefferies; Producers: Deborah Del Prete, David S. Greathouse, Richard Jefferies, Gigi Pritzker; Screenwriter: Richard Jefferies; Music: Terence Jay; Editor: Russell Denove; Genre: ; Cinematography: Eric Leach; Distributor: The Sci-Fi Channel; Location: New Mexico, USA; Running Time: 92 min.;

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

Frank Sears (Jonathan Shaech) is a biology teacher traumatized after seeing his crazy mother shoot his dad and then herself and leaving him with the words “S-3 and V-12” carved on each palm of his hand. He makes his way to an army base in New Mexico to warn them about a terrible organism that has been created during the cold war as a biological weapon against the enemy but now buried in “ Sublevel 3, Vault 12” after the project proved too difficult to contain. Unfortunately, the secret chambers are opened and the creature is unleashed to consume everything in its way. It feeds on light and energy and grows at an alarmingly fast rate. Sears and Carrie (Erica Leerhsen), a haz-mat member recently widowed after her husband was killed by the creature, race to neutralize it before the sun rises and it becomes totally unstoppable.

Living Hell (formerly titled Organizm) offers nothing new. Its plot is very formulaic, the characters are caricaturist and unimaginative, the CGIs look unrealistic and the technical efforts mediocre. On the good note, the movie is quite exciting with quick pacing and a storyline that develops pretty well with some decent performances. Miraculously, the film turns out to be an enjoyable B-movie, good enough to pass a lazy evening with.

The movie offers a good debate about how to resolve a crisis - do we sacrifice an innocent few to save the greater majority? The authorities were ready to sacrifice a whole town full of innocent people just to stop the creature. Exploring other options required more efforts and were unreliable.. so just go ahead and nuke an entire town. On so many occasions, we are presented with this choice. Issues on poverty and population control, on crime and death penalty, on the Muslim conflict… Do we take the easy way out and disregard the rights and lives of some people so we can solve the impending problem? It seems the more preference is to turn a blind eye on morality and go with the more popular, more controversial option and less stressful option. Perhaps it is best to review how we prioritize life and remember that every single creature is God’s beloved. So at any given time, presented with any given situation, we must choose life. Not just the life of some selected people but all lives … that of the smallest and most insignificant up to the strongest and most admired person.

Max Payne

Cast: Mark Wahlberg, Mila Kunis, Beau Bridges , Ludacris, Chris O’Donnell, ; Director: John Moore; Producers: Scott Faye, John Moore, Julie Yorn; Screenwriters: Beau Thorne, Sam Lake; Music: Marco Beltrami; Editor: Dan Zimmerman; Genre: Action/ Crime/ Drama/ Thriller; Cinematography: Jonathan Sela; Distributor: Twentieth Century Fox-Film Corporation; Location: USA;

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

Max Payne (Mark Wahlberg) works in a drab corner of a police precinct. Exuding an anti-social air about him, Payne is left alone by his officemates, knowing he has not as yet recovered from the trauma of losing his wife and his infant son. As a new colleague comes to know later, Payne had come home one evening to find his family brutally murdered in their own bedroom. Since then he has been distraught and obsessed with revenge, often venturing alone, disregarding rules and defying authority in searching for clues to lead him to the murderers. His relentless investigation gets him entangled in the underworld where he comes face to face with his enemies and realizes that he is dealing with power that is larger than life itself.

As an action film based on the 2001 video game of the same name, Max Payne went through almost seven years pre-production period but was shot only within two months. Wahlberg is a natural for the role of the distressed and hyperactive loner. In general it’s a very good cast, which makes for the convincing realism of the story. The darkness of the theme and the nature of the characters is complemented by the just-right music and effectively enforced by the cinematographic effects, the colors, lighting, shadows, the sets and locations (such as the abandoned warehouse). One noteworthy aspect of Max Payne’s visuals is the costume and the makeup—these are used with restraint, not exaggerated to define the characters or the situations. The has some loopholes, but they’re forgivable, considering the other superior elements of the movie’s technical aspect.

The theme of Max Payne may be revenge but the real issue is Payne’s inability to cope constructively with tragedy. Thus the movie speaks much of the human situation, and viewers who have ears (not only eyes) will listen to and find in its faint message the path to a solution that might in the future help prevent self-destructive situations from recurring. Payne as victim of loved ones’ loss may be emotionally-driven and seeking justice—understandable situations for humans to be in—but nothing in the past seemed to have prepare him for the brutal episode he found himself in. His single-minded compulsion at tracking down his enemies are rewarded, but at what cost? It’s important to note the extra footage after the credits; it gives you a clue as to the future Payne is facing. And perhaps, also a foretaste of a Max Payne sequel

Body of Lies

Cast: Leonardo DiCaprio, Russel Crowe, Carise van Houten, Michael Gaston, Vince Colosimo, Mark Strong; Director: Ridley Scoot; Producers: David De Line, Ridley Scott; Screenwriters: William Monahan, David Ignatius; Music: Marc Streitenfeld; Editor: Pietro Scalia; Genre: Drama/ Suspenses/ Thriller; Cinematography: Alexander Witt; Distributor: Warner Bros. Pictures; Location: Europe, USA, Middle East; Running Time: 128 min.;

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

CIA agent Roger Ferris (Leonardo DiCaprio) chases terrorists around Middle East while his boss Ed Hoffman (Russel Crowe) gives him orders from the US and watches via satellite. Their latest mission is to track down and capture Al-Saleem (Alon Aboutboul), the al-Qaida mastermind behind a recent series of attacks in Europe . Ferris hopes to infiltrate a safe house and locate Al-Saleem, so he reaches out to the head of Jordanian intelligence Hani Salaam, (Mark Strong). However, unknown to Ferris, Hoffman makes his own sideline moves that destroys Hani’s trust and nearly jeopardizes Ferris’ mission. This results in a more complicated and convoluted series of cat-and-mouse pursuit of snaring Al-Saleem.

Body of Lies could have been an intelligent film about terrorism but it falls short in so many ways as far as storyline and clarity of motives are concerned. It does not really say anything new other than intensifying and confirming the United States’ selfish interests in eradicating global terrorism. The story is too linear that it nearly defeats its suspense-thriller feel. But the display of the latest CIA satellite technology is impressive. DiCaprio and Crowe are both superb in the movie. Audiences are easily drawn to their characters forgetting the two were once mere matinee idols. Both essayed their roles with depth, maturity and ease. Nuances and ironies are clearly depicted in most scenes which somehow makes the film an engaging treat. Apparently though, some plot layers remain to be just functional and do not drive home a point, eventually leaving the film with many loose ends.

There’s a bit too much graphic violence and profanity in Body of Lies. There’s torture, war, explosions, and emotional stress in almost every scene. The film says there’s no one to trust in this world and it is not safe anywhere. Some of these may be essential to the genre; however, too much blood and violence can have a desensitizing effect on audiences, especially the young and vulnerable. The film shows how the business of espionage can dehumanize man. Throughout the film, the characters lie to each other to make a mission successful. People kill and are killed to accomplish this mission. Loyalties are confused and divided; trust is undermined. Secret agent Roger Ferris’ dedication to his job and loyalty to the State is commendable. When he’s not being a spy, he can be a good hero example with his gentle treatment of women, children and friends, but his saving grace is he knows when enough (espionage) is enough.

Appaloosa

Cast: Ed Harris, Viggo Mortensen, Renee Zellweger, Jeremy Irons; Director: Ed Harris; Producers: Ed Harris, Ginger Sledge; Screenwriters: Robert Knott, Ed Harris; Music: Jeff Beal; Editor: Kathryn Himoff; Genre: Western; Cinematography: Dean Semler; Distributor: Warner Bros. Pictures; Location: New Mexico , USA; Running Time: 110 min.;

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


Newly designated City Marshall Virgil Cole (Ed Harris) and his deputy Everett Hitch (Viggo Mortensen) arrive together in Appaloosa, a small town experiencing the abusive presence of a rancher Randall Bragg (Jeremy Irons) and his men, to enforce the law for the interest of peace and justice in the town. Shortly after the arrival of Virgil and Everett, widow Allie French (Renee Zellweger) arrives and smittens the partners, but eventually ends up with Virgil. One of the main tasks of Virgil and Everett as marshalls is to keep track of people responsible for previous crimes of murder, rape, robbery, and related human rights violations. It does not take long for the duo to solve one high profile crime which convicted Bragg. However, even before Bragg serves his jail term, Allie is used by his allies to blackmail Virgil and entire escort team to let go of Bragg.

Storywise, Appaloosa is a mediocre film since it is a hodgepodge drama, action, a dash of political satire, and a bit of love angle. The overall treatment makes the story less exciting but makes lot of sense in view of other technical aspects of the film. The well done cinematography is responsible for good compositions particularly the scenic shots of the village and complements the overall production design including make-up. Sound and good musical score also contributed to the essence of the film. Effective acting especially that of Viggo Mortensen as Everett is commendable, although the movie leaves one with a feeling that it did not ask much of such big stars as Zellweger, Irons and Mortensen.

The film is about professionalism and friendship over personal interest, giving rather than taking more for oneself, and letting go over holding on. In short, it shows a responsibility that goes with accountability and sacrifice. A person who regards a long time partnership can discipline and control himself in the midst of temptation to protect the friendship, and can ultimately risk his life for a friend. The film briefly tackles corruption and flaws in the justice system and how noble law enforcers struggle to face it off. Though within context of this virtual cowboy movie, the female character is depicted in this film as deceiving, scheming, flirtatious and weak—not the best traits a woman can have. It also shows the age when duels were in fashion, and when laws in small towns were practically enforced at gunpoint, so don’t be shocked to see so many shootings.

Tropic Thunder

Cast: Ben Stiller, Jack Black, Robert Downey, Jr., Anthony Ruivivar, Jay Baruchel, Brandon T. Jackson; Director: Ben Stiller; Producers: Stuart Cornfeld, Eric McLeod, Ben Stiller; Screenwriters: Ben Stiller, Justin Theroux; Music: Theodore Shapiro; Editor: Greg Hayden; Genre: Action/Adventure/Comedy; Cinematography: John Toll; Distributor: Dreamworks Distribution; Location: Hawaii, USA; Running Time: 107 min.;

Technical Assessment: 3
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Tropic Thunder is a movie about how an award-winning movie, “Tropic Blunder”, is made. It opens with trailers meant to establish a trio of characters who are supposedly three of the actors in the movie being made: once box-office king and now fading action star Tugg Speedman (Ben Stiller), withdrawing drug addicted actor known for fart humor Jeff Portnoy (Jack Black), and pretentious Oscar-winning actor Kirk Lazarus (Robert Downey, Jr.). The movie they’re supposed to be making is based on a story about a Vietnam War hero, and its director is Damien Cockburn (Steve Coogan). When a premature explosion damages the set beyond repair, Cockburn cannot accept that the filming is cancelled. The actors are led into the wild, believing there are cameras hidden everywhere to film whatever they’re doing. But they run into the territory of Asian heroin dealers led by a precociously ruthless 12 year old boy (Brandon Soo-Hoo). Speedman is captured, and in the actors’ attempt to rescue him, they realize they are now facing real guns while they have nothing but fake ones.

Tropic Thunder spoofs Hollywood , and in that sense it is an almost effective satire that can be funny at times. It’s a movie that knows movie-making and exposes the quirks of movie directors, actors and their agents, acting, trailers, movie props, writers, nearly all people involved in this ego-driven industry. It would get the loudest laughs—or boos—from movie people themselves, or viewers who are familiar with movie people; otherwise viewers will miss the sting, or the many references that only movie buffs will catch. If you didn’t know that Tropic Thunder is a movie of a movie, you’d think those trailers opening the movie are real. Stiller, Black and Downey , Jr. are in top form, and newcomer Soo-Hoo is such a scene stealer you wonder what his next movie role would be. Big names Nick Nolte and Tom Cruise among others play surprise cameo roles, a gimmick to say this movie is big time.

The posters claim Tropic Thunder is PG13; CINEMA thinks it’s for adults only. In the first place, if you’re not such a movie-lover, why bother to see a movie of a movie that aims to take digs at movie people and movie business? To cringe at the sight of fake blood (spurting from a bottomless pit)? To puke over fake guts (lengths of bloody sausages, yuck!)? To get your eardrums blasted and bleeding from “nonstop rough language and profanity, crass expressions…scatological humor and frank sexual references”? (Quoted from the review of the United States Conference of Catholic Bishops). What CINEMA noticed that is not in the reviews we have read of the critics who praised Tropic Thunder is its veiled irreverence towards the Christian religion. One of the fake trailers opening the movie looks like a Da Vinci Code remnant, showing in powerful images medieval Catholic monks in a “sinful” relationship. Twice, too, Stiller (whose role here smacks of a naive sacrificial lamb) spreads his arms as though crucified, while the wailing background music apes that in Passion of the Christ. For your information, Stiller’s father Jerry Stiller is Jewish, while his mother, Irish Catholic Anne Meara, converted to Judaism after marrying his father. Ben Stiller starred, co-wrote, co-produced and directed Tropic Thunder. Not that we’re being such a grouch, but doesn’t this somehow give us a clue as to where the movie is coming from?

Buried Alive

Cast: Leah Rachel, Erin Lokitz, Tobin Bell, Terence Jay; Director: Robert Kurtzman; Producers: Deborah Del Prete, David S. Greathouse, Gigi Pritzker; Screenwriter: Art Monterastelli; Music: Terence Jay; Editor: Cary Coughlin; Genre: Horror-Suspense; Cinematography: Thomas L. Callaway; Distributor: Dimension Films; Location: New Mexico, USA; Running Time: 90 min.;

Technical Assessment: 1.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Six students take a trip to the middle of the desert as part of a sorority initiation. They are to reside at Zane’s house (Terence Jay) which incidentally is haunted by a woman seeking revenge after she had been buried alive. Meanwhile, Lester (Tobin Bell), the caretaker, who has been searching secretly for the treasure disturbs the undead woman in the process. One by one, the kids are killed except for Zane’s cousin, Rene (Leah Rachel) whose mark on her back seems to have a connection with the undead woman.
This is another generic low budget mindless film trying hard to be scary with a couple of slashers and some shock factors. The first two thirds of the movie is wasted on a flimsy storyline and a mediocre script, exacerbated with bad acting, clichés, borrowed themes from other horror movies, slow paced development of the story and a shaky editing. The characters are flat stereotypes that you will neither sympathize nor root for. As a horror movie, there is not much scare or suspense going on save for some five minutes of the zombie’s appearance put together. The characters spent more time making out. In fact the movie at one point looked more like a sex film with the constant nudity, sex scenes and vulgar language. It is a total waste of time and effort to watch this movie.
The movie projects the young as being brazen, guiltless and mindless with nothing more interesting and productive to do than to make out, get drunk and wasted or play cruel games in the name of initiation. They got what they deserved for all their shamelessness. This does not set a good example for teenagers and young adults as it implies that they are expected to make out as soon as they have a little privacy.
On the other hand, horror films seem to have some elements of sex and nudity these days in order to sell. (At least the not so good ones). This implies that producers and directors are taking the short cut to sell their movies and rely on gore and sex to market their movie, instead of being creative storytellers and resourceful artists.
Parents should not allow their young children to watch the movie or the DVD version. Adults could use their time and money for other movies or forms of entertainment.

IGOR

Cast: (Voice) John Cusack, Steve Buscemi, John Cleese, Christian Slater, Jennifer Coolidge, Arsenia Hall, Sean Hayes, Eddie Izzard, Jay Leno, James Lipion, Molly Shannon; Director: Tony Leondis; Producers: John D. Fraklis, Max Howard; Screenwriter: Chris McKenna; Music: Patrick Doyle; Editor: Herve Schneid; Genre: Animation, Comedy; Distributor: International: The Weinstein Company, Local:VIVA; Running Time: 85 min.;

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

In the land called Malaria, a child with a humped backed was born. Since this kind of phenomenon was unacceptable to their kind, he was named Igor. As an adult, he now works for a wicked master scientist. In spite of his talent in science, Igor is not allowed to try and use his skills. He is only to do the simple tasks that his master gives him. Still, he is determined to become like his master, to the extent of winning the title of “Best Evil Scientist” at the annual Evil Scientist Fair. A chance for Igor to start something comes when a disastrous accident in the lab takes place; he attempts to develop a gigantic woman he calls Eva, mistaken for “Evil” for a while. He prepares and trains her to help him create and spread evil all around. Things become complicated however, when his master goes after him, and also catches Eva to brain-wash her for his own agenda. But Eva (once “Evil”) is found to be a naturally good character that could not be easily turned bad. Igor also finds out that he could not really be evil as his master and his followers are.

Igor tries to be a film for all viewers. There is the struggle between the bad and good characters to gain the upper hand. The acting casts are computer generated images not easily identifiable for viewers. One example is a brain soaked in a jar called Brain; and another, among others, is a very skinny rabbit named Scamper which keeps on trying to kill itself. The characters or images are too many and they move at a pace that makes it difficult to understand what is taking place as the story moves along.

Wanting to be like his wicked boss, Igor was willing to turn evil. But it turns out he is too naturally good to turn bad. What happened had positive effects on Eve and his group of followers. It may not be a good idea for the younger teens to watch Igor because of some of the weird and scary unrecognizable characters shown. There are also some violence depicted, although in cartoon style.

Matakot Ka Sa Kulam

Cast: Judy Ann Santos, Dennis Trillo, TJ Trinidad, Ces Quesada, Sharlene San Pedro, Kris Bernal, Irma Adlawan; Director: Jun Lana; Producer: Lily Y. Monteverde; Screenwriter: Jun Lana; Genre: Horror/ Drama; Distributor: Regal Films; Location: Manila/ Batangas; Running Time: 100 min.;

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Nagka-amnesia si Mira (Judy Ann Santos) bunga ng isang matinding aksidente. Hindi naman sumuko ang asawa niyang si Paul (Dennis Trillo) sa pag-aalaga sa kanya at sa pagpapaalala kung sino siya. Unti-unti ay inilalapit ni Paul si Mira sa kanilang nag-iisang anak, si Sophie (Sharlene San Pedro) na isang bulag. Habang pinagtatagni ni Mira ang kanyang pagkatao ay may nakikita siyang isang babaeng nagmumulto. Kasabay nito ay ang pagkakatuklas niya iba pang katotohanan sa kanyang pagkatao sa pamamagitan ni Dave (TJ Trinidad) na siyang tanging pinagtaguan niya ng kanyang mga sikreto. Isa sa mga sikretong ito ay ang kanyang kakambal na si Maria (Judy Ann Santos) at ang kanilang pinagmulang angkan ng mga mangkukulam. Si Maria nga kaya ang babaeng nagmumulto at hindi matahimik? Habang tumintindi ang banta sa buhay ng pamilya ni Mira ay unti-unti rin siyang napapalapit sa katotohanan ng kanyang pagkatao.

Isang matagumpay na pelikulang katakutan ang Kulam. Maayos ang daloy nito at talaga namang tatakutin ka mula simula hanggang wakas. Mahusay ang pagkakasulat at pagkakadirehe. Tamang-tama ang timpla ng drama at horror at sakto sa bilang ang pagtatago at pagbubunyag ng mga sikreto. Mahusay din ang pagkaka-arte ng lahat ng tauhan lalo na si Judy Ann Santos na gumanap ng isang tunay na mapaghamong papel. Maging ang mga pangalawang tauhan ay pawang mahuhusay din tulad nina Sharlene San Pedro na mahusay sa pagkakaganap na bulag at Irma Adlawan bilang kanilang inang mangkukulam. Lubos na nakatulong din ang maayos na pag-iilaw at disenyong pamproduksiyon. Bagama’t halatang ang ibang eksena ay hango mula sa mga Korean horror, nagawa pa rin nitong bigyan ng tunay na Pilipinong bihis ang pelikula dahil sa tema nitong tunay na malapit sa kalinangang Pilipino.

Totoo nga kaya ang kulam? Ito ang tanong na matagal ng bumabagabag sa bawat ordinaryong Pilipino na makakarinig ng tungkol dito. Totoo man o hindi, isang bagay ang malinaw, ito ay hindi kagagawan ng kabutihan kundi ng kasamaan. Ipinakita ng pelikula ang lakas ng kapangyarihang itim na ito ngunit ipinakita rin dito na sa bandang huli, ang kabutihan pa rin ang magwawagi. Higit na makapangyarihan ang pag-ibig at pagmamahal sa anumang mahika o vertud tulad ng sa kulam. Marami nga lang mga eksenang nangangailangan ng gabay ng magulang sakaling manood ang mga kabataan. Nariyan ang pagpapakamatay, pakiki-apid at ilang mga nakakakilabot na eksena na maaaring magdulot ng trauma o bangungot sa mga bata.

Make It Happen

Cast: Mary Elizabeth Winstead, Riley Smith, Tessa Thompson, John Reardon, Ashley Roberts, Julissa Bermudez, Leigh Enns, Karen LeBlanc; Director: Darren Grant; Producers: ; Screenwriters: Duane Adler, Nicole Avril ; Music: Paul Haslinger; Editor: Scoot Richter; Genre: Comedy Drama; Cinematography: David Claessen; Distributor: The Weinstein Company; Location: Illinois, USA; Running Time: 90min.;

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

Lauryn Kirk (Mary Elizabeth Winstead) a small-town young woman of 21 years, from Indiana travels to Chicago, looking forward to making her dreams of becoming a professional dancer come true by enrolling at the Chicago School of Music and Dance. She does not pass the audition however; and a second attempt to qualify is unlikely to be given her. Unwilling to return home to her brother Joel, with whom she had worked as book keeper at the garage left to them by their parents who had passed on. Now alone dining at Ruby’s, an exclusive entertainment club, Dana a waitress/dancer (Tessa Thompson) makes her acquaintance, likes her and invites her to stay at her pad. Lauryn is given a job as an accountant in the club. Her new found friends and workmates eventually discover her talent for dancing, and her liking for it. She catches herself irristably moving with the music and moving with the dancers doing ballet, Hip-Hop and mostly the Burlesque. Disc jockey Russ (Riley Smith) encourages and helps her with his music. Then Dana and he prod her to try again to get into the Chicago School of Music and Dance. Brother Joel shows up at one of her club performances. He is upset that she was not at school but in a club dancing. He also feels bad at her leaving him and a failing garage. Lauryn goes straight home. Joel finds her at the garage working on the accounting books.

The movie centers on a young woman who feels that it is about time she should be in pursuit of what she wants in her life. She sets out without making her farewell to anyone, not even her brother. A simple-town young lady does not know anyone outside her home-town nor what to do when things do not go her way. But she is lucky to meet the staff at Ruby’s and have their sympathy and advice. But she has to go through her share of uncertainty and difficulties as she copes and makes decisions. She gets rejected; is envied by rivals, works hard at her dance rehearsals, deals with critics, among others. The movie shows and tells a clear story, a touching one even, although this is a common tale not something exceptional and different. Some frequent movie viewers could find in other films variations to this story. The attraction to this movie, especially for the young viewers, would be the lengthy presentation of the dancing, most of the numbers are brisk, intricate and lively. Mary worked up a good character in Lauryn and was very energetic in her dancing.

What Lauryn learned and how she became a more confident and decisive person came from her various experience. She did not think that she should go back to Chicago and request for another audition; but she is taught never to give up, but be ready to give it another try. Her justifiable earnestness and insistence touched the audition panel and she was given the opportunity to enroll for the course. By her immediate willingness to get back to her small-town and check on the garage’s failing status showed Joel her willingness to make a sacrifice and help him. He saw her generosity, and also that she should be on her way to make her own dreams come true. So he sends her back to Chicago. She was on time and passed the entrance.

As this movie is likely to attract the teenage audience, it should be mentioned that there are some long sequences of dancers in partial nudity performing vigorous and delicate body movements, that CINEMA has given it a V14 rating, allowing young people of 14 years and up to view it..

Three Kingdoms:Resurrection of the Dragon

Cast: Andy Lau, Maggie Q, Sammo Hung, Damian Lau, Andy On; Director: Daniel Lee; Producer: Taiwon Entertainment; Screenwriter: Daniel Lee, Guanzhong Lao; Music: Henry Lai; Genre: Action/Historical Epic; Cinematography: Tony Cheung; Location: China; Running Time: 102 min.;

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

The story is set in the third century when China experiences terrible bloodbaths and warfare after the fall of the Han Empire. Regional warlords fight for power and glory as they slice up the country into Three Kingdoms: The Kingdom of Wei in the North ruled by the cruel, scheming Cao Cao (Damian Lau), the Kingdom of Wu in the east under Sun Quan and the weakest of the three, the Western Kingdom of Shu ruled by the benevolent Liu Bei (Hua Yueh). In the Kingdom of Shu, a young idealistic commoner Zhao Zilong (Andy Lau) enlists in the army with the dream of uniting China and bringing about peace. He meets a veteran of the wars Luo-Ping-an (Sammo Hung) who comes from his own village and they pledge eternal friendship and brotherhood. Possessing extraordinary martial skills, Zilong rapidly rises up the ranks through his remarkable victories and daring exploits, among them successfully protecting the royal family of Liu and killing the great Cao Cao of the Kingdom of Wei. He becomes known as the “invincible general” and for several decades goes to war for his king undefeated with the ultimate aim of uniting the country. Though Zilong is greatly honored, Ping-an his “brother” hardly gets recognition and thus Ping-an harbors resentment and envy towards Zilong. Upon the death of the King Cao Cao of Wei, his granddaughter Cao Ying (Maggie Q) eventually becomes commander of the army. Tutored by the callous Cao Cao, Cao Ying becomes a formidable astute opponent of Zilong. Will Cao Ying get her revenge? How will Ping-an’s jealously affect the final battles? Will there be peace?

The movie tells the engaging story of a charismatic Chinese hero Zhao Zilong against the backdrop of a turbulent historical era. Based on the great, 14th century semi-fictional classical novel The Romance of the Three Kingdoms by Luo Guanghong, the film tries to approximate the epical scope of the novel. The spectacle of war is here vividly portrayed through the well-choreographed battles of the various armies with their innumerable number of combatants impressively geared in battle array and all set in vast desert landscapes. The plot of the film covers several decades and one gets the feeling that the film is rushed, trying to do so much in just one film with so many events and so many characters, many of whom are just glossed over. The big budget film is fast paced and has some stylistic cinematography. The last 30 minutes of the film has a spectacular duel of wit and strategy between two highly skilled martial artists Andy Lau and Maggie Q and it has many of its “character” moments. Andy Lau practically dominates the film and gives depth to his role so that his character Zilong becomes interesting and riveting. Though her role is limited, Maggie Q gives an impressive performance as the calculating, cruel master tactician who plays the Chinese stringed instrument pipa as the battle rages around her.

Because of the proliferation of battles in the film, a viewer may get the impression at first that Three Kingdoms: Resurrection of the Dragon is just another long war picture with the usual lamentable butchery, carnage and violence. But on second thought, one realizes it has also commendable values. In Zilong, for example, one sees the desire to do something heroic for his country, its unification and peace; the dedication to duty and loyalty to authority; the determination and courage as well as the willingness to sacrifice to achieve his goal. Also the film projects what takes place in the human heart under certain circumstances. Like so many people who are passed over or unrecognized, and obsessed with honor and glory, Ping-an feeds his envy towards the successful Zilong his “brother” and betrays him who has defended him and risked his life to save him. Only to realize too late the far reaching effects of what he thought was a simple act of self-interest. Also the movie viewer notices how the powerful people in the movie uses others for their ends without scruples. Like the woman commander Cao Ying who sacrifices a part of her army by setting them on fire for the purpose of also burning the enemy. The most poignant realization takes place at the end when the much honored Zilong realizes his human limitations. He is greatly skilled, gifted and heroic and wants so much to effect the unification of China in his time as he believes that “man can prevail his destiny”. But though his goals are noble, he realizes that there are things that are not meant for him. He may have achieved greatness but not all that he wants.

The Mutant Chronicles

ASSESSMENT ONLY
Cast: John Meleovich, Ron Perlman; Director: Simon Hunter; Producers: Edward Pressman, Tim Dennison, Peter La Terriere et al; Screenwriter: Philip Eisner; Music: Richard Wellsi; Editors: Sean Barton, Alison Lewis; Genre: Adventure/Action/Detective; Cinematography: Geoff Boyle; Distributor: Pioneer Films; Location: Europe; Running Time: 110 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For mature viewers 18 and above

The greatest enemy of humanity represented by a machine cannot be overcome by human beings without the power of God. A group of volunteer soldiers from different continents try to destroy the machine and offer their lives for all others to live.

My Best Friend's Girl

Cast: Dane Cook, Kate Hudson, Jason Biggs, Alec Baldwin; Director: Howard Deutch; Producers: Guymon Casady, Dane Cook, Adam Herz, Doug Johnson, Barry Katz, Gregory Lessans, Josh Shader, Brian Volk-Weiss; Screenwriter: Jordan Cahan; Music: John Debney; Editor: Seth Flaum; Genre: Sexy Drama/ Comedy; Cinematography: Jack N. Green; Distributor: Lionsgate; Location: Massachusetts, USA ; Running Time: 100 min.;

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

Tank (Dane Cook), a call center agent and self-acclaimed “expert” on women psyche takes on a part time job as a break-up fixer for men friends who want to win back their women. This "part time job" does not spare his best friend Dustin (Jason Biggs) who seeks his "expertise" and pays him to win his lady love Alexis (Kate Hudson). Taking the word of Tank that the deal will be a mere plain job, Dustin is thankful and he thinks Tank's tactics are working to his advantage. Tank takes the job in consideration of his friendship only to realize that Alexis is not an easy subject. However, the two of them quickly become frequent sex partners and discovery of this affair hurts Dustin. How will this betrayal affect the friendship and what will happen to the affair of Tank and Alexis.

My Best Friend's Girl tries to present a comedy which is not actually funny and a love story without the context of love. Rather it is a full package of vulgar words and sexual innuendos. Though sex scenes are short and not too explicit, they are frequent and carried out as an overall theme in the entire film. Acting is minimal and so are cinematic effects. The director fails to project the element of true love in what is meant to be a love story. Overall the film is technically below average.

Sex and love are things that can bring about a lot of good in people's lives. This film however, distorts the meaning of both and worst, presents women as sex objects and very weak creatures. It presents a pattern of break-up and reconciliation among relationships as orchestrated by a person who appears to have mastered women psyche and yet does not show any sensitivity towards them. Although the film ends showing how friendships can pick up from betrayal through forgiveness, acceptance, letting go and giving way, it was obviously not the main message that was carried out in the entire run of the film. Excessive use of vulgar words, implied sexual contents, frontal nudity, gender stereotyping of women as sex objects are offensive matters evident in this film.

Disaster Movie

Cast: Matt Lanter, Vanessa Minnello, Gary “Thang”, Johnson; Directors: Jason Friedberg, Aaron Seltzer; Producers: Jason Friedberg, Peter Safran, Aaron Seltzer; Screenwriters: Jason Friedberg, Aaron Seltzer; Music: Christopher Lennertz; Editor: Peck Prior; Genre: Comedy/ Spoof; Cinematography: Shawn Maurer; Distributor: Lionsgate; Location: Louisiana, USA; Running Time: 90min.;

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

Will (Matt Lanter) is plagued by dreams of apocalypse just right before his super duper sweet sixteen party at his house (even though he is already 25). Terrified of his own dreams, Will also loses his girlfriend Amy (Vanessa Minillo) who leaves him for someone else. Will’s friends Calvin (Gary Johnson) and Lisa (Kimberly Kardasian) together with a parody of characters from past movies, e.g. Juno, Enchanted Princess, experience a series of disasters from the night of Will’s party. As they all struggle for survival, they randomly meet and encounter various characters lifted from recent and not-so-recent-movies. Ultimately, Will has to save Amy from an impending disaster as he learns that Amy’s location, a museum, is on the verge of destruction.

Another spoof of various movies from the same makers of Scary Movie, Meet the Spartans and Epic Movie, Disaster Movie is true to its title with its disastrous moviemaking taste. With tidbits of scenes taken from past “hits” and “not-so-hits”, the film is devoid of any originality. There is no soul, no humor. There really is nothing in the movie. Audiences are sometimes given a hard time guessing the spoof’s inspiration and the source of a character’s parody. If one has not seen yet the movies being spoofed in Disaster Movie, never will he ever appreciate those scenes. Movie icons are constantly ridiculed in the film. There are offensive stereotypical portrayals of women, homosexuals and the religious that are all done in bad taste.

Disaster Movie is consistent with the values or non-values it presents. Nudity, gore and violence are scattered all over the place. There are characters who are almost nude and there are some scenes suggesting women half-nude. The tamest form could be that of women showing cleavage and wearing bikinis. Being trigger-happy is presented as funny and violence among and against women is considered acceptable. A pregnant teenager is seen drinking alcohol and whose water bag raptures profusely enough to bathe two men. A woman takes from under her skirt a crystal skull, indicating that it is hidden all along inside her. Being a spoof movie, such scenes are supposed to be funny but they turn out to be malicious and extremely offensive. Although there is no graphic representation of sex and violence, only ridiculous depiction of gore and suggestive sexual and homosexual connotations, young audiences should be warned and guided by adults for such scenes may negatively influence impressionable minds.

The Sisterhood of the Traveling Pants 2

Cast: America Ferrera, Amber Tamblyn, Alexis Bledel, Blake Lively; Director: Sanaa Hamri; Producer: Debra Martin Chasee; Screenwriters: Elizabeth Chandler, Ann Brashares; Music: Rachel Portman; Editor: Melissa Kent; Genre: Teen Comedy; Cinematography: Jim Denault; Distributor: Warner Bros. Pictures; Location: USA, Turkey; Running Time: 117 min.;

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

The story is mainly based on Ann Brashares 4th novel with storylines from the 2nd and 3rd novels. This picture begins 3 years after the first movie adaption with the girls now in college and are about to spend their summer separately with the pair of jeans that magically fits all four following each one’s adventure. Tibby (Amber Tamblyn) celebrates her 10th month anniversary with boyfriend Brian (Leonardo Nam) by sleeping with him. The next morning she is horrified to find out that the condom broke. Amidst the pregnancy scare, she goes off to Manhattan to take summer studies on film making. Lena (Alexis Bledel), heartbroken after learning her Greek boyfriend was recently married, takes up art classes and falls for the male nude model. Soccer player Bridget (Blake Lively) has a hard time dealing with her father and leaves for Turkey for an archeological dig to find out meaning in her life. Carmen (America Ferrera) tries to engineer a summer reunion with her friends only to find out they already had made prior plans. Feeling left out, she sets off to Vermont to work backstage for a play.

One commendable value of the movie is in the presentation and resolution of the conflicts. They are believable enough to provide a good balance of realism and hope. The cast play their part well and provide the heart and soul of the acting. Technically, the movie is well crafted with good camera angling and well paced editing. The production design suits the characterizations well as it perfectly brings out the personalities of the girls. Music is subtle and blends with the scene. Over-all, this is a feel good, light and inspiring movie about friendship.

The movie’s strongest theme is friendship and how individual struggles, mistakes and problems do not hinder their relationship to grow and deepen. Sisterhood… is like a good friend we can always run to in times of trouble, confusion and insecurity.

However, since the obvious intended audience of the movie are teenage girls, parents should be cautioned that while premarital sex is shown to have physical and emotional consequences regretfully it is not presented as totally wrong and characters who have engaged in it are not shown to have any remorse save for a momentary pregnancy scare. Sexual intimacy within the context of marriage is not the emphasis, instead what the film presents is the objectionable notion that pre-marital sex with two people in love is okay. Young audiences may be confused with the presentation of this theme and need to be guided by mature and responsible adults.

Bangkok Dangerous

Cast: Nicolas Cage, Shahkrit Yamnarm, Charlie Yeung, Panward Hemmanee; Directors: Oxide Pang Chun, Danny Pang; Producers: Nicolas Cage, Norman Golightly, William Sherak, Jason Shuman; Screenwriters: Jason Richman, Oxide Pang Chun; Music: Brian Tyler; Editors: Mike Jackson, Curran Pang; Genre: Action; Cinematography: Decha Srimantra; Distributor: Lionsgate; Location: Bangkok, Thailand; Running Time: 100 min.;

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

Joe (Nicolas Cage), an assassin, goes to Bangkok on an assignment to kill four people. He hires pickpocket Kong (Shahkrit Yamnam) as his assistant and messenger. Joe receives the contract from a Bangkok gangster, as to who will be Joe’s specific target, through Kong and a dancer who later on becomes romantically involved with Kong. Joe breaks his own rule of not getting involved with people on his missions where he takes Kong as his “student” because he sees him as a younger version of himself. Joe also meets and falls for a beautiful deaf-mute pharmacist (Charlie Yeung). After Joe has successfully done his three assignments of killing “bad people” or “bad for somebody” as he says, the fourth one seems to be crucial and difficult because Kong has told him that the said target is a good man. As Joe’s days pass by in Bangkok, he starts to grow a conscience which makes it difficult for him to carry on his line of work.

There’s nothing really big nor spectacular in Bangkok Dangerous except for the expected performance of Nicolas Cage which fans would surely appreciate. However, non-fans would be disappointed with Cage’s haggard look even in supposedly romantic scenes. There is no chemistry among love partners in the movie. One does not see any romantic link whatsoever between any of the characters. Cage and Yamnam are able to connect as student-mentor but the shallow and hollow script does not provide further depth to their characters endear them to the audience. The plot is quite cheesy and mushy to the point of being predictable and soap operatic. There is an attempt to make this movie an exceptional action picture but still the film fails in so many ways to excite the audience and to fulfill expectations.

Joe’s character, as the movie says, is an amoral character because he only assassinates and kills “bad for somebody” people. However, he also kills any link that would lead to him as a suspect including his hired assistants or messengers. Either way, killing is immoral and there is no way one can justify it as amoral. Putting Bangkok Dangerous into context, the film tries to explore the dark world of crime, sex, drugs and violence in a place that is considered to be the “sex capital” of the world so it is inevitable to include scenes with a degree of sex, violence, substance use and abuse. Joe’s character has been doomed and redemption is uncertain. Kong’s willingness to be trained in the dark world is also quite objectionable as this may be deemed as right by the very young audiences and this somehow gives a bad light to the concept of mentoring. There are also scenes of gore that leaves a desensitizing effect on the audience’s tolerance of violence. There is cursing, fighting, lewd dancing, alcohol drinking, so young viewers should be guided.

I.T.A.L.Y. (I Trust and Love You)

Cast: Jolina Magdangal, Rufa Mae Quinto, Dennis Trillo, Eugene Domingo, Mark Herras, Rhian Ramos; Director: Mark A. Reyes; Producer: Annette Gozon-Abrogar; Screenwriter: Senedy Que; Music: Vincent de Jesus; Editor: Maryo Ignacio; Genre: Drama’ Adventure/ Sexual Comedy; Cinematography: Jose Linao; Distributor: GMA Films; Location: Italy, Manila, Spain; Running Time: 100 min.;

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

Si Destiny o Des (Jolina Magdangal) ay isang housekeeper sa isang luxury cruise ship sa Europa. Isang dalaga na maraming pangarap si Des katulad ng makapangibang-bayan partikular ang makarating sa lugar na Venice, Italy, maging mang-aawit, makatulong sa pamilya at matagpuan ang lalaking nakatadhana para sa kanya sa gabay ng isang pekeng hula. Ang mga pangarap na ito ang nagtulak sa kanya upang magtrabaho sa barko kung saan makikilala niya sina Paolo (Dennis Trillo), Lovely (EugeneDomingo), Stella (Ruffa Mae Quinto), at Nathan (Mark Herras). Isa sa mga pasahero ng barko si Paolo na nangungulila sa banyagang girlfriend na bigla na lang naglaho sa kanyang buhay. Nakitaan ni Des si Paolo na mga senyales na ayon sa manghuhula ay itinakdang lalaki para sa kanya, kaya ganoon na lamang ang effort ni Des na mapalapit dito. Si Lovely, kapwa housekeeper ni Des sa barko, ay isang bigo sa pag-ibig at di na umaasang makapag-asawa pa. Si Stella, isang lounge singer sa barko, ay isang babaing naghahanap ng tunay na magmamahal at magsiseryoso sa kanya. Si Nathan na cabin crew ay isang babaero na maakit sa maganda subalit supladang pasahero na si Phoebe (Rhian Ramos). Ano kaya ang mangyayari sa kanila sa katapusan ng paglalakbay ng barkong sinasakyan nila?

Sanga-sanga ang kwento na pinilit ilagay sa isang pelikula para matapos lang. Hilaw ang paghahatid ng kombinasyong drama at comedy (o dramedy) dahil nga sa kawalan ng sentro ng kwento. Bagamat epektibo ang mga hirit na patawa nina Eugene at Ruffa Mae, hindi naman ito nakatulong upang mapalalim ang mga mensaheng nais ipahatid ng mga tauhan na at ng buong pelikula. Maliban sa madamdaming pag-uusap nila Pen Medina at Jolina sa telepono at eksena na pagkakatuklas ni Paolo ng pagkamatay ng nawawalang kasintahan, wala ng nailabas pa sa pag-arte ang mga aktor sa pelikula. Bitin sa pagtalakay ng makabuluhang buhay ng OFW sa barko ang pelikula na isang oportunidad na sana. Tila hindi rin masyadong nabigyan ng ibayong kabuluhan ang iba't ibang lugar na ipinakita sa pelikula gayundin ang mga bahagi ng cruise ship na interesante rin sana. Gayunpaman ay maayos at akma ang mga musikang inilapat sa mga eksena at nakatulong ito nang malaki upang magkaroon ng saysay ang pelikula. Sa kabuuan ay nakakaaliw ang pelikula lalo na sa mga eksenang patawa.

Katulad ng inihatid ng pelikula, mahalaga sa pag-abot ng mga pangarap ang determinasyon at tapang na harapin ang mga nakaakibat na lungkot at sakripisyo. Ang isang mabuting anak ay sumusunod din sa bilin ng mga magulang kahit na malayo sa isa't isa. Sa banyagang lugar lalo na sa pagtatrabaho ay dapat manaig ang mahusay na pakikisama upang mayroong suporta sa panahon ng pangangailangan. Maganda ang mensahe ng pelikula tungkol sa pagkakaibigan, pagtanggap ng mga realidad ng buhay, kababaang-loob at pag-ibig. isang punto na dapat siguro ay pagnilayan ng mga manonood ay ang pagpili ng makakasama sa buhay na hindi dapat isinasalalay sa kamay ng manghuhula o mga senyales na sasabihin nito.

Right at Your Door

Cast: Mary McCormack, Rory Cochrane, Tony Perez; Director: Chris Gorak; Producers: Jonah Smith, Palmer West; Screenwriter: Chris Gorak; Music: Tomandandy; Editor: Jeffrey M. Werner; Genre: Disaster; Cinematography: Tom Richmond; Distributor: Viva Film; Location: L.os Angeles, California; Running Time: 96 Min.;

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

Brad (Rory Cochrane), a struggling musician, and his bread winner wife Lexi (Mary McCormack), have just moved into the suburbs of LA. On an ordinary weekday, Lexi goes to work while Brad tends to the house when a series of bombs goes off in several places. Apparently these bombs are laden with a chemical that would cause an exposed person to get very sick and die. Authorities tell the people to lock up in their houses to avoid contamination. Brad spends half the film’s time trying to find his wife and dodging polive and barricades but to no avail. He returns home and seals up his house with the help of the neighbor’s gardener, Alvaro (Tony Perez), leaving a box of provisions outside for Lexi. She finally shows up at their doorsteps - infected, ill and dying. Brad painfully decides to lock her out of the house as he cannot jeopardize his own life.

The premise of the plot has a lot of potential for a touching and riveting human drama however, the script has failed to develop the characters and establish a relationship with the audience that it is hard to relate with them to offer any sympathy for their predicament. The scripting and plot development could have been greatly improved as it is presented like an over-stretched 30 minute production. The acting is commendable, while the sound and music are suitable. Technically, the movie is adequate with good vision from Gorak and a brilliant interplay of grays and blues with a tight, though jerky, framing. Richmond is able to recreate a dramatically pristine but terrifying ash fall effect. For a low-budget film, the production is satisfactory.

In the movie Right At Your Door “Till death do us part”… sounds meaningless when a couple is faced with a critical choice that might jeopardize their survival. The spectator realizes that this situation is no longer rare today. Loyalty and sacrifice seems to longer occupy a place in marriage and choosing between the self and the partner becomes easier and easier as people become more self-centered and self-absorbed to care about the person one promised to love and to cherish for the rest of his life.

The movie is also about the fear-mongering encouraged by the media as it throws conflicted information and sensationalism in crisis situations. The media seems to add more confusion and panic than give clarity and guidance. In the end, what we usually regard as the pillar of truth and enlightenment, aggravates a predicament a million times worse than it should be.

Hellboy II: The Golden Army

Cast: Ron Perlman, Selma Blair, Doug Jones, Anna Walton, Luke Gross, Jeffrey Tambor; Director: Guillermo del Toro; Producers: Laurence Gordon, Mike Richardson, Lloyd Levin; Screenwriters: Guillermo del Toro, Mike Mignola; Music: Danny Elfman; Editor: Bernat Vilaplana; Genre: Fiction/ Action/ Adventure; Cinematography: Guillermo Navarro; Distributor: Universal Pictures; Location: USA; Running Time: 120 min.;

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

The humans and other beings had their truce a long way back when they agreed to split into settlements in separate areas. But now, the moment has come when war is in the air. The human Prince Nuada (Luke Gross) in defiance of his king father is instigating a conflict between him and all the rest around their territory. Nuada’s goals are to find and put together the three pieces of a crown, which when completed would make him the new king of the original conglomeratation of humans and other living beings; at the same time the conflict will cause the awakening of hundreds of mechanical soldiers long stored idle, which would get him his goal. Unfortunately however, his twin sister Nuala (Anna Walton) is clearly against his decision. Unknown to Nuada however, there is Hellboy “Red” (Ron Perlman) a really incredible hulk, has Nuala’s crown piece in keeping, and ready to fight for her and the people.

Hellboy is an interestingly put together story filled with suspense and adventure. No doubt. Ron Perlman is very good at projecting his character; he looks real and convincing, as a capable and extraordinary hulk, is able to do what others can’t. His sometimes soft character is touching. The visual effects are well presented as scenes of old and ancient times in different shades of light and darkness are shown. The ensemble acting is also impressive as flashed on the screen. The use of CGI’s improve and enhance what are displayed and they appear more real. One possible drawback for some viewers would be the problem of identifying individual characters and where they belong. The overall value of the movie is the presentation of the good fighting against what is evil. Here is Hellboy and Princess Nuala (Anna Walton) leading the good against the evil ones led by Prince Nuada. There is Hellboy, with the assistance of a group of investigators and researchers helping and defending humans from evil power. There are evil spirits in the world. People can conquer the immortal enemy with the help of someone stronger than oneself. Hellboy plays the role of the savior and defender of human beings attacked by evil spirits.

Vulgar language is at a minimum, while violence is shown frequently as it is needed for a major part of the story. Because these scenes could cause frequent emotional stress for younger viewers, CINEMA recommends that only those 14 years old and above be allowed to watch Hellboy 2: The Golden Army.