And I Love You So

Cast: Bea Alonzo, Sam Milby, Derek Ramsay; Director: Laurenti Dyogi; Genre: Drama; Distributor: Star Cinema; Location: Manila; Running Time: 100 min/;

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

Natagpuan ni Lara (Bea Alonzo) kay Oliver (Derek Ramsay) ang isang perpektong asawa na makakatuwang ng panghabangbuhay. Labis na pinaligaya ni Oliver si Lara ngunit limang buwan pa lamang silang kasal ay binawian ng buhay si Oliver sa mismo pang kaarawan ni Lara. Makalipas ang pitong buwan ay labis pa rin ang pagdadalamhati ni Lara sa biglaang pagkawala ng asawa. Makikilala niya si Chris (Sam Milby), isang happy-go-lucky na nawalan din ng asawa. Magkakalapit silang dalawa at magkakaibigan ngunit pilit pipigilan ni Lara ang kanyang nararamdaman sa takot na makasakit sa mga ala-alaalang iniwan ng nasirang asawa lalo pa’t hindi pa naman ito nakakapagbabang-luksa Sa gitna ng kanyang pagkalito ay may malalaman pa siyang sikreto ni Chris na labis niyang ikakagalit dito.

Makabuluhan ang tema ng And I Love You So na tumatalakay sa pagdadalamhati ng isang babaeng nabiyuda ng maaga. Mabibigat ang emosyon at damdaming ipinamalas ng mga karakter lalo na ni Alonzo. May mga ilang eksena nga lang na hindi maiwasan ni Alonzo na magpa-cute sa pag-arte ngunit maaring dala rin ito ng ilang mga linya sa pelikula na pawang pinilit. Mahusay naman ang pagkakaganap ni Milby at ng iba pang nagsiganap. Maayos naman ang sinematograpiya at kaaya-aya sa paningin sa bawat eksena. Sa bandang huli nga lang ay pawang may hahanaping kulang sa pelikula. Isa na rito marahil ang hilaw na pagkakalarawan sa relasyong Lara-Oliver na pawang lumabas na walang kapintasan ang huli. Ang naging resulta tuloy ay pawang hindi tao ang kanyang karakter. Hindi rin napaigting ang relasyon ni Lara sa mga tao sa kanyang paligid at umikot lamang ang kanyang buhay kay Oliver. Mas naging mahusay pa sana ang pelikula kung napalalim pa nito ang mga damdamin at relasyon at hindi lamang sumentro sa pagdadalamhati.

Kahanga-hanga ang pagiging wagas ng relasyong Lara-Oliver at tunay namang bihira na sa panahong ito. Maging huwaran sana ng manonood ang kanilang samahan na bagama’t maikli ay tunay na malalim at puno ng pagmamahal. Nakakabahala naman naging buhay ni Chris na naging masalimuot dahil sa ginawang panloloko ng kanyang asawa. Naging pariwara si Chris a kaniyang pakikipag-relasyon sa mga kababaihan na pawang bunga ng pagrerebelde at paghihiganti. Ngunit ipinakita naman sa pelikula na ito ay hindi magdudulot sa kanya ng kaligayahan. Marahil ang higit na nakakabahala ay naging bayani pa siya sa buhay ni Lara. Naging mapusok din sa kanilang mga damdamin sina Lara at Chris na talaga namang hindi katanggap-tanggap ngunit lumabas din naman sa kuwento na parehas na ligaw ang mga damdamin ng dalawa ng ito ay maganap. Hindi pa rin tama ngunit nailahad naman sa pelikula na ito ay mali. Sa kabila nito, maseselan pa rin ang ilang eksena at nararapat lamang ang pelikula sa mga manonood na nasa wastong gulang at hinog na kaisipan upang hindi rin maligaw ang kanilang pananaw ukol sa relasyon, lalo na sa relasyong mag-asawa at pakikipagrelasyong sekswal.

