Hilot

Cast: Melissa Mendes, Empress Schuck, Glenda Garcia, Ricardo Cepeda, Pocholo Montes; Director: Neil Tan; Producers: Melissa Yap, Glenda Yap, Merwyn Yap; Screenwriter: Neil Tan; Genre: Drama; Cinematography: Renato de Vera; Distributor: Emerge Entertainment Productions; Location: Caloocan;

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

Labis na ikinababalisa ng dalagitang si Carmen Catacutan (Empress Schuck) ang mga usap-usapan tungkol sa kanilang mag-anak na nakatira sa isang lumang bahay na palaging nakapinid ang mga bintana. Isang bukas na lihim ang pagiging manglalaglag (abortionist) ng kanyang inang si Amparo (Melissa Mendez), bagama’t ito ay palasimba at laman ng kanilang bahay ang napakaraming imahen at rebulto ng mga santo. Bunga nito, siya’y nililibak ng kanyang mga kamag-aral bagama’t siya ay isang ulirang mag-aaaral. Isa ring ulirang anak si Carmen, masunurin, at matiising tumutulong sa pag-aalaga ng kanyang lolong baldado, si Amang (Pocholo Montes). Dahil sa husay ni Carmen bilang isang mag-aaral, pagtitiwalaan siyang tumulong ng kanyang gurong si Mr. Davide (Ricardo Cepeda) sa gawain nitong pagsusuri sa mga test papers, bagay na magiging isa pang dahilan upang higit siyang libakin ng kanyang mga kapwa mag-aaral. Matutuklasan din ni Carmen na ang isa sa kanyang mga kamag-aral na nanglilibak sa kanya ay magiging “pasyente” ng kanyang ina, at tuluyang magiging biktima gawa nito. Habang nagluluksa ang buong paaralan sa pagkamatay ng dalagitang nagpalaglag, maghihimagsik naman ang kalooban ni Carmen at haharapin ang ina hinggil sa karumal-dumal nitong gawain. May isang pangyayaring pagdurusuhan sa piitan ni Amparo sa loob ng pitong taon. Sa kanyang paglaya, may ibubunyag siyang lihim kay Carmen.

Sa simula pa lamang ng Hilot―kung saan ipinapakita ang isang sanggol sa sinapupunan ng kanyang ina at wala kang maririnig kundi ang tibok ng kanyang puso―ay malalaman mo nang naiiba ito sa karaniwang mapapanood sa mga sinehan, sapagkat ang pangunahing layunin nito ay ang ipakitang masama ang abortion. Diumano’y ‘low budget” film ito: ang mga tumustos sa paglikha ng pelikula ay si Melissa Mendez (ang mismong gumanap na hilot), at ilan sa kanyang mga kaanak na naniniwala sa kanyang layunin. Sapagka’t mga bagong mukha ang mga artista, at taos-puso ang kanilang pagganap, naging lubhang makatotohanang ang dating ng pelikula. Pawang damang-dama ng mga nagsiganap ang kani-kaniyang papel―lalo na sila Schuck, Mendes, Cepeda at Montes. Maliwanang at maayos ang daloy ng istorya, madaling sundan at unawain. Nakakaengganyo ang Hilot sa kabila ng kakulangan nito sa special effects at musika, at sa editing.

Bagama’t layunin ng Hilot na ihantad ang kasamaan ng abortion, sinisiyasat din nito ang maaaring ugat sa buhay ng mga gumagawa nito. Bagama’t ipinakikita ring maliwanag nito na kasawiang-palad ang kahahantungan ng isang abortionist, inilalahad din ng pelikula kung ano ang pinanggalingan ni Amparo, ang mga pangyayari sa kanyang buhay na naging dahilan ng kanyang pagiging “manglalaglag.” Sa kadulu-duluhan, hindi mo masisisi ang isang abortionist sapagkat lumalabas na siya’y isang biktima din ng kalupitan ng buhay. Sino ngayon ang may sala? Ang pag-aasawahan ba? Ang mga lalaking malilikot at mga babaeng hindi naturuang igalang ang kanilang mga katawan? Ang Simbahang Katoliko ba na sa kabila ng kanyang kapangyarihan ay hindi maakay ang masa tungo sa tunay at malalim na pananalangin at pakikipag-ugnayan sa Diyos? Ang pamahalaan ba na walang ngipin upang ipatupad ang batas at pigilin ang gawain ng mga manglalaglag? Ang masalimuot bang lipunan na binubuo ng mga taong lulong sa paghahanap ng mababaw na kaligayahan? Higit pa sa isang pelikula, ang Hilot ay isang hamon―sa inyo, sa amin, sa ating lahat―upang pugsain ang karumal-dumal na gawaing pagkitil sa buhay ng nasa sinapupunan sa pamamagitan ng isang masusing pagtanaw sa ating kapaligiran at sa kaibuturan ng ating mga puso.

The Curious Case of Benjamin Button

Cast: Brad Pitt, Cate Blanchett, Tom Everette, Robert Towers, Peter Donald Badalamenti II, Charles Henry Wyson; Director: David Fincher; Producers: Cean Chaffin, Kathleen Kennedy, Frank Marshall; Screenwriters: Eric Roth, Robin Swicord; Music: Alexandre Desplat; Editor: Kirk Baxter, Angus Wall; Genre: Drama/ Fantasy/ Mystery/ Romance; Cinematography: Claudio Miranda; Distributor: Paramount Pictures; Location: Cambodia; Running Time: 166 min.;

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

During the time of hurricane Katrina in 2005, an 80-year-old woman (Cate Blanchett), on her death bed in New Orleans, asks her daughter Caroline (Julia Ormond), to read from the diary of one Benjamin Button (Brad Pitt). From reading it, Caroline learns that her dying mother is the Daisy in the diary. In 1918, Benjamin Button’s mother dies giving birth to him, the infant who looks like a shriveled old man. Benjamin’s father Thomas Button (Jason Flemyng)—taking the child for a monster due to his hideous appearance and blaming him for the death of his mother—leaves the infant at the steps of a nursing home for the aged. Its kindhearted manager, Queenie (Taraji Henson), keeps and raises the foundling despite his monstrous looks. By the time Benjamin is seven years old, he looks like younger but still decrepit 80-year old who moves around in a wheelchair. Nobody takes him seriously when he says he is aged seven, because they do not know that Benjamin is physically aging backward. At age 13, Benjamin meets Daisy who regularly visits a relative in the home, and the girl is to be unforgettable for him.

Director David Fincher reportedly waited to do the film until the technology could enable one actor to play the role in the film’s entirety. This is it—technological magic at its amazing best. All throughout the movie you could be asking, “Is that Brad Pitt?” Blanchett’s makeup as Daisy on her death bed is so natural that you wonder if it’s a different actress; indeed, Blanchett seeing her aging image could well prepare for her golden years. But Blanchett’s makeup is nothing compared to what cinematic technology did on Pitt’s character. They superimposed Pitt’s face and eyes into the Benjamin Button character—except, of course, when Button reached Pitt’s age, as Button is pure Brad Pitt circa 2008. The acting is Oscar material, and the cast couldn’t have been better chosen, with Taraji Henson, Tilda Swinton, Jared Harris and Jason Flemyng delivering supporting roles. Helping the viewer accept the improbable plot is the movie’s attention to period details. Sets for the 1920 vignettes are perfectly reconstructed and special effects are used to enhance the flow of the story.

Inspired by a short story written in 1922 by F. Scott Fitzgerald with the same title, the movie The Curious Case of Benjamin Button should be viewed as science fiction but pondered as drama on life, time and aging. Viewers shouldn’t bicker about the story’s logic or the lack of it, the incongruousness of the idea of aging backwards, but rather take it as a fairy-tale that can lead us to empathize with the characters and then go deeper into ourselves. Could we believe we could sire a child who looks like a reincarnation of Rosemary’s Baby? Would we care to nurture as our own a repulsive-looking newborn abandoned at our doorsteps? Would we bother to play with a teenager who looks more like our great grandfather? Would we employ in our tugboat a senior citizen who’d be better off resting in a home for the aged? Even if we were a prostitute, could we stand having for a customer a 75-year old virgin? Would our love be strong enough to want to marry a lover knowing he’d look 16 when we are 64? And wouldn’t we feel ancient bottle-feeding an infant who used to be our lover? A story of reverse aging may be a difficult premise to accept but the movie must be viewed on its own terms and for the richness it offers to thinking viewers; otherwise, it would be seen as just a whole lot of nonsense.

Bride Wars

Cast: Anne Hathway, Kate Hudson, Candice Bergen; Director: Gary Winick; Producers: Kate Hundson, Alan Riche, Peter Riche, Julie Yorn; Screenwriters: Greg DePaul, Casey Wison; Music: Ed Shearmur; Editor: Susan Littenberg; Genre: Romantic Comedy; Cinematography: Frederick Elmes; Distributor: 20th Century Fox; Location: Romantic Comedy; Running Time: 89 min.;

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

Emma (Anne Hathaway) and Liv (Kate Hudson) are best friends who grew up with one dream: to get married at the Plaza Hotel with each other as bridesmaids. When they both get proposed to, they excitedly plan the details of their big day and book two separate dates in June at the Plaza. Their friendship is enhanced as they try to support each other’s dreams and give way to make the other happy. Unfortunately, a clerical error books their wedding on the same day at the same time and the next available date is three years from now. The perfect seemingly unbreakable bond is broken as each refuses to change her wedding date or venue and resort to sabotaging each other’s ceremony.

On the one hand, the story is shallow and cute. Although it does not try to develop deeper characterization, it successfully gives the personality of the two protagonists and develops the plot in broad strokes. There is not much to expect from the movie with a mediocre acting, save for Bergen, a predictable storyline and a not so funny comedy. On the other hand, there are some charming classic moments as well as dull forgettable scenes. It might be a run-of the mill romantic comedy but it does manage to brighten a few minutes of the day afterwards.

Real and time-tested friendship is a better love story than romance and fairy-tale weddings. No matter how much strain life and time puts on friends, that one person you cared about and shared your life with will always be loyal, true and supportive. Unfortunately, this little message may get drowned by the ridiculous obsession the protagonist displays over having the perfect dream wedding as if that single event will spell out how the marriage will turn out. Of course, every bride (and maybe groom) wishes and needs to have that unforgettably romantic moment when they say “I do” and celebrate their union with the world. But at the end of the day, no matter how grand or beautiful one’s wedding is, what will count is one’s maturity, love and desire to make the relationship work.

The movie is mild and decent but there are some offensive scenes and situations that will not suit the young audience. For instance, alcohol is constantly used to relieve stress, mild nudity during the bachelorette party, and the fact that the two would be brides are already living in with their respective boyfriends.

Transporter 3

Cast: Jason Statham, Natalya Rudakova; Director: Olivier Megaton; Producers: Luc Besson, Steve Chasman; Screenwriters: Luc Besson, Robert Mark Kamen; Music: Alexandre Azaria; Editors: Camille Delamarre, Carlo Rizzo; Genre: Action/ Adventure; Cinematography: Giovanni Fiore Coltellacci; Running Time: 100 min.;

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

By circumstance, the mission to transport a "package" falls in the hands of Frank Martin (Jason Statham) under a life threatening rule that monitors the accomplishment of the mission. To Frank’s surprise, the "package” is Valentina (Natalya Rudakova,), the kidnapped daughter of Ukraine's Minister for Environmental Protection who is being blackmailed by a syndicate to allow the shipment of toxic materials to the country. The rule includes a metal wristband put on them that is programmed to blow up if they step away from the designated car. Everytime Frank makes his turn away from the programmed route by rule, he always meets a challenge to fight for his life. All these challenges, however, are amazingly hurdled by Frank whose fighting and driving skills win the admiration of Valentina and make her feel safer than her previous transporters. Will they survive the rule? Will the bad elements succeed in bringing pollutants into Ukraine?

Transporter 3 is a spectular film that keeps the interest of the viewers until the end. While the story is somewhat slow in the beginning, it makes sense in its progress towards conclusion. There are actually fewer lines delivered and for the most part the story is carried out in action and special effects. Acting-wise, Jason is effective in his role as Frank Martin while the rest could have done more. Nevertheless, the director succeeds in complimenting some mediocre acting by putting more efforts in other technical aspects of the film particularly in cinematography, sounds scoring and lighting. Overall, despite some lapses in editing--like villain Robert Knepper seems to be everywhere and fighting scenes that do not even leave small bruises on Frank--the film is technically commendable.

Life is precious and should be protected. The environment as people's habitat also needs to be protected to ensure a better and safer world for future generations. Essentially, this is what the film tries to convey: Anyone who could be a threat to human life and the environment should be cautioned or will have no place in this world. At the same time, a person in his right mind cannot just be a blind follower of a foolish rule that puts precious life in danger. The film also shows that a government position cannot be compromised for any immoral act. However, despite this major message, the film shows brutal killings so younger viewers must be guided.

Love Me Again

Cast: Angel Locsin, Piolo Pascual, Ricky Davao, Ronnie Lazaro; Director: Rory B. Quintos; Genre: Drama; Distributor: Star Cinema Productions; Location: Australia; Running Time: 120 min.;

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

Matapos magpalipat-lipat ng trabaho sa lungsod, matatagpuan ni Migo (Piolo Pascual) sa kanilang bayan sa Bukidnon ang buhay na kanyang nanaisin at mamahalin – ang pagra-rancho sa kanilang pag-aaring lupain. Makikilala niya at magiging kasintahan dito si Arah (Angel Locsin). Sa Bukidnon nais buuin ni Migo ang kanyang mga pangarap kasama si Arah. Ngunit maaaksidente ang ama ni Arah (Ricky Davao) at mapipilitan siyang mangutang sa isang Australyanong amo ng kanyang tiyuhin (Ronnie Lazaro) bilang paunang bayad sa pagtatrabaho ni Arah bilang cook sa rancho nito sa Australia. Labag ito sa kagustuhan ni Migo at hindi niya papayagang umalis si Arah. Subalit sadyang hindi mapipigilan si Arah sa pag-alis. Maiiwan si Migo sa Bukidnon at matagal ang panahon na lilipas na hindi niya kakausapin si Arah. Malulugi ang rancho ni Migo at magdedesisyon itong sundan si Arah sa Australia. Magkakagulatan ang dalawa sa Australia lalo na sa madadatnang pagbabago ni Migo kay Arah. Ikakasal na rin ito sa kanyang among Australyano. Makuha pa kayang muli ni Migo ang pag-ibig ni Arah matapos niya itong talikuran ng mahabang panahon?

Kung tutuusin ay isang karaniwang kuwento ang Love Me Again. Walang masyadong inihain kung kuwento ang pagbabasehan. Isang magkasintahang pinaghiwalay ng pangangailangan at pagkakataon ngunit muling pagtatagpuin ng tadhana sa isang kalagayang magiging mahirap para sila magkabalikan. Hindi rin masasabing nailahad ng pelikula ang tunay na kalagayan ng mga kababayan nating nagtatrabaho sa ibang bayan. Malaking ambag lang ang panibagong bihis nito na kinunan pa sa matulaing lugar ng Bukidnon at maging ang Outback, Australia ay nakakaigaya rin. Ngunit hindi rin naman ganuon kabago sa paningin ang Australia dahil pawang ordinaryong rancho at gubat rin lang ang ipinakita sa pelikula. Bagama't hindi matatawaran ang husay sa pagganap ng mga mga pangunahing nagsiganap na sina Locsin at Pascual, walang gaanong kilig na maramdaman sa dalawa. Epektibo naman sila sa mga eksenang ma-drama. Maayos naman ang daloy ng kuwento, yun nga lang, hindi maitatatwang, walang gaanong bago.

Kapuri-puri ang pinakitang pagmamahal at pagsasakripisyo ni Arah para sa pamilya. Tunay siyang huwaran ng karamihan sa mga Pilipinong nangingibang-bayan para maghanapbuhay. Ipinakita rin na ang Pilipino ay isang huwarang mangagawa at saan man siya mapadpad, hindi matatawaran ang kanyang galing at kasipagan. Mayroon lang ilang nakakabahalang imahe ng kababaihan ang ipinakita sa pelikula. Bagama't malakas ang personalidad na inilarawan ni Arah, pawang angat pa rin ang papel ng lalaking Australyano pagdating sa yaman, lakas at kapangyarihan. Ang pag-aasawa nga ba sa ibang lahi ang tanging susi upang umangat ang isang Pilipina sa buhay? Nakababahala ang sinasalmin ng pelikula nitong katotohanang nangyayari sa lipunan, at higit pa ring nakababahala ang nangyaring pagtatalik sa labas ng kasal. Bagama't kaugnay ito ng pananabik at wagas na pag-ibig, hindi pa rin ito magandang halimbawa. Dapat na gabayan ang mga batang manonood.

The Spirit

Cast: Gabriel Macht, Samuel Jackson, Scarlett Johansson, Jaime King, Sarah Paulson, Eva Mendes; Director: Frank Miller; Producers: Deborah Del Prete, Gigi Pritzker, Michael E. Uslan; Screenwriters: Frank Miller, Will Eisner(comic book series); Music: David Newman; Editor: Gregory Nussbaum; Genre: Action/ Comics; Cinematography: Bill Pope; Distributor: Lionsgate; Location: New Mexico, USA; Running Time: 102 min.;

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

Denny Colt (Gabriel Macht) is a slain policeman who mysteriously resurrects as The Spirit hero with super powers to fight crimes and work with local police commissioner Dolan (Dan Lauria). He is constantly being helped by Dolan's physician daughter, Ellen (Sara Paulson) whenever he gets wounded in a fight although he recovers unusually fast. The Spirit's ultimate enemy is a drug lord named Octopus (Samuel Jackson). As The Spirit attempts to destroy the equally immortal Octopus, Denny's childhood sweetheart Sand Saref (Eva Mendez)--from whom he parted after a bitter quarrel--comes back to town and enters the picture as a seductive jewel thief.

Based on a graphic novel by Will Eisner, the movie passes off artistically as far as visuals are concerned. The stylized violence surely appeals to the fanatics of the genre. But for a regular film audience who looks for story substance, The Spirit utterly fails to convey neither a substantial plot nor a compelling narrative. The plot, although apparently inconsequential, fails to develop its characters who all eventually appear as emotionless and indifferent. Even the The Spirit's enemy, Octopus, does not create an impact, given his melodramatic flamboyance. Ultimately, The Spirit is just a graphic spectacle with a usual superhero non-narrative with a twist of few wits and satirical anecdotes. It does not go beyond that and to look for substance might be a bit too much expectation.

Unlike other superhero movies, The Spirit is devoid of apparent moral of story. Apart from the given that hero protects the neighborhood at night, his character is far from ideal – a womanizer who treats women as mere objects of desire. There is senseless violence all over the place where two immortals try to outdo and kill each other knowing the fact that they both can get away with it. This might even send a confusing message to the audience: one's immortality can make one get away with murder. It may be true that sometimes vigilantism is the only way to fight evil but still, violence only leads to further violence. In any case, violence is no solution after all. There are also some scenes of nudity and a certain degree of profanity in the movie which may not be appropriate for viewers below 14 years old.

Bedtime Stories

Cast: Adam Sandler, Keri Russell, Guy Pearce, Russell Brand, Richard Griffiths, Teresa Palmer, Courtney Cox, Jonathan Morgan Hert, Laura Ann Kesling, Jonathan Pryce; Director: Adam Shankman; Producers: Jack Giarraputo, Andrew Gunn, Adam Sandler; Screenwriters: Matt Lopez, Tim Herlihy; Music: Rupert Gregson-Williams; Editors: Tom Costain, Michael Tronick; Genre: Comedy/ Fantasy; Cinematography: Michael Barrett; Distributor: Columbia Pictures; Location: USA; Running Time: 99min.;

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

Skeeter Bronson (Adam Sandler), a hotel handyman grew up in a homey hotel owned by his father (Jonathan Pryce). Later, it was bought by a hotel magnate Nottingham (Richard Griffiths) on which site, a grander bigger hotel was built and in which Skeeter is now employed. At night, Skeeter babysits the 2 kids of his sister Wendy (Courtney Cox), who’s looking for a job in Arizona. Since the 2 charges wish to hear bedtime stories, Skeeter concocts fantastic tales. With the kids cooperative inputs, theses stories have a strange way of becoming true to life. In other hours, the kids are with Jill (Keri Russell), a teacher who runs an ecology friendly school due for demolition as the hotel tycoon plans to build another hotel on its site. Skeeter does not see eye to eye with the hotel’s manager Kendall (Guy Pearce) because both men are interested in Nottingham’s daughter (Teresa Palmer). Skeeter always seems to be a loser but he realizes that by slanting the bedtime fantasies he invents, he can make things happens in his favor. Can his dream of becoming a hotel manager come true? Can he win the heart of Nottingham’s daughter? Can he help Jill save her school?

Bedtime Stories is said to be a “harmless” comedy fit for family entertainment as it can appeal to everyone of any age. Though the subject matter is not the usual children’s fare, the kids will likely be entertained by the fantasy. But it is doubtful that most adults will much enjoy this picture that is predominantly silly and inane. Still, there are some parts that are laughable like when Skeeter’s tongue is bitten by a bee and he can only make incomprehensible sounds so his friend had to “translate” his words during a crucial “presentation”. The production design is lavish as every invented tale is interpreted or presented with impressive visuals and technical effects. There is variety in the imaginative concoctions which include, among others, a cowboy with a bright red horse, a zero-gravity battle in outer space, a gladiator in a chariot and of course, a medieval king. There are several layers to the film. The beginning and end are narrated by Skeeter’s father and within the story that he narrates about his son, the protagonist Skeeter narrates the fantasies that are now “smaller” stories within the “bigger story. So there is an alternation of fantasy and reality. Adam Sandler is his usual funny self and does adequate work here.

In Bedtime Stories, Skeeter is portrayed most of the time as a loser so that he resorts to fantasizing to make things happen for his benefit. But the movie ends positively and hopefully in that it shows that a person may lose most of the time, but by doing something right (not by imagining out-of-this-world schemes), he will eventually succeed. Sketter’s sister objected to Skeeter’s telling the children nothing ends happily in real life. She does not want her children to develop such unhealthy pessimism and think that beautiful happy things happen only in fairytales or such. One reason she says she wants her kids to be with Skeeter is so they can “catch” some of Skeeter’s usual light happy outlook. Skeeter’s story proves his sister right. Things can also end well in real life.

Shake, Rattle and Roll X

Cast: Marian Rivera, Roxanne Guinoo, JC Vera, Mylene Dizon Wendell Ramos, Kim Chiu, Jean Garcia, Diana Zubiri; Director: Topel Lee, Mike Tuviera; Producer: Roselle Monteverde-Teo; Genre: Horror/ Comedy; Distributor: Philippines; Location: Regal Films;

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

Tatlong maiigsing kwento ang tampok sa Shake Rattle and Roll X. Ang unang kwento na pinamagatang EMERGENCY ay tungkol sa paghihiganti ng mag-asawang aswang (Mylene Dizon at Wendell Ramos) matapos masagasaan ang babae at masawi ang dinadalang anak nito. Susugurin nila at ng kanilang mga kampon ang ospital na pinagdalhan sa babae habang pagsusumikapan nina Jay (JC de Vera) at Dra. Sarah (Roxanne Guinoo) na ipagtanggol ang mga pasyente at sugpuin ang mga aswang.

Sa CLASS PICTURE, sampung estudyante ang namalagi magdamag sa eskwelahan para maghanda sa pagbubukas ng kanilang exhibit. Subalit di sinasadyang mabubulabog nila ang kaluluwa ni Sr. Maria Belonia (Jean Garcia), isang mabagsik at malupit na guro noong 1898. Matatanggal dapat ang madre sa eskwelahan dahil sa pagkawala ng tatlo niyang estudyante. Upang hindi mapahiya, magpapakamatay ang madre at isusumpang ibabalik ang tatlong nawawalang estudyante upang makasama sa kanilang class picture. Nang mabulabog ang kanyang kaluluwa, isa-isa niyang papatayin ang mga taong naiwan sa eskwelahan at kukunin ang dalawang babae bilang kapalit ng kanyang mga nawawalang estudyante. Ang ikatlong dapat kunin ay si Joy (Kin Chui) ngunit maililigtas siya ng kaluluwa ng nawawalang estudyante na tatapos sa sumpa at magpapatahimik sa kaluluwa ni Sr. Belonia.

Ang ikatlong kwento ay isang komedya at pinamagatang NIEVES. Sa munting barrio, si Nieves (Marian Rivera) ang tanging tagapagtanggol ng taong-bayan laban sa mga mapaglarong engkanto. Nang mawala ang kanyang asawa at pinakamamahal na Adonis (Pekto), tatabangan na siyang maging “Engkanto Slayer” o tagagupo ng mga engkanto. Hanggang sunod-sunod ang pambulabog ng mga engkanto at pagkakawalaan ang mga taong-bayan. Sa simula’y tutulong si KC (Jennica Garcia), isang taga-Maynilang tinuruan ni Nieves na maging Engkanto Slayer subalit lalantad ang tunay na katauhan niya bilang Acacia (Diana Zubiri), ang reyna ng mga Engkanto na dumukot kay Adonis at nagpasimula ng gulo ng tao at engkanto.

Bilang horror movie may tamang timpla ng panggulat, pangkaba at panakot ang dalawang kwento. Kaya nga lamang ay may kahinaan ang naratibo ng Emergency at di gaanong malinaw ang pagkakabuo ng kwento ng Class Picture. Maraming pa ring detalye at side stories na walang silbi kundi ang magpahaba lamang. Ang pinaka umangat ay ang Nieves dahil sa mahusay na pagkakaganap ni Marian Rivera, magandang naratibo at pagpapatawang dahil sa sitwasyon, dialogue o eksena at hindi tulad ng nakasanayang slapstick o toilet humor. Maganda ang paglalapat ng tugtog sa tatlong kwento. Bagamat hindi gaanong pulido ang mga special effects at disenyo ng produksyon ay kaiga-igaya na rin itong panoorin. Sa kabubuan, nakaaaliw panoorin ang pelikula at sulit na ang panahon at salaping igugugol dito.

Maaring pag-usapan ang dalawang magandang puntong naibahagi ng pelikula, bagamat pahapyaw at hindi intensyon ng produksyon. Una, ang pananalig sa Diyos sa gitna ng pagsubok. Sa EMERGENCY, ang malakas na pananampalataya at kapangyarihan ng Diyos lamang ang tanging nakasugpo sa mga halimaw. Sa panahon ngayon, kung minsan, akala ng tao ang sariling kakayahan, kayamanan o kapangyarihan ang magliligtas sa kanila sa hirap o panganib. Mainam na makita na hindi ang lakas o tapang, hindi ang pamahiin o paniniwala, hindi ang talino o swerte ang magliligtas sa tao kundi ang kabutihang loob at pananalig sa kapangyarihan ng Diyos.

Ikalawa, ang katapatan sa asawa. Sa Nieves, mahal na mahal ni Nieves ang kanyang asawang si Adonis, sa kabila ng itsura nito. Ni hindi siya nagdalawang isip na manatiling tapat kahit na may gusto sa kanya si Agtaya, matipuno, guwapo at prinsipe ng mga Engkanto. Bagkus ay pinagsumikapan niyang matutong maging Engkanto Slayer upang matiyak ang kanilang pagsasama ni Adonis. Sa kasalukuyan, maraming marupok na pagsasama gawa ng mga nagkalat na tukso sa paligid. Para bang ang pagtataksil ay madaling bigyan ng katwiran. Bagama’t sa isang nakakatawang sitwasyon, nabigyan diin ditto ang halaga ng katapatan sa asawa.

May ilang eksenanang nakasisindak at madugo na maaring katakutan ng mga bata. Mainam na patnubayan sa panunuod ng mga magulang ang kanilang batang anak.

Dayo

Cast (Voices): Nash Aguas, Katrina “Hopia” Legaspi, Michale V., Pokwang, Peque Gallaga, Johnny Delgado, Laurice Guillen, Nova Villa, Noel Trinidad ; Director: Robert Quilao; Producers: ; Screenwriters: Artemio Abad, Eric Cabahug; Music: Jesse Lasaten; Genre: Cartoon Movie/ Family; Running Time: 90 min,;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers of all ages

Eleven-year old, not yet in his teens, Bubuy (Nash Aguas) is the favorite target of the three teenage boys who find it fun in bullying him. He tries to avoid them, but they manage to get to him. This time they catch him and order that he build a fire for them. He does so but suddenly the flames grow and spread, making the living forest trees to go after the boy for having caused the fire and heat to intensify, putting their territory, the forest and life in peril. Bubuy manages to escape and get home safe. The empty house however, makes him feel that his grandparents (Nova Villa and Noel Trinidad) are gone missing, he does not know where they are. Some time after, he is surprised to spot a young, lively and smiling girl looking in at him from an open window. She is Anna (Katrina “Hopia” Legaspi) offering to help him find his “Lolo’ and “Lola” who had been kidnapped- according to her- for the scare he gave the forest dwellers. Anna says they have been taken to the land of Elementalia. She shows Bubuy that she is a “Manananggal”, a creature that could separate her upper body from the lower portion when needed. With his eager consent, in a sweep she has him held securely in her hands and flying on their way to his grandparents.

They enter into what for him is a strange place inhabited by enchanted creatures. On their arrival the first thing Anna does is to bring Bubuy to the kind and helpful Lolo Nano (Peque Gallaga) who could tell them what to do, and also concoct a potion that could free the grandparents from their captors. Right away, Anna and Bubuy set to work. Joining them is Narsi (Michael V.), a vain, funny but helpful “Tikbalang”- a half human and half horse creature- who volunteered taking them to the places they have to go.

Dayo is a well laid out story that will interest and entertain not only young viewers, but also the adults. That it is a locally produced film about our own stories of fantasy and mystery could serve as an added reason for potential viewers to watch it. This has also been endorsed by DepEd (the Department of Education) which could lead to elders and parents accompany their young children to see a worthwhile and pleasing Filipino cartoon feature.

Instead of the usual presentation of Philippine folklore and fantasy characters and creatures as frightening, evil, revengeful and the like. Dayo has shown them to be, except for the rare few, naturally normal beings, friendly, ready to help and among others deeds, to go a long way for someone even a stranger like Bubuy and his grandparents. Another plus for this movie fantasy story is that the Filipino artists could come up with cartoons, GCIs and handle Digitals almost as well as their American counterpart.

Though still quite young, timid and reserved, Bubuy is shown as a kid, when confronted with the loss of his grandparents, being alone, hurt by bullies and not knowing what to do; but when given the opportunity to become appositive person, with the help of Anna, he quickly grows up. In place of helplessness, fear, a feeling of loss, he and his world turn positive. His grandparents are back with him and Bubuy is no longer the child, he has grown. He is shown as a prayerful boy.

Desperadas 2

Cast: Ruffa Gutierrez, Rufa Mae Quinto, Iza Calzado, Marian Rivera, Ogie Alcasid; Director: Joel Lamangan; Producer: Lily Y. Monteverde; Screenwriter: Roy Iglesias; Music: Frederick John; Editor: Tara Illenberger; Genre: Drama/ Comedy ; Distributor: Regal Films; Location: Philippines; Running Time: 112 min.;

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

Masayang nagdiriwang ang pamilya ng magkakapatid na sina Isabella (Ruffa), Patricia (Rufa Mae), Stephanie (Iza), at Courtney (Marian) dahil sa international award sa larangan ng fashion na natanggap ng huli, nang atakihin ang kanilang ina at isinugod sa ospital. Kasabay ng paggaling ng ina ay ang paglalahad niya sa apat na anak tungkol sa ikalima nilang kapatid na si Lugaduga (Ogie) at ang nalalapit nilang pagkikita-kita. Di naman naglaon ay dumating si Ludaluga na kapansin-pansin ang kaibahan ng hitsura kumpara sa kanilang apat na pawang magaganda. Bagamat nabigla ang apat sa di inaasahang pagkakaroon ng ikalimang kapatid na malayo ang hitsura sa kanila ay nagsikap sila na maging magiliw kay Ludaluga. Ang totoo ay di sila masyado nagpaapekto sa pagdating ni Ludaluga sa dahilang may kani-kaniyang sitwasyon silang kinakaharap bilang mga desperadas. Si Isabela na takot magpakasal sa live-in partner, si Sofia na dumadaan sa post natal depression, si Patricia na bumabangon mula sa annulment ng kasal sa dating asawang bakla, at si Courtney na nagtatalo ang prioridad sa buhay sa pagitan ng gumagandang career at atensyon para sa mabait na asawa. Ano kaya ang magiging kaugnayan ni Ludaluga sa dinatnan niyang mga sitwasyon ng kanyang apat na kapatid?

Maayos ang daloy ng kuwento ng Desperadas 2. Bawat pangunahing tauhan ay nabigyan ng highlight at walang sablay na tinahi para mabuo ang istorya. Ang mga eksaheradang eksena katulad ng panliligaw ng congresista kay Patricia at pagbibigay-diin sa seksuwalidad ay tama lamang sa konteksto ng satiriko at patawa. Wala namang masyadong nailabas sa pag-arte ang mga pangunahing tauhan dahil marahin magaan ang kuwento at halos di kailangan ng effort sa parte ng mga actor, maliban kay Iza Calzado na mahusay at makabuluhang naipakita ang post natal depression sa kanyang pagganap bilang Sofia. Kapansin-pansin din ang bitaw ng linyang patawa ng mga batang nagsiganap. Samantala, limitado at hindi masyadong malikhain ang mga kuha ng kamera. Tama lamang ang make-up at payak ang disenyo ng produksyon.

Magaan panoorin ang pelikula dahil sa mensahe nitong suporta at pagmamahalan ng magkakapatid sa isa’t isa kahit may kani-kaniya na silang mga buhay. May hatid rin itong impormasyon tungkol sa mga hamon ng relasyon sa pamilya (mag-asawa, magulang at anak). Nagpatotoo rin ang pelikula sa kasabihan na di dapat humuhusga sa panlabas na anyo ng tao. Ano mang suliranin sa mundo ay may katapat na solusyon. Samantala, dahil sa pagtalakay ng pelikula sa mga maseselang tema tulad ng homosexuality, palasak na usaping sex, at isyung politikal ay kinakailangan gabayan ang mga batang manonood.

Magkaibigan

Cast: Christopher de Leon, Jinggoy Estrada, Dawn Zulueta, Maricel Laxa; Director: Jose Javier Reyes; Screenwriter: Jose Javier Reyes; Genre: Drama; Distributor: Maverick Films; Location: Philippibn;

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

Magkababata sila, at sa kanilang pagkakagulang, magiging matalik na magkaibigan sina Atoy (Christopher Leon) at Ben (Jinggoy Estrada). Makikita nating ang bawat isa sa kanila ay tanggap na tanggap ng kani-kaniyang pamilya; sa katunayan, higit pa silang malapit sa isa’t isa kaysa sa kanilang mga kamag-anak. Magkakaalaman sila ng kanilang mga problemang pampamilya, at magdadamayan sa oras ng pangangailangan, tulad ng tunay na magkapatid. Sa pagkawala ng trabaho ni Ben, tutulong nang palihim si Atoy, pagka’t tnato niyang hindi matatanggap ng “pride” ni Ben ang hantarang pagtulong. Sa pagkakasakit naman ni Atoy ng cancer—kung saan siya’y tataningan ng buhay—naroon naman si Ben upang buhayin ang kanyang loob na manatiling buhay at labanan ang sakit.

Walang masasabing katangian o “outstanding technical elements” ang Magkaibigan. Sa kabila ng pagkakahirang kay Christopher de Leon bilang Best Actor ng Metro Manila film Festival (MMFF) 2008, wala pa ring sapat na dahilan upang maka-antig ng damdamin o makakurot ng isip ang pelikula. Marahil dahil ito’y namuhunan sa isang mababaw na pinanggalingan. Hinugot ang screenplay ng Magkaibigan mula sa tunay na buhay na pagkakasakit at pagkamatay ng artistang si Rudy Fernandez. Higit na makabubuti pa marahil kung hindi ito ipinangalandakan ng pelikula upang sa gayon ay hindi “makulayan” ang panonood nito. Maaari namang gumawa ng ganong uri ng pelikula nang hindi “sumasakay” sa popularidad ng isang yumaong action star. Ang nangyari tuloy ngayon ay, habang nanonood ka, hindi mo mapigilang isipin na ang pinanonood mo ay ang siyang tunay na pangyayari sa buhay ng artistang si Rudy Fernandez.

Kung gayon nga, ay bakit ka pa babayad ng mahigit 150 piso para panoorin ang isang kabanata sa buhay ng isang artista na narinig mo na noon pa mula sa mga balita sa diyaryo, tabloid, radyo, telebisyon, internet at sa tindahan sa kanto? Hindi naman nakapagbibigay ng inspirasyon o pag-asa sa iyo ang pelikula, kahit siguro may sakit ka mang tulad ng sa kanya at ang mga araw mo ay bilang na rin. Higit ka pa marahil mabubuhayan ng pag-asa kung ang napapanood mo ay angpagkakasakit ng isang di kilalang taong talagang tunay na naghihikahos, walang iiwanang yaman sa pamilya, walang iiyak na mga tagahanga sa kanyang libing, at walang pambili ng gamot subalit napapanatili pa ring buhay ang loob ng pananampalatay ng kanyang mga kaibigan.

Baler

Cast: Anne Curtis, Jericho Rosales, Philip Salvador, ; Director: Mark Meiley; Producers: Veronique Del Rosario-Corpus, Vicente G. Del Rosario III; Screenwriter: Roy C. Iglesias; Music: Vincent de Jesus; Editor: Danny Anonuevo; Genre: Drama/ Romance/ War; Cinematography: Lee Meily; Distributor: Viva Films; Location: Baler, Aurora, Philippines; Running Time: 110 min.;

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

Taong 1898, panahon ng pananakop ng mga Kastila, nang sumibol ang pag-iibigan sa Baler ng dalagang si Feliza Reyes (Anne Curtis) at ng binatang si Celso Resurreccion (Jericho Rosales), isang mestisong sundalo sa pwersa ng mga Kastila. Pilit nilang ililihim ang kanilang pagmamahalan at pagniniig sapagka’t ang ama ni Feliza, si Nanding (Philip Salvador), ay kabilang sa mga armadong Pilipinong nag-aalsa laban sa mga Kastila. Matindi ang galit ni Nanding sa mga Kastila dahil sa karahasang ginawa ng mga ito sa kanyang ama at kapatid na babae, kung kaya’t tutol ito kahit sa nasang pagpapari ng kanyang anak na malapit sa mga prayle, si Gabriel. Darating ang pagkakataong mananaig ang lakas ng mga rebolusyonaryong Pilipino, tutugisin nila nang biglaan ang mga sundalong Kastila hanggang masukol ang mga ito at wala nang matatakbuhan kundi sa simbahan. Papaligiran ng mga sundalong Pilipino ang mga simbahan ngunit hindi susuko ang 57 Kastilang naroon bagama’t ang kanilang pagkain ay husto lamang sa loob ng tatlong buwan. Titiisin nila ang gutom, malaria, at ang kamatayan ng marami nilang kasamahan, habang naghihintay sila ng tulong mula sa hukbo nila sa Maynila. Lalakad ang mga buwan, tatanggapin na ng Espanya ang kanilang pagkatalo, ngunit hindi pa rin maniniwala dito ang mga sundalong Kastila na mistula’y nakakulong na sa simbahan. Kabilang sa mga sundalo sa loob ng simbahan si Celso, at nang hindi na ito makatiis, magkakasundo sila ng ilan sa kanilang mga kasamahan upang tumakas.

Maganda at maayos ang daloy ng istorya ng Baler, at sa maraming mga aspeto’y makatotohanan ang paglalahad nito ng mga pangyayari noong panahon ng paglaya ng mga Pilipino mula sa mga Kastila. Maganda rin ang sinematograpiya, Kahanga-hanga rin ang katapatan ng pagganap ng mga pangunahing artista, at dapat ding purihin ang direktor sa husay ng kabuuan ng pelikula. Dalawang bagay lamang ang nagiging batik sa magandang mukha ng Baler: ang magaralgal na pagsasalita ng wikang Kastila, at ang kakulangan sa tumpak na make-up. Kulang sa “dulas” ng dila ang mga nagsasalita ng Kastila—halatang hindi iyon ang inang-wika nila. Ang make-up naman: ang mga sundalong halos isang taon nang nagugutom, napupuyat, napapagod, nawawalan ng pag-asa at masuka-suka nang nakukulong kapiling ng mga nagkakasakit at yumayao ay mukha pa ring makikinis, busog at malulusog kahit na gutay-gutay na ang mga unipormeng suot. Bakit mula simula hanggang sa katapusan, makisig pa rin si Jericho Rosales? Di ba dapat ay humpak na ang kanilang mga pisngi, nanglalalim ang mga mata at bumabagsak na ang mga katawan sa ganoong mga kalagayan, na ultimo daga at ang alagang tuta ay kinakain na rin dahil sa matinding gutom?

Pinaghalong “fact” at “fiction” ang pelikula, base sa kasaysayang naturingnang “Siege of Baler” sa lalawigan ng Quezon kung saan nasukol ang 57 sundalong Kastila sa loob ng 337 na araw. Ang digmaang ito diumano ay kilalang-kilala sa Europa at sa katunaya’y ginawa pa itong isang pelikula noong taong 1945, at pinamagatang “Los Ultimos de Filipinas”, na tumutukoy sa mga sundalong Kastilang lumaban sa Baler noong rebolusyon at digmaan laban sa mga Amerikano. Kung ipipikit na lamang ninyo ang inyong mga mata sa mga nabanggit naming pagkukulang ng Baler, malulugod din kayo at pinanood ninyo ito, sapagkat kahit ito mabigat sa damdamin, maaaninag pa rin ninyo ang liwanag sa likuran ng ulap. Maaaring sabihin inyong kulang sa lupit ang mga magkaka-away, ngunit hindi ninyo rin maikakaila na nakabubuti sa lahat ang ipinapakitang pakikipag-kapwa tao ng mga Pilipino kahit na sa mga kaaway nila. Malugod na bumabati ang CINEMA sa karangalang nakamit ng Baler bilang “Best Festival Picture” sa 2008 Metro Manila Film Festival (MMFF), kasama ng siyam na iba pang gantimpala. Sadyang karapat-dapat sa Baler ang karangalang nakamit nito. Nawa’y makatulong ito sa pagtataas ng antas ng mga pelikulang Pilipino.

Ang Tanging Ina Nyong Lahat

Cast: Ai-Ai Delas Alas, Eugene Domingo, Carlo Aquino, Cherry Pie Picache, Shaina Magdayao, Jiro Manio, Alwyn Uytingco, Gloria Diaz; Director: Wenn Deramas; Screenplay: Mel Mendoza-del Rosario; Distributor: Star Cinema; Genre: Comedy; Location: Philippines; Running Time: 110 mins;

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

Makalipas ang mahigit 30 taon ng pagiging ulirang ina sa isang dosenang anak, makakaramdam si Ina (Ai-Ai Delas Alas) ng pagkabalisa at hahanapin niyang muli ang kanyang sarili at kung paano muli siyang maipagmamalaki ng kanyang mga anak.. Susubukan niyang magbalik-eskuwela habang nagtatrabaho, ngunit hindi pa rin ito magiging sapat. Magbabago ang takbo ng kanyang buhay nang mamasukan siya sa Malacanan bilang chamber maid. Mapapalapit siya sa pangulo ng Pilipinas (Gloria Diaz) at isang hindi inaasahang pagkakataon ay mauulinigan niya ang isang masamang balak na pagpaslang dito. Hindi niya mapipigilan ang pagpapaslang sa pangulo ngunit magiging susi siya upang malutas ang kaso. Dahil dito ay hahamunin siya ng mga kalaban na tumakbo sa pagka-Pangulo ng bansa. Matapos ang masusing pag-iisip ay tatanggapin niya ito ay siya ay mananalo. Kayanin kaya ni Ina ang pagiging ina ng buong bayan habang ginagampanan ang pagiging tunay na ina sa mga anak?

Isang mahusay na komedya ang pelikula. Tulad sa inaasahan, hitik sa katatawanan ang buong kuwento na bagama’t hindi lohikal ay nagawang papaniwalain ang mga manonood na ito ay posible. Tama ang timpla ng komedya at drama na talaga namang malaman din ang mga mensahe. Kahanga-hanga ang lahat ng tauhan lalo na ang actor na si Eugene Domingo na hindi matatawaran ang galing sa pagpapatawa. Si Domingo ang halos nagdala ng aliw sa pelikula mula simula hanggang wakas. Mas mahusay naman sa pagda-drama si Delas Alas kaysa sa pagpapatawa. Ngunit kung susumahin ay epektibo rin naman siya. Napanindigan nang husto ng Ang Tanging Ina Niyong Lahat ang pagpapatawa na hindi lumaylay at laging may mga bagong patawa at pasabog bawat eksena.

Hanggang saan nga ba nasusukat ang kadakilaan ng isang ina? Nariyang pasukin ang lahat ng trabaho, maitaguyod lamang ang mga anak tulad ng karakter ni Ina sa pelikula. Pero kadalasa’y hindi pa rin ito nagiging sapat. Marahil, sadyang walang hangganan ang sukatan ng pagiging ulirang ina. Ipinakikita sa pelikula ang lahat ng maaaring gawin ng isang ina para sa kanyang anak. Sinasabi ring iba talaga ang pagmamahal ng isang ina at maaari itong maging lakas ng sinumang nagnanais ng magpatakbo ng isang bayan. Sa pelikula’y naging labis na suwail ang mga anak ni Ina ngunit nagsisi naman ang mga ito sa bandang huli. Bagay na kapupulutan ng aral ng mga manonood. May ilang mga eksena lamang na patungkol sa sekswalidad at ilang maselang isyu na maaaring hindi angkop sa mga batang manonood.

Iskul Bukol; 20 Years After

Cast: Tito Sotto, Vic Sotto, Joey de Leon, Oyo Sotto, Gian Sotto, Keempee de Leon, Benjie Paras, Jose; Director: Tony Reyes ; Screenplay: Bibeth Orteza;: Northern Philippines; Genre: Comedy; Distributor: Octo-Arts, Mzet Film

Technical Assessment: 2
Moral Assessment: 2.5
Cinema Rating : For viewers age 13 and below with parental guidance

Makalipas ang 20 taon, si Vic Ungasis (Sotto) ay isa nang sikat at matagumpay na archeologist. Pilit niyang tinutuklas ang isang gamit ni Humabon at ang kampilan ni Lapu-Lapu upang maibigay sa museo. Samantala, isang Hapon naman ang makamit ang serbisyo ng kapwa archeologist at kaibigan ni Vic (Benjie Paras) upang makuha ang peseta na nakakabit sa kampilan ni Lapu-Lapu. Sinasabing ang sinumang may hawak ng peseta ay magkakaroon ng panangga sa kamatayan. Sa kabilang dako, masasangkot ang magkapatid na Tito (Sotto) at Joey (de Leon) Escalera dahil sa kanilang katusuhan at pagbebenta ng pekeng peseta sa mga Hapon. Sa kwentong ito nakapaloob ang pagplaplano ng isang class reunion ni Miss Tapia upang magkasama-sama ang mga dating tauhan ng sikat na palabas noong dekada 70 hanggang 80.

Katulad nang malimit gawin sa industriya ng pelikulang Pilipino, ginamit lamang ang pagka-sikat ng Iskul Bukol bilang panghatak sa mga manunuod. Walang kinalaman ang pamagat sa daloy ng kwento; bagkus ginawa lamang itong dahilan upang ilabas ang mga dating tauhan mula kina Miss Tapia (Mely Tagasa) hanggang kina Richie d’ Horsey. Napakababaw ng komedya ng palabas na nakasalalay lamang sa slapstick at patawang seksuwal. Ang pelikula ay hindi pinauusad ng istorya kundi ng mga tagpi-tagping eksena lamang na kung minsan ay wala namang koneksyon sa isa’t isa o hindi naman kailangan ng kuwento. Tuloy, naging mabagal ang pagusad ng pelikula at tila napakahaba ang paghihintay na matapos na ito. Maging ang mga CGI’s at special effects ay hindi pulido at halatang-halatang peke.

Mabuti laban sa masama … at ang mabuti ang nagwagi. Ito marahil ang tanging magandang aral ng pelikula. Ang kabutihang loob ni Ungasis ang nagtagumpay laban sa ganid ng mga Hapon, sa traydor na kaibigan at mapagsamantalang mga kasama. Bilang isang komedya, nakalulungkot isipin na sa kabila ng makabagong teknolohiya, malikhain at mahuhusay na manunulat at malaking salaping ipinupuhunan, madalas mababang uri pa rin ang kinalalabasan ng ating mga pelikula dahil kulang sa pagsusumikap na iahon mula sa slapstick, toilet humor at sex jokes ang pagpapatawa, puliduhin ang produksyon at laliman ang pagbuo sa mga tauhan. Bagamat hindi ganoong kalaswa at violent ang palabas, hindi rin naman kaiga-igaya ang ilang eksena at pag-uusap para sa mga kabataan. Bagkus, maaaring akalain pang tama at gayahin pa ang ilang pag-uugali at pagsasalita dahil hindi naman masasabing ganap na “objectionable” ito.

Quarantine

Cast: Jennifer Carpenter, Steve Harris, Jay Hernandez, Johnathon Schaech ; Director: John Erick Dowdle; Screenplay: John Erick Dowdle, Drew Dowdle; Producer: Julio Fernández, Roy Lee, Carlos Fernández, Sergio Aguero, Clint Culpepper, Doug Davison ; Genre: Horror; Location:US; Running Time: 89 mins

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

Television reporter Angela Vidal (Jennifer Carpenter) and her camareman (Steve Harris) are assigned to do a story about Los Angeles firefighters. As they are doing a video documentary, they are to spend one night shift with the firemen on duty covering all aspects of their job which include paramedics and responding to almost any kind of emergency. On that night, the fire company receives a call for an emergency at an apartment building. Angela and her cameraman follow the firemen routine. When they get there, they end up as witness to a horrifying disease that has infected most of the apartment building's residents. To their surprise, the entire building will be put on quarantine upon the order of the local government. They will all be trapped inside and as they find their way out, they discover an even more shocking truth: the infected people have gone totally insane and they attack and kill the living.

A remake of the Spanish thriller [REC] as in record, Quarantine is fresh shocker that tells the entire story on the point-of-view of an actual viewfinder of a camera from start to finish. This idea is not entirely new for those who have seen The Blair Witch Project which uses the same approach. The shaky camera shot and seem inadequate lighting are all part of the film's style. This has made the audience believe they really are watching an actual documentary of a real event making the shock and thrill seem very real. The actors are effective and Carpenter is convincing as the reporter documenting an actual horror experience. But then, at the end of the movie, the audience are left with nothing to ponder on because the entire film lacks depth and it does not go beyond its shocking value.

How far should a news reporter go to cover an interesting story? Is it moral to sacrifice innocent lives for the sake of preventing the spread of a pandemic? These are some of the questions worth asking while watching the film. The mass media itself loves sensationalized stories and the darker and riskier the story is, the more premium for the reporter. With this kind of mindset, the mass media persons end up to be go getters of any opportunity to which they sometimes end up as sacrificial lambs. This is the fate of Angela in the movie. But then, her character exemplifies loyalty to one's job and this can be a good point. However, limits should be set so as not to jeopardize their lives in the line of duty. The audience's hearts go for the innocent victims of government's recklessness in implementing measures of preventing a pandemic from spreading. This is left for a much wider debate on bio-terrorism and quarantines. However, the right to life of a person, especially the innocent, should always be an utmost consideration. The gore, violence and emotional stress in the movie may cause nightmares and trauma for very young audiences so CINEMA deems the movie fit for mature viewers only.

The Day The Earth Stood Still

Cast: Keannu Reeves, Jennifer Connelly, Kathy Bates, Jaden Smith, John Cleese; Director: Scott Derickson; Producers: Paul Harris Boardman, Gregory Goodman, Erwin Stoff; Screenwriter: David Scarpa; Music: Tyler Bates; Editor: Wayne Wahrman; Genre: Drama/ Sci-Fi/ Thriller; Cinematography: David Tattersall; Distributor: Twentieth Century-Fox Film Corporation; Location: British Columbia, Canada; Running Time: 103 min.;

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

A pulsating, glowing sphere lands in Central Park in New York City. The government summons a pool of experts to advise on the situation, led by Harvard scientist Helen Benson (Jennifer Connelly). Soon a luminous humanoid figure emerges from the sphere, Benson boldly moves forward to establish contact with it, but the creature is felled by a bullet—fired by the government’s forces under the command of US President’s spokesperson, Regina Jackson (Kathy Bates). This ignites the fury, it seems, of whoever or whatever else is inside the sphere, and it sends out a giant robot whose mere size renders the government soldiers paranoid. The soldiers open fire but the robot is impregnable—besides, its slit “eyes” and shoot forth enough fire power to annihilate the entire US Army. Stunned, the soldiers scamper away to safety while Jackson, much to Benson’s dismay, abducts the wounded alien to an undercover medical facility. The dogged presidential spokesperson is intent on keeping it alive in order to find out what the aliens want from Earthlings. This is where they learn that the humanoid creature is called Klaatu (Keanu Reeves), and the quick-thinking Benson virtually helps free him from Jackson’s clutches.

The Day the Earth Stood Still is a remake of the 1951 Robert Wise sci-fi classic but it would not be fair to compare the two as the technological milieu that spawned them differs from one age to the other. The current version is understandably high-rating on the CGI, featuring stunning features to drive the movie’s message home—a message that would easily be caught by a younger audience precisely because of the visual impact it could create on the viewer. With his calm facial features, Reeves is perfectly cast as the dispassionate creature from outer space—after all, he’s not really a warm-blooded person but a mechanism wrapped in blubber and packaged in a human body. In appearance, Connelly is the antithesis of the scientist—in case you’re expecting an Einstein clone—but is still effective especially in emoting as any human is wont to do under the circumstances. Bates, who’s supposed to speak for the US President (who never appears on screen), has the right amount of pluck to provide tension to the action.

The Day the Earth Stood Still is basically about how human beings, inhabitants of Planet Earth, react to otherworldly presence. The film may or may not have meant it but it seems to be a statement against human’s—and particularly the American military elements—paranoid yet condescending attitude towards non-humans. Here the non-human apparently aims for a dialogue, but only one scientist has the guts or the faith to respond and welcome its intention. The armed forces, feeling smug about their military might, haul out their most sophisticated artillery and decimate whatever goodwill the alien visit hoped to convey. But the non-humans prove superior, thereby only proving their presence on Earth necessary. Their message is, with the way we humans are abusing our planet, we’d kill it in due time, and since there are very few planets in the universe that can sustain life as Earth does, the aliens feel it their responsibility to annihilate the race of planet-killers—us earthlings. The movie could provide an interesting launching pad for family discussions. Let children put themselves in the shoes of the lead characters—Klaatu, Benson, Bates—and ask them what they would do under the same circumstances.

100

Cast: Mylene Dizon, Eugene Domingo, Tessie Tomas, TJ Trinidad, Cecille Paz, Ryan Eigenmann; Director: Chris Martinez; Producers: Chris Martinez, Marlon Rivera; Screenwriter: Chris Martinez; Music: Ricci Chan, Brian Cua; Editor: Ike Veneracion; Genre: Drama; Cinematography: Declan Quinn; Distributor: Cinemalaya; Location: Philippines; Running Time: 120 min.;

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

Sa gitna ng maningning at matagumpay na karera, malalaman ni Joyce (Mylene Dizon) na siya ay may cancer at may tatlong buwang taning na lang ang buhay. Itatago niya muna ito sa ina (Tessie Tomas) at matalik na kaibigan na si Ruby (Eugene Domingo). Ngunit sa halip na magpadala sa takot at lungkot, gumawa si Joyce ng listahan ng isang daang bagay na nais niyang gawin bago siya mamatay. Karamihan sa mga ito ay patungkol sa mga relasyong hindi mabitiwan at mga sugat na hindi pa naghihilom. Mayroon ding mga mabababaw at malalalim ang kahulugan katulad ng pagpunta sa mga lugar na hindi pa napupuntahan, pagbabalik sa mga lugar na nagbibigay ng mga alaala, paggawa ng mabuti sa kapwa, paghalik sa hindi kilala, pagtulog buong araw, panonood ng sine buong araw, at marami pang iba. Sa pagharap niya at paggawa ng lahat ng ito, kasama niya si Ruby at ang kanyang ina bagama’t hindi lubos na tanggap nito ang kalagayan ng anak. Matupad kaya ni Joyce ang lahat ng isang-daang mga bagay na nais niyang gawin bago siya tuluyang pumanaw?

Mahusay ang pagkakagawa ng 100. May kurot sa puso at may tamang timpla ng drama at komedya. Walang itulak kabigin sa galing si Dizon at Domingo pati na ang iba nilang kasama sa pelikula. Isang bagong pagtingin ang pelikula sa buhay at kamatayan. Maayos ang daloy ng mga eksena at buong-buo ang tema kahit na may ilang eksenang kinunan lamang ng home video camera. Magaganda rin ang mga lugar na ginamit at damang-dama ng manonood na totoong tao ang kanilang pinapanood. Pawang isang pagsilip sa isang mundong moderno, maunlad, pero hindi pa rin nakakatakas sa mga realidad ng buhay tulad ng kamatayan, kabiguan at tagumpay.

Dapat nga ba nating katakutan ang kamatayan? Sa 100, hindi kinatakutan ni Joyce ang kamatayan, bagkus ay hinarap niya ito at tinanggap ng may ngiti sa labi at maluwag ang dibdib. Bagay na bihira nating masasaksihan sa sinuman. Ipinakita ng pelikula na dapat pa ring manalig at dumulog sa Diyos sa gitna ng paghihirap. Yun nga lang, may mga mangilan-ngilang eksenang pawang ginagawang katatawanan ang pananampalataya sa Diyos at ang pagiging dalisay ng kalooban. Para bang ang mga ito ay napaglipasan na at mga “baduy” kung ituring. Nariyan rin ang pakikiapid sa may asawa na halos kunsintihin ng pelikula bagama't binawi rin naman sa bandang huli. May ilang eksena rin kung saan ang mga tauhan ay nagpakita ng hubad na katawan. Bagama’t malinaw ang konteksto, maaring hindi pa rin ito maging akma sa batang manonood. Nanatili namang wagas ang pagkatao ng ibang tauhan tulad ng pari na hindi nagpadala sa tukso.

Four Christmases

Cast: Vince Vaughn, Reese Witherspoon, Robert Duvall, Sissy Spacek; Director: Seth Gordon; Producers: Jonathan Glickman, Vince Vaughn, Reese Witherspoon; Screenwriters: Matt Allen, Caleb Wilson; Music: Alex Wurman; Editors: Mark Helfrich, Melissa Kent; Genre: Comedy; Cinematography: Jeffrey l. Kimball; Distributor: New Line Cinema; Location: Los Angeles, California; Running Time: 82 min.;

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

Brad (Vince Vaughn) and Kate (Reese Witherspoon) are a live-in couple who believe only marriage could ruin their relationship. They think they love each other despite the familiarity of having shared a bathroom for the past three years. They don’t want children, either. And during Christmas, when they are sure to get invitations from their four divorced parents, they hie off to some exotic location for their own secret holiday, all the while spinning lies and excuses. This time they say they are going to help as volunteers in Third World slums; truth is, they’re flying to Fiji. But heavy fog envelops San Francisco, grounding their flight, decimating their escapade, and putting the frustrated travelers on nationwide TV news. When their parents see them on TV, Brad and Kate are compelled to spend Christmas visiting their dysfunctional families—first his, and then hers. The Christmas day turns out to be Revelation Day when the couple discover from each other’s families about past secrets It also proves crucial for Kate who, despite the day’s awful experiences, gets to have some deep thinking that leads to her wanting to have her own family with Brad, but this horrifies Brad. So what now?

Four Christmases is supposed to be “serious comedy” where the heavy message is wrapped in tinsel, glitter-strewn, and beribboned in satin to catch the eye of the viewer. For laughs, a lot of sight gags and predictable slapstick are used, along with toilet humor, babies vomiting and defecating, life-threatening rough-housing between grown-up brothers, someone falling off a roof, sadistic kids ganging up on an adult as it if mugging were child’s play, etc. The situations also spawn crude language as a huge chunk of the script deals uninhibitedly on breastfeeding, libidinal activity in women past reproductive age, a younger man sleeping with his best friend’s mother, etc.

If there is one worthy message in Four Christmases, it is that present dispositions may have their roots in past experience but they can still be changed for the sake of a better future. Brad and Kate’s anti-marriage, anti-family, anti-children and anti-commitment outlook obviously sprung from unprocessed issues in their younger, living-with-their-families years. And the viewer, seeing how each divorced parent behaves, may even conclude that the parents’ own flaws as young people had been carried over to adulthood and then became a burden not only on themselves but for their children as well. Thus the stream of mediocrity flows—but the conversion in one character seems to signal a change in their destructive “family tradition”. Add to this the realization of a reflective parent who has learned from several divorces and now emphasizes the value of family. The movie is rich in topics to explore with your own family, and you can challenge your teenagers to defend their answers to these questions: Do the actions in the movie harmonize with the message it is trying to send? Do you find similarities between your parents and the parents in this movie? What would you do if you were one of the siblings in the movie?

Pride and Glory

Cast: Colin Farrell, Edward Norton, Jon Voight, Noah Emmerich, Jennifer Ehle; Director: Gavin O'Connor; Producer: Greg O’Connor; Screenwriters: Joe Carnahan & Gavin O'Connor; Music: Mark Isham; Editors: Lisa Zeno Churgin, John Gilroy; Genre: Drama/ Action; Cinematography: Declan Quinn; Distributor: New Line Cinema; Location: USA; Running Time: 125 min.;

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

NYPD Det. Ray Tierney (Edward Norton) hails from a family of cops. His father, Francis Sr. (Jon Voight) is the chief of police of Manhattan, and his brother, Francis, Jr. (Noah Emmerich) and brother-in-law Jimmy (Collin Farrel) are also on the force. Ray, who has been on semi-exile, goes back to the service upon the request of his father to investigate the murder of the four policemen who are all his Francis Jr.’s men. Ray’s investigation leads him to suspect Jimmy as the murder’s culprit that further reveals more secrets complicating their family’s name and intertwined blood relationships.

The first part of the movie is quite impressive with various new elements put into an otherwise familiar cop story. However, as the movie reaches its climax, it resorted to a contrived plot that jeopardizes the entire movie and makes it a letdown. There are even some subplots that are quite irrelevant to the story like the dying wife of Francis Jr. that neither moved the story forward nor added tension to the plot. The ensemble of topnotch actors led by Norton and Farrell saved the day. Although they are predictably good actors, they still never fail to surprise their audience with the kind of depth and sensitivity they bring into their characters.

Perhaps it is expected of the genre to have more than a hundred times mention of the “F” word with sometimes sexual implications and racial discrimination, but the same reason makes the movie distasteful and not fit for viewers younger than 18. The violence in the movie, although in context, may still result in a desensitizing effect on audiences who are susceptible to media influence. One particular scene where Jimmy threatens to burn a baby with flat iron is offensive and emotionally stressful. The policemen’s integrity is once again put into question in the movie. In Pride and Glory, the men in uniform could be drug dealers, money launderers, robbers, or liars. Is it right to conceal the truth in the name of pride and glory? Does the end justify the means? These are some of the moral questions in the movie that are left for the audience to answer. But then again, in the end, those who have sinned are punished and the least evil ends up to be the last man standing.

Scaregivers

Cast: Jose Manalo, Wally Bayola, Iza Calzado, Paolo Contis, Ehra Madrigal, Edgar Allen de Guzman; Director: Uro Q. dela Cruz; Producers: Antonio P. Tuviera, Marvic Sotto; Screenwriter: Jourdan Sebastian; Music: Vince de Jesus; Editor: Reggie Gulle; Genre: Comedy/ Horror; Cinematography: ; Distributor: APT Entertainment; Location: Philippines; Running Time: 110min.;

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

Nagnakaw ng mamahaling pares ng singsing sa isang tindahan ng alahas sina Billy (Jose Manalo) at Bob(Wally Bayola). Pero dahil sa kanilang kapalpakan, sila ay mahuhuli ng pulis at makukulong. Ngunit hindi pa rin nila isasauli ang ninakaw na singsing. Upang maiwasan ang tuluyan nilang sentensiya, magpapanggap sina Billy at Bob na mga baliw. Maniniwala ng hukom at sila ay ilalagak sa isang mental hospital. Ang buong akala nilang dalawa ay tapos na ang kanilang problema, ngunit malalaman nilang sa ospital na pinagdalhan sa kanila ay may pinaniniwalaang multo na pumapatay ng mga nurse at ilang piling pasyente. Silang dalawa ay balak ring patayin. Mabuti na lang at may makikilala nila si Marcia (Iza Calzado) na isang caregiver sa ospital. Tutulungan sila nito na makatakas ngunit malalaman nilang ang pumapatay pala ay dati niyang kasintahan. Ano kaya ang lihim ni Marcia at ng ospital? Makatakas pa kayang talaga sila Billy at Bob?

Isang nakakaaliw na pelikula ang Scaregivers. Bagama’t mga baguhang bida sina Jose Manalo at Wally Bayola, nagawa nilang dalhin ang buong pelikula. Hindi rin naman matatawaran ang husay ng mga pangalawang tauhan. Maayos naman ang daloy ng kuwento at may istorya naman na maaring sundan. Yun nga lang, hindi pa rin nila maiwasan ang paggamit ng mga lumang joke lalo na ng mga toilet humors na masyado nang naging palasak at kadalasa’y hindi na nakakatawa. Halata ring nagkulang sa research ang pelikula lalo pagdating sa pag-proseso ng mga kasong kriminal at pangangalaga ng mga pasyente sa mental hospital. Pawang hindi nito naipakita ng maayos ang tunay na pamamalakad sa institusyon. Maayos naman ang special effects maging ang tunog at pag-iilaw. Maaring hilaw at kulang pa sa mga bagong elemento pero pasado na rin kung tutuusin para sa dalawang baguhan pa lamang sa larangan ng pagpapatawa.

Ipinakita sa pelikula na maaaring magbago ang kahit sino basta’t bukal ito sa kalooban at hindi napipilitan lang. Lahat ng sinumang nagkasala ay may pagkakataon pa ring umangat sa buhay at magkaroon ng pag-asa basta’t magsisikap at tuluyang tatalikuran ang maling gawain. Ngunit maraming ipinakita sa pelikula na labis na nakababaha lalo na sa batang manonood. Una ay ang paggamit sa pangalan ng Diyos at sa pagdarasal bago gawin ang pagnanakaw. Maaring isipin na tama ang ganitong gawain. Pangalawa ay ang ilang mga bastos na uri ng patawa lalo na yung patungkol na naman sa katawan ng kababaihan. Parati na lang bang pantasyang sekswal ang mga kababaihan sa pelikula? Nagbibigay ito ng kalituhan sa papel na ginagampanan ng mga kababaihan sa lipunan. Nariyan din ang isteryotipikal na paglalarawan sa ilang lahi tulad ng mga Tsino at Indian. Sa mga ganitong bagay, kinakailangang gabayan ang mga batang manonood.

Bolt

Cast: (Voices) John Travolta, Susie Essman, Miley Cyrus, Malcolm McDowell; Directors: Byron Howard, Chris Williams; Producer: Clark Spencer; Screenwriters: Dan Fogelman, Chris Williams; Music: John Powell; Editor: Joey Ingram; Animators: Joey Ingram, Josh Mahan;Genre: CGI Comedy; Distributor: Walt Disney Studios Motion Pictures Philippines; Location: USA; Running Time: 100 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers of all ages

The pooch Bolt (voice of John Travolta) and Penny (voice of Miley Cyrus) are co-stars in a weekly action television show that has them battling the evil scientist Dr. Calico (voice of Malcolm McDowell). In the TV show, Bolt is a super-dog, with stare that melts steel and a sonic-boom bark that can wipe out an entire fleet of armor helicopters, but he doesn’t know it’s just a show. The dog truly believes he has super-canine powers, as he is carefully isolated in his cage and prevented from living a normal life outside of the film set. To please an adult audience that has gotten tired of the show’s happy endings, the network boss Mindy (voice of Kari Wahlgren) orders the Director (voice of James Lipton) to change his endings or he’d get fired. The Director then ends one episode with the villain Dr. Calico kidnapping Penny—something that Bolt takes for real. Bolt then escapes to rescue Penny, to be joined in time by the Mafiosi cat Mittens (voice of Sussie Essman) and the TV-watching hamster Rhino (voice of Mark Walton). In his self-assigned mission of rescuing his co-star, Bolt is shocked to discover that he has no superpowers after all.

Directors Chris Williams and Byron Howard see to it that all the elements of an animated adventure are present in Bolt. The plot is simple but credible, the CGI enhances the story, the characters so alive with their human qualities well projected by the just-right artistic rendering, etc. The chase scene is particularly impressive and can be thrilling to both young and adult audiences. If the viewer pays attention to the dialogue, he will see familiar characters in real life

There are many lessons to be learned in Bolt as the viewer—whether or not he goes for talking animals— becomes a “co-journeyer” of the dog in his self-revealing experiences. The movie is a modern-day parable about growing up, shedding the innocence (or naivete) of childhood, learning to trust change, others, and oneself as one wakes up to reality and sees that the world is not all pink candy floss and honey. There is something both pathetic and endearing about the Bolt character: he is a victim of exploitation, raised and trained to believe he is much more than he really is. In a way he is deceived and is bewildered to discover he is an ordinary dog, thus is greatly hurt when he is replaced in the set by a look-alike because the show must go on. This story says much of the movie world where “stars” are created by their publicists and made to believe they are much more than they really are—because it is what fans want. The movie offers food for thought and contains no objectionable material.

Twilight

Cast: Robert Pattinson, Kristen Stewart, Billy Burke, Ashley Greene, Peter Pacinelli; Director: Catherine Hardwicke; Producers: Wyck Godfrey, Greg Mooradian, Mark Morgan; Screenwriters: Melissa Rosenberg, Stephenie Meyer; Music: Carter Burwell; Editor: Nancy Richardson; Genre: Drama/ Fantasy/ Romance/ Thriller; Cinematography: Elliot Davis; Distributor: Viva Films; Location: Washington, USA; Running Time: 122 min.;

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

Twilight is a movie adaptation from Stephanie Meyer’s series. After 17-year-old Bella Swan’s (Kristen Stewart) mother remarries, she is sent off to live with her father Charlie (Billy Burke) in the small town of Forks Washington. She becomes attracted to a mysterious classmate Edward Cullen (Robert Pattinson), who is actually a 108-year-old vampire resembling a teenager. Edward’s genteel and gracious ways endear him all the more to Bella and despite trying to resist the mutual attraction. The two teenagers fall deeply in love with each other. The Cullen family’s loyalty and ethics are put to test when the nomadic vampires arrive and endanger the life of Bella.

Most movie adaptations of great novels end up disappointing and wanting. This movie is no different with interpretation of Edward and Bella’s characters lacking in depth and the struggle of the Cullen family to co-exist with the humans downplayed. However, as a romantic fantasy for teenagers, the movie succeeds in connecting with the target viewers and eliciting enough sympathy and fondness. The production is decent with an imaginative camerawork, tight editing and impressive CGIs. The production design and the music successfully deliver the Gothic romance it intends. Overall, the movie is quite enjoyable and respectably moving.

One’s background does not necessarily spell the kind of person he is to become. The Cullens are vampires and by nature they are violent, blood-thirsty and heartless but instead, they are doing their very best to be decent, loving, and caring as is humanly possible. In the same manner, regardless of one’s root, family history, psychological background and personal past, the kind of person one will turn out to be depends on himself and his desire to choose what is good and right as opposed to what is expected by society.

The movie, though not objectionable, has several short but intense action violence, mild sensuality and some sexual references, and may not be acceptable for younger teens. Young audiences need to be guided by their parents as some scenes and dialogues are not appropriate for them.

One True Love

Cast: Marian Rivera, Dingdong Dantes, Iza Calzado, Boots Anson-Roa, Pinky Marquez, Chinggoy Alonzo; Director: Mac Alejandre; Producers: Jose Mari-Abacan, Roselle Monteverde-Teo ; Screenwriter: Annette Gozon-Abrogar; Music: Von de Guzman;Genre: Romance; Cinematography: Mo Zee; Distributor: GMA Films; Location: Manila; Running Time: 130 min.;

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

Masayang magkasintahan sina Joy (Marian Rivera) at Migs (Dingdong Dantes). Hindi na nagdalawang isip pa si Joy nang alukin siya ng kasal ni Migs. Ngunit lingid kay Joy, mayroong kababatang kasintahan noon si Migs na si Bela (Iza Calzado) na nasa Canada. Nagkahiwalay sila ni Migs dahil pinili ni Bela na samahan ang kanyang pamilya sa Canada. Nang malaman ni Bela ang tungkol sa pagpapakasal ni Migs, magbabalik ito sa Pilipinas para sana pigilan si Migs ngunit malalaman niyang hindi na siya mahal nito tulad ng dati pagkat si Joy na ang bago nitong mahal. Matutuloy ang kasal nina Migs at Joy. Ngunit isang gabi pa lang silang nagsasama ay maaaksidente si Migs. Matagal na mawawalan ng malay si Migs at sa kanyang paggising, tanging ang alaala ng pamilya at ni Bela lamang ang matatandaan niya. Wala siyang alaala ni Joy. Labis itong ikalulungkot ni Joy ngunit hindi siya agad na susuko. Aalagaan niya si Migs hanggang sa magbalik ang alaala nito at tuluyan siyang makilala. Ngunit sadyang hindi maalala ni Migs si Joy at ang pagkakaalam niya’y si Bela ang mahal niya. Dito magsisimula ang kalbaryo ni Joy. Sino ang tunay na isisigaw ng puso ni Migs sa bandang huli? Ang babaeng una niyang minahal o ang babaeng nagturo sa kanyang umibig muli?

Hindi na masyadong bago ang konsepto ng amnesia sa mga kuwentong Pilipino. Pero nagawa naman ng One True Love na bigyan ito ng bagong bihis sa pagkakaroon ng bagong loveteam sa katauhan ni Marian Rivera at Dingdong Dantes sa pelikula na talaga namang subok na ang husay at tatag sa pagpapakilig ng manonood. Hindi rin matatawaran ang husay ni Iza Calzado. Maayos ang daloy ng kuwento. May kabilisan nga lang kung minsan kung kaya’t hindi masyadong nahahagod ang damdamin. Medyo lumaylay din ito at napalabis ang haba sa bandang huli. Maraming mga eksenang maaaring tanggalin nang hindi makakasira sa kabuuan ng kuwento. Mayroon ding mga karakter na napabayaan. Tulad na lamang ng lola ni Joy. Ano na ang nangyari sa kanya? Kataka-taka din na walang ibang mundo si Migs kundi ang pamilya. Walang barkada. Walang kaibigan. Hindi rin ganoon kaliwanag ang proseso ng resolusyon. Pero sa bandang huli nama’y masasabing maayos na rin ang pelikula sa kabuuan.

Ang pagmamahal nga ba ay isang pakiramdam o isang desisyon? Paano kung iba ang dikta ng isip sa puso? Ano ba talaga ang dapat na mas manaig? Ipinakita sa pelikula na ang tama pa rin ang nagtatagumpay kaysa sa mali. May mga nagagawang desisyon ang mga tao dala ng emosyon ngunit sa bandang huli’y uusigin tayo ng ating konsensiya at ang katotohanan at kabutihan pa rin ang mananaig. Kapuri-puri ang pelikula sa pagpapakita ng kahalagahan ng pamilya--ang tanging makakapitan ng sinuman sa oras ng kalungkutan, kasiyahan at pighati. Wala ring bahid ng kasamaan si Joy. Bagama’t tao pa rin na nasasaktan, naging mapagbigay at matiisin pa rin siya. Alam niya kung kailan dapat lumaban at kung kailan dapat sumuko. Higit sa lahat, matatag din ang kanyang pananampalataya sa Maykapal na ang lahat ay aayon din para sa kanya at para sa kabutihan balang araw. May mga malabis na halikan lamang sa pelikula na kailangang gabayan ang mga bata. Ang pakikiapid din ni Migs kay Bela ay dapat maipaliwanag nang husto.

Burn After Reading

Cast: Brad Pitt, George Clooney, Frances McDormand, Tilda Swinton; Directors: Ethan Coen, Jeol Coen; Producers: Tim Bevan, Ethan Coen, Joel Coen, Eric Fellner; Screenwriters: Joel Coen, Ethan Coen; Music: Carter Burwell; Editors: Joel Coen, Ethan Coen; Genre: Comedy/ Crime; Cinematography: Emmanuel Lubezki; Distributor: Viva Films; Location: New York, USA; Running Time: 96 min.;

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

Central Intelligence Agency (CIA) analyst Osborne Cox (John Malkovich) quits when he learns he is being fired. He decides to write his memoirs and saves them on a computer disc which Washington-based physical fitness instructors Linda Litzke (Frances McDormand) and Chad Feldheimer (Brad Pitt) discover. Linda desperately needs money to undergo cosmetic surgery, hoping it would be her key to finding the right man. Chad is an airhead, and since they believe they have classified information in their hands, they scheme to blackmail Cox. But Cox, a self-righteous alcoholic, is too smart to fall for the ploy, so the odd couple instead try to sell the disc to the Russians. The Russians, in turn, couldn’t care less, but lovelorn Linda and Chad are not about to give up that easily.

Burn After Reading is a crisp, well-crafted tragicomedy written and directed by Joel and Ethan Cohen who won an Oscar last year for their grim work, No Country for Old Men. The pendulum swings to the extreme opposite as the perfectly cast top-flight actors and the witty, tight script give life to a small world full of losers. The actors deliver fabulous performances in this dark comedy—delivering surprises to the viewer so accustomed to seeing them in more or less type-cast roles. Who would think Brad Pitt, voted one of the “sexiest men in the world”, could break his own glamorous image by playing such a convincing all-brawn-and-no-brain gym instructor? Can you imagine the smooth and suave ladies’ man George Clooney swinging between being an opportunistic womanizer and a jittery paranoid? The great John Malkovich, who seems to have been born to play psychotic roles, here gets funnier the angrier he becomes. All the playors, really, deserve applause for putting together this highly polished and entertaining film.

Burn After Reading is a comedy meant to take you beyond laughter. Offering great gags—thanks to the plot and the well-measured humor packaged in dialogue that respects the viewer’s intelligence—the film presents the human condition which is at once pathetic and laughable. After watching it, the family may dwell on questions such as: How far could a woman go to be loved by a man? What would a man do to affirm his self-image? In what ways does the business of espionage dehumanize people? How can the formation of conscience in youth affect one’s decisions in adult life? How important is self-knowledge in guiding one through the pursuit of one’s dreams? Caution on the foul language which youngsters might tend to imitate.

Monster Slayer

Cast: Trevor Matthews, Robert Englund, Rachel Skarsten; Director: Jon Knautz; Producers: Neil Bregman, Trevor Matthews, Patrick White; Screenwriter: John Ainslie; Music: Ryan Shore; Editor: Matthew Brulotte; Genre: Horror/ Suspense; Cinematography: Joshua Allen; Distributor: Epic Pictures Group; Location: USA; Running Time: 85 min.;

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

Jack Brooks (Trevor Matthews) has had anger management issues ever since he witnessed his whole family shredded to pieces and eaten by a monster. To this day, he loses his temper over the smallest petty issue. He works as a plumber and takes up night classes upon the insistence of Eve, his whinny nagging girlfriend. After one of their classes, Professor Crowley (Robert Englund) requests him to check the water pump and pipes in his house. While attempting to fix the old house’s plumbing, Jack accidentally unleashes the evil buried in the backyard. Crowley is drawn to the black heart which immediately forces its way inside him. The professor is transformed into a voracious pus-filled octopus-like monster during their chemistry class and eats most of the students who also become flesh-eating monsters. Jack then realizes that he can no longer run from his anger and returns to save the students and kill the monsters.

The movie is fairly decent and technically acceptable. Although it takes almost half the movie before something happens, but when the excitement comes, it is able to keep the audience on the edge of their seats. There is a good storyline behind the blood and gore with a well-paced editing and satisfactory camerawork. The acting is so-so except for Englund. Over-all, the movie delivers quite a respectable scare and suspense.

Sometimes, our past leaves deep scars in our being that we end up becoming lost, broken and unproductive. In as much as our past shapes us, it should not control us. Our past should offer lessons for growth and improvement and whatever mistakes we might have committed then should be help us become better persons now. Our pain should push us to creatively work around our issues and our scars should be a reminder not of what we failed to do but what we can do better the next time. Only when Jack was able to divert his guilt and pain of losing his family into fighting evil did he learn to control his anger.

The movie has too much gore and blood for young audiences. Parents are cautioned against allowing their children to watch the movie unsupervised.

The Women

Cast: Meg Ryan, Annette Bening, Eva Mendes, Debra Messing, Jada Pinkett Smith; Director: Diane English; Producers: Diane English, Mick Jagger, Bill Johnson, Victoria Pearman; Screenwriters: Diane English, Clare Boothe Luce; Music: Mark Isham; Editor: Tia Nolan; Genre: Comedy/ Drama; Cinematography: Anastas N. Michos; Distributor: Picturehouse Entertainment; Location: Massachusetts, USA; Running Time: 114 min.;

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

Friends Mary Haines (Meg Ryan), Sylvie Fowler (Annette Benning), Edie Cohen (Debra Messing) and Alex Fisher (Jada Pinkett Smith) are there for one another. Mary is a mother of one and seems in a perfect marriage. Sylvie, single, is a high profile woman’s magazine editor. Edie I a mother of three girls who won’t stop getting pregnant until she gets a son. Alex is an avowed, incorrigible lesbian. Two things they have in common: long-standing friendship and a passion for shopping, preferably at Saks Fifth Avenue. When Sylvie learns from a manicurist Tanya (Debi Mazar) at Saks that Mary’s husband Stephen is the lover of the store’s perfume sales girl Crystal Allen (Eva Mendes), the trio tries to find a way to tell Mary ever-so-gently. But Mary also discovers it from the same gossipy manicurist, and decides for divorce. The four friends conspire to break the affair, but despite Stephen’s attempt to reconcile with Mary, she cannot be moved.

The dramedy The Women is inspired by the Clare Booth Luce play of the same title, and like the latter’s 1939 film adaptation by George Cukor, it also does not show males on the screen. There are two males, however—two husbands and a boss—but they are only heard on the phone with the women. It has a strong all-star cast including Candice Bergen (as Mary’s mother Catherine), Chloris Leachman (as Maggie, the Haines’ housekeeper), Carrie Fisher (as a gossip columnist), and Bette Midler (as Hollywood agent Leah Miller), which gives the movie a “chick flick” flavor. The script is also adapted from both the play and the 1939 screeenplay, using a story that is almost the same as the original although with a contemporary backdrop relying on the power combination of fashion and publishing. Gimmicky additions are the use of split screen, an entire fashion show, and a prolonged childbirth scene.

We can’t help thinking that The Women is but a small part of the trend to highlight female-bonding in cybermedia. Circulating lately via internet and email are Power Point presentations stressing how the world becomes a better place to live in when women –sisters, friends, mothers and daughters, grandmothers—are there for each other. In fact, Jada Pinkett’s line on the glories of lesbianism is a rather blunt statement for the advantages of female bonding—albeit sexually perversive. The movie’s main theme, marital infidelity, is very much adult but its comedic approach may lighten the impact of adultery in the viewer’s mind. The Women has been compared to the recent movie version of Sex in the City, featuring another quartet of female friends, but The Women covers more ground in terms of women’s issues such as the inevitable betrayal between close friends, the desire to have sons, the impact of divorce on children, society’s apparent tolerance of extra-marital affairs, the reasons behind a husband’s infidelity, etc. Because of its adult themes, CINEMA rates The Women as a movie for adults 18 and above.