Book of Blood

Cast: Jonas Armstrong, Paul Blair, Sophie Ward, Doug Bradley, Gowan Calder, Graham Colquhoun, James McAnerney, Romana Abercromby, Simon Bamford; Director: John Harrison; Producers: Lauri Apelian, Clive Barker, Joe Daley, Micky McPherson, Jorge Saralegui, Nigel Thomas; Screenwriters: Clive Barker, John Harrison; Music: Guy Farley; Editor: Harry B. Miller III; Genre: Thriller/ Horror; Cinematography: Philip Robertson; Distributor: RCV Film Distribution; Location: Scotland, UK; Running Time: 105 min;

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

Book of Blood is an adaptation of Clive Barker’s two short stories, “On Jerusalem Street” and “Book of Blood.” In the film, a bounty assassin named Wyburd (Clive Russell) tracks down the very frightened and almost deformed young Simon McNeal (Jonas Armstrong), whose skin is filled with occult writings. Wyburd tells Simon that he has been hired to remove his skin but will give him a quick death if he tells him the story of the writings. We learn through flashbacks that Simon was a psychic who was tapped to help in the investigation of paranormal researcher and best-selling author, Mary Florescu (Sophie Ward). She has apparently discovered a haunted house in downtown Edinburgh where a young girl was skinned and killed by unseen spirits. Also, the house is said to be standing at the intersection of so-called “highways” transporting souls in the afterlife. Wanting to learn its mystery, she employs her student Simon, whose family tragedy seemingly made him sensitive to the occult. At first, Simon fakes his visions and orchestrates scenes to scare Mary. But later on, the dead communicate with Simon for real and start carving their messages on his flesh.

Book of Blood starts off very promising and impressive. The first hour carries solid moments with a strong premise, great musical scoring, an eerie set and impressive CGIs. But in the middle, the film takes a nosedive with one lame scene after the other. The acting is dry and flat except for Clive Russel. By the time the story develops into something interesting, the audience are so far removed from the film that no amount of special effects or shock thrills will bring them back. The script is the major problem in the movie. It is too long and predictable with all the unnecessary prologues and epilogues. The premise of the film is good but direction is lethargic and predictable. Overall, the movie does not give justice to the book nor to the genre.

Like most horror thrillers, the movie once again romanticizes death, afterlife and spirit … in the negative sense. For horror film producers, spirits are just another means of presenting blood, gore and violence on screen. The movie is visually appalling and morally disturbing. Not only does it bring a twisted concept of afterlife and spirits, but presents them is a very gruesome manner. Blood, sex and flesh are served to the brim. The horror does not come from the story but from the shock and disgust of seeing excessive and uncensored gore. Parents are strongly warned not to allow their young children to watch the movie or the DVD release.

G. I. Joe: Rise of Cobra

Cast: Dennis Quaid, Channing Tatum, Sienna Miller, Marion Wayans; Director: Stephen Sommers; Producers: Lorenso Di Bonaventura, Bob Ducsay, Brian Goldner; Screenwriter: Stuart Beattie; Music: Allan Silvestri; Editor: Bob Ducsay, Jim May; Genre: Action; Cinematography: Mitchell Amundsen; Distributor: Paramount Pictures; Location: Brussels; Running Time: 118 min.;

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

The world's peace is threatened by the corrupt weapon dealer Destro (Christopher Eccleston) of Cobra organization and therefore those in command responsibility do not take it sitting down. Equipped with high technology weapons, the elite G.I. Joe team is tasked to face it off with the Cobra group to prevent their evil plan and spare the innocent people. As in any high profile mission, a battle with the equally high technology-equipped group is not an easy task. In this case, any help extended to fulfill the mission is necessary as offered by Ripcord (Marlon W) and Duke (Channing Tatum) particularly to find Baroness (Sienna Miller).

G.I. Joe: Rise of Cobra is a spectacular film that is highly complimented by special effects and brilliant use of computer technology. Obvious efforts were put in keeping up the story; however, too much build-up of characters somehow complicates the plot and becomes boring at some point of the film. But the rest of technical aspects are good and succeed in creating excitement for young viewers. The chasing scenes in Paris, the explosion of Eiffel Tower, the deep of polar ice caps, and the wonders of high technology system and weapons are amazing ingredients of the film. Acting wise, all the actors gave justice to their respective roles as required. The director gave each character the necessary highlights in the story. Overall, G.I. Joe: Rise of Cobra is indeed a good and entertaining film that immortalizes a popular set of toys.

Any person who is entrusted with a mission where precious life and world peace are at stake must be responsible, whether as an individual or as a member of a team. When your mission is on the side of the truth, evil forces expectedly get in the way, so it is important to keep focus. Relationship in terms of love and friendship are natural to humans and may be a factor in fulfilling or non-fulfilling of tasks. This is a challenge of focus and priority. In a team environment, it is vital that all members hold on to one another's strength in order to overcome weaknesses and succeed in the team’s mission. The advances in technology are a gift to human beings and should be used for human advancement.

Last Viewing

Cast: Janice de Belen, Maro Panganiban, Sherwin Ordonez, Angel Jacob, Tommy Abuel, Leandro Baldemor; Director: Ronaldo Bertubin; Producers: Ferdinand Lapuz, Antonio de Guzman, Olivia Madrigal; Screenwriter: Romualdo Avellanosa; Distributor: David Entertainment Productions; Location: Manila; Running Time: 120 min;

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

Si Laura ay isang crematorium supervisor na tulad ng mga bangkay na kanyang sineserbisyohan ay naging malamig na ang pakikitungo sa mga tao buhat nang itinakwil siya ng ama dahil ipinagbuntis niya sa pagkadalaga si Heidi (Maro Panganiban) na isang autistic. Bagama’t mailap sa lahat ng tao, si Laura ay naging mapagmahal na ina kay Heidi. Ipinasok ni Laura si Heidi sa isang day care center at isang araw bago ang graduation nito sa kinder ay ipinamili niya ito sa isang tiangge. Nalingat si Laura at hindi napansin na naglalakad na palang palayo ang anak at tuluyan na nga itong mawawala. Hahanapin ni Laura ang anak ngunit sadyang hindi na niya ito makita. May isang manghuhulang magsasabi na si Heidi ay nasa mabuting kamay ngunit nanganganib ang buhay. Mapapanatag ng kaunti si Laura sa kasiguruhang ito na buhay pa ang anak ngunit sadyang hindi pa rin niya ito makikita. Itutuloy ni Laura ang kanyang buhay sa gitna ng kalungkutan at makalipas ang apat na taon ay muli niyang makikita ang anak sa isang kakatwang sitwasyon.

Sa simula’y may kabagalan ang kuwento at tulad ng tema at karakter ng pangunahing tauhan sa pelikula, pawang napakalamig sa manonood ng palabas. Ngunit habang tumatagal ay umiigting ang kuwento at naipapamalas ang tunay na damdamin, diwa at lalim ng pelikula. Bagama’t walang masyadong gulat at malalaking eksena, lutang na lutang ang tamang timpla ng emosyon sa kabuuan nito. Hindi matatawaran ang pagganap ni Janice de Belen na nagampanan ng buong husay ang kanyang papel bilang walang emosyon na karakter. Ito ang naging tunay na yaman ng pelikula. Sa gitna ng mapanuksong histerya na karaniwang makikita sa ibang pelikulang melodrama, nagawang panghawakan at pigilan ni de Belen ang malabis na emosyon at bugso ng damdamin. Maging ang mga pangalawang tauhan ay pawang mahuhusay din liban na lang sa ilan na pawang karikatura ang labas. Mahusay sana ang direksiyon kung naiayos lamang ang daloy at napalalim pa ang karakterisasyon. Sayang din at hindi gaanong lumutang ang kalugaran at konsepto ng pelikula na may patungkol sa mga taong “naghahanap-patay.” Ang mga kuha ng kamera ay pawang madidilim at kung minsan nama’y kakatwa ang anggulo. Pero ito marahil ang nais ipahiwatig ng Last Viewing sa kabuuan: ang dilim at gulo ng buhay at kamatayan at ang liwanag nito sa pagitan.

Maliwanag ang mensahe ng pelikula ukol sa pagmamahal, pagpaparaya at pagpapatawad. Si Laura ay halimbawa ng isang taong nawalan na ng tiwala sa lahat dahil sa kanyang naranasang pagtatakwil ng ama. Anumang pilit niyang punan ang lahat ng kakulangan sa kanyang buhay sa pamamagitan ng pagmamahal sa kanyang anak ay hindi pa rin maging sapat sapagkat napuno na ng galit ang kanyang puso. Sa kabila ng ipinapakitang panlabas na lakas ni Laura ay kitang marami rin itong kahinaan. At kahit pa akalain ng lahat na siya ay “walang puso,” busilak ang kalooban ni Laura na pawang kabutihan ang nais para sa kanyang anak at mga mahal sa buhay. Sa paghahanap niya sa kanyang anak ay kasabay niyang hinahanap ang mga sagot sa maraming katanungan – tulad ng kung paano patatawarin ang amang minsang nagtakwil sa kanya. Hangga’t hindi niya magagawang magparaya at magpatawad ng buong puso ay hindi rin niya maibibigay ang kanyang sarili kahit pa bilang ina sa kanyang anak. Sayang nga lang at pawang walang naging papel ang Diyos sa buhay ni Laura. Hindi rin siya nakita man lang na nagdasal kahit pa sa gitna ng maraming kagipitan at kadiliman sa kanyang buhay. Ngunit ang pinakamahalaga ay ang mensahe ng Last Viewing na ang lahat ng nangyayari sa ating buhay ay may mas malawak na dahilan at ang mapagmahal na Diyos ay hindi kailanman magpapabaya dahil nananatili Siyang tapat sa sinumang may malinis na hangarin. Ang kailangan lang ay maging handa rin tayong maging bukas at handa sa pagmamahal na ito.

Nothing But The Truth

Cast: Kate Beckinsale, Matt Dillon, Alan Alda, Vera Farmiga, David Schwimmer, Angela Basset, Noah Wyle; Director: Rod Lurie; Producers: Marc Frydman, Rod Lurie, Bob Yari; Screenwriter: Rod Lurie; Music: Larry Groupe; Editor: Sarah Boyd; Genre: Suspense/ Drama; Cinematography: Alik Sakharov; Distributor: Cinestar; Location: USA; Running Time: 108 min.;

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

Rachel Armstrong (Kate Beckinsale) is a passionate Washington DC investigative reporter on the rise. But her dreams plummet hard when she incurs the wrath of the White House after exposing CIA secret operative Erica Van Doren (Vera Farmiga) and then later refusing to reveal her source. Rachel is put behind bars and sent to trial with government prosecutor Patton Dubois (Matt Dillon) ruthlessly drilling hard on her. But she remains steadfast and refuses to name her source even at the expense of her freedom, her safety and her relationship with her son. As we follow the suffering Rachel experiences behind bars and the legal struggle of her lawyer, Albert Burnside (Alan Alda), as he pleads her case on First Amendment grounds, we also see Erica Van Doren fighting hard to protect her reputation in the CIA and the sanctity of her other life as a loving mother.

The movie is based on the exposition of Valerie Plame, an undercover CIA agent, and the subsequent incarceration of Judith Miller, a New York Times reporter, in 2005. Writer and director Rod Lurie delivers a powerful moral drama told from a feminine point of view. Although Beckinsdale’s performance is at times overtaken by her co-actors, she still manages to shine during the dramatic highlights and bring Rachel to life. The film is provokingly well made, drawing the audience into the struggle of the protagonists and teaching them to realize the evil of public apathy.

Nothing But the Truth raises several questions. How does a person choose during tough times? Does she value her self and her family more over truth and her principles? Does she succumb to pressure to ensure her safety and freedom? The film shows us how the line is drawn when we are asked to choose between one’s moral aptitudes versus self-preservation. At times, we have to uphold truth, justice and integrity at the expense of our personal happiness.

Our duty to our country, to the truth and to the common good should surpass our desire to protect our selves. This proves to be a painful and difficult choice, especially in times when people have become too self-centered and self absorbed. Nonetheless, it is the choice made by heroes and saints at heart.

Themes and situations in the movie will be more appreciated by mature adult viewers. The movie contains a mild sexual scene, violence and inappropriate language. Thus, parents are strongly cautioned against allowing their young and impressionable children to watch the movie.

It's Alive

ASSESSMENT ONLY
Cast: Sharon Farrell, Andrew Duggan, Michael Ansara, Guy Stockwel, John Ryan, James Dixon, Daniel Holzman, Shamus Locke, William Wellman Jr.; Director: Larry Cohen; Producer: Larry Cohen; Screenwriter: Larry Cohen; Music: Bernard Herrmann; Editor: Peter Hones; Genre: Horror/ Suspense; Cinematography: Fenton Hamilton; Distributor: Warner Bros. Pictures; Location: USA; Running Time: 91 min.;

Technical Assessment: 3
Moral Assessment: 1
CINEMA Rating: For viewers 14 and above

BRIEF FILM SYNOPSIS

It's about an ordinary couple who become the parents of a bouncing baby boy. Unfortunately, the infant is a grotesque monster who embarks upon a grisly killing spree throughout Los Angeles! The cops attempt to track down the blood-thirsty babe, as the parents (who have no idea how or why this happened) try to cope with this unusual ordeal.

OUTSTANDING FEATURES OF THE FILM: The film does not show the cause that made the newly born baby a monster, engaged in killing spree of doctors and nurses on the time of his birth. However, the plot tells the audience that would be mother tried to abort the fetus but failed. Is the baby possessed by evil spirit that will lead him to murder people?

Orphan

Cast: Vera Farmiga, Peter Sarsgaard, Isabelle Fuhrman, CCH Pounder, Jimmy Bennett; Director: Jaume Collet-Sera; Producers: Leonardo DiCaprio, Susan Downey, Jennifer Davisson Killoran, Joel Silver; Screenwriters: David Johnson, Alex Mace; Music: John Ottman; Editor: Timothy Alverson; Genre: Drama/ Horror/ Mystery/ Thriller; Cinematography: Jeff Cutter; Distributor: Warner Bros. Pictures; Location: Toronto, Canada; Running Time: 123 min.;

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

Following a miscarriage, Kate and John Coleman (Vera Farmiga and Peter Sarsgaard) decide to expand their family by adopting 9-year-old Esther (Isabelle Fuhrman) to add to their own, 12-year old Danny (Jimmy Bennett) and 5-year old deaf-mute Max (Aryana Engineer). In a refuge run by Catholic nuns, the couple is charmed by the artistically-inclined Esther, a prim and proper 9-year-old orphan of Russian descent. Max and Esther click right away, with Esther easily learning sign language. Danny, however, begins to feel frustrated, thinking the new girl is getting too much attention from everybody, particularly his dad. Esther’s serious mien and taste for “Little Bo-Peep” clothes alienate her from other children in school, and make Danny the butt of jokes among his peers. When Kate catches Esther playing with Max on the frozen pond—a forbidden area—she becomes sensitive to Esther’s certain actuations, although she is ready to dismiss them as childish quirks. When the orphanage administrator Sr. Abigail (CCH Pounder) visits the Coleman home to check on the adopted child’s progress, Kate discovers that hardly anything is documented about Esther’s past. The nun also informs Kate that while Esther herself does not get into trouble, trouble “comes to her”, citing the recorded disasters that took place when she was around. The nun doesn’t return home; days later she is found dead in the wood. Kate’s hunches become stronger but John shrugs these off as the fears of a recovering alcoholic.

An engaging story combines with great acting to put this thriller several notches above the ordinary evil-child movie. With her seemingly innate ability to unsettle audiences, Farmiga delivers an intense and sensitive performance, portraying a conflicted character most credibly. She and Saarsgard display a full-bodied chemistry that makes marriage appear to be such an appealing option. There is also electrifying interaction between Farmiga and Fuhrman—keeping the viewer in suspense about what could go on between a vulnerable foster mother and a secretive, precocious adopted child. Crisp editing and camera work add to the realism that would keep the audience at the edge of their seats for 123 minutes.

For a sweet and well-mannered 9-year-old girl to be so vile, one could only guess she’s the devil incarnate. Rosemary’s Baby, The Omen, The Demon Seed—they all belong to a league in which Orphan could be the anointed princess. There are many lessons to be learned from this masterpiece of a thriller: don’t laugh at other people’s weird fashion taste; don’t leave an unconscious hospital patient unattended; nuns shouldn’t be out driving alone; don’t trust a child simply because she is a child; and lastly, investigate an orphan’s past before adopting. But maybe you wouldn’t want to adopt anymore after watching this film. The few minutes towards the end explain it all, and logically weave together into one cohesive and credible story all that wickedness and depravity in one who has lived for nine short years. The movie is about children, but it’s definitely not for children. CINEMA would allow it for viewers 18 and above, for its delicate theme and content.

Oh My Girl!

Cast: Judy Ann Santos, Ogie Alcasid, Roderick Paulate, Carmi Martin, Manilyn Reynes, Nova Villa, John Prats, Jon Avila; Director: Dante Nico Garcia; Producer: Lily Monteverde; Screenwriters: Tanya Bautista, Dante Nico Garcia, Jose Garlitos, Raymond Lee; Music: Von de Guzman; Editor: Danny Anonuevo; Cinematography: Odyssey Flores; Distributor: Regal Films; Location: Philippines; Running Time: 105 min.;

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

Isang malalim na pagkakaibigan ang nabuo sa mga ulilang sina Biboy (Ogie Alcacid) at Opao (Judy Ann Santos) noong sila ay magkasama sa bahay ampunan. Nang ampunin ng isang palaos nang artista (Carmi Martin) si Opao, ay hindi na ito muling nakita ni Biboy. Lilipas ang maraming taon pero hindi pa rin makalimutan ni Biboy si Opao. Buong buhay niya’y wala siyang ginawa kundi isipin si Opao at hanapin kung nasaan ito. Sa wakas ay kanyang matatanto na si Opao ay si Darling na ngayon – ang pinakasikat na artista ng kasalukuyang henerasyon. Palibhasa’y walang yaman o kasikatan na maipagmamalaki, mahihirapan si Biboy na magpakilala o makalapit man lang kay Darling. Minsang sinundan ni Biboy ang shooting ng ginagawang patalastas ni Darling ay nangailangan ng ekstra makakasama ni Darling. Ngunit ang hinahanap na ekstra ay dapat isang matandang babae. Sa tulong ni Bob (John Pratts), magbibihis at mag-aayos si Biboy na parang isang matandang babae. Makukuha si Biboy na ekstra sa patalastas ni Darling at magsisimula na siyang makalapit dito. Mas lalo pa siyang mapapalapit kay Darling nang mangailangan ito ng personal na alalay. Subalit gustuhin man ni Biboy na magpakilala kay Darling ay mahihirapan siya sapagkat ang pakikilala niya dito ay isa siyang babae. Magkaroon pa kaya siya ng lakas ng loob na aminin kay Opao/ Darling na siya si Biboy?

Sa biglang tingin ay aakalain na isang matinong katatawanan ang Oh My Girl dahil sa mga bigatin nitong mga artista at de-kalibreng mga manunulat at direktor na kinikilalang magagaling sa industriya. Ngunit isang malaking kabiguan ang pelikula. Nabigo itong magbigay ng bagong bihis sa isang lumang kuwento ng pagkakaibigan at pag-ibig. Bigo itong magbigay ng kilig dahil walang dating ang tambalan ng dalawang pangunahing tauhan. Lalo pa itong nabigong patawahin ang manonood dahil lumabas na pilit ang pagpapatawa at hilaw ang mga ginamit nitong pangkiliti. Sayang kahit pawang ginaya sa pelikulang banyaga ang konsepto ng Oh My Girl, ay mukhang maganda naman ang intensiyon nitong bigyan ng panibagong putahe ang Pinoy comedy ngunit ang kinalabasan ay parang minadali na lamang nila ang pelikula at hindi na gaanong pinagtuunan ng pansin ang kaledad. At higit na nasayang ang galing ng mga artistang nagsiganap. Anumang talino nila sa pag-arte ay hindi nagsagip sa malabis na kakulangan sa kuwento ng pelikula.

Isang kuwento ng wagas na pag-ibig ang Oh My Girl. Isang pag-iibigang nakaugat sa pagkakaibigan at hindi nagbago sa paglipas ng panahon. Maganda ang mensaheng ito ng pelikula ngunit dapat pagtunuunan ng pansin ang ilang naging paraan ng pangunahing tauhan na si Biboy upang makalapit kay Opao. Nagbihis at nagpanggap siyang babae para lamang mapalapit sa isang dating kababata. Nakakabahala ang ganitong pamamaraan ng pakikipaglaban alang-alang sa pag-ibig dahil bali-baligtaran man, isang matinding panloloko ito at pananamantala sa pagtitiwala ng isang tao. Naging malabis din ang isteryotipikal na paglalarawan sa mga matatanda, pangit, bakla, tomboy, mga alalay, starlets at bisaya. Sa mga aspetong ito, dapat gabayan ang mga batang manonood sapagkat maari nilang tularan ang kanilang mapapanood at maari nilang isiping ito ang tamang pagtrato sa mga taong pawang saliwa ang pagtingin ng lipunan. Nakakabahala rin na tila hindi man lamang nagkaron ng utang na loob ang dalawang pangunahing tauhan sa mga institusyong kumupkop at kumalinga sa kanila. Pinalalabas ba ng pelikula na ang mga bahay-ampunan sa halip na maging bahay-kalinga ay nagiging kulungan kung saan ang mga naririto'y walang ibang kaligtasan kundi ang pagtakas? Ipinakita pa naman nilang isa sa mga bahay-ampunan na ito ay pagmamay-ari ng isang relihiyosong kongregasyon. Masamang larawan ito para sa Simbahan na nagnanais lamang makagawa ng kabutihan sa lipunang labis ang kahirapan. Sa halip rin na pasasalamat ang isukli ni Opao/ Darling sa pagkupkop sa kanya, panay sama ng loob pa ang ibinubulalas nito sa tuwing mauungkat ang kanyang buhay.

The Proposal

Cast: Sandra Bullock, Ryan Reynolds, Mary Steenburgen, Craig T. Nelson, Mary White, Ramon Oscar Nuñez, Dennis O’Hore; Director: Anne Fletcher; Producers: David Hoberman, Todd Lieberman; Screenwriter: Pete Chiarelli; Music: Aaron Zigman; Editor: Priscilla Nedd-Friendly; Genre: Romantic Comedy; Cinematography: Oliver Stapleton; Distributor: Touchtone Pictures; Location: USA; Running Time: 107 min.;

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

Young and attractive, Margaret Tate (Sandra Bullock), an executive and book editor of a New York publishing empire, comes across also as tyrannical. Demanding, she so intimidated her staff that they panic once she enters her office. Though seeming invulnerable, one day she gets a notice from the U.S. Immigration office informing her of her imminent deportation to Canada due to an expired visa (She’s Canadian). She devises a plan to get the coveted visa, that is, by marrying her surprised assistant Andrew Paxton (Ryan Reynolds). She proposes a sham marriage followed by a quickie divorce once she gets her visa. Often brow beaten and usually compliant, this time he refuses. But she blackmails him and bribes him by offering him an editorship in the office. Ambitious, he consents. Suspecting something fishy, the immigration officer warns them of the punishments for fraud and informs them they will be questioned on intimate matter including each other’s family. Though together in the office for 3 years, they virtually know nothing of each other. For familiarization, on the part of Margaret, they visit Andrew’s parents in Sitka, Alaska. Thinking Sitka is some God forsaken Alaska outpost, she gets the shock of her life when she instead sees a charming, urbanized town with warm welcoming people. Loving and very closely knit, Andrew’s wacky family is thrilled to know Andrew and Margaret are getting married. With no affection for each other, they have to pretend before family and friends that they are in love. This situation is the well spring of many embarrassment and funny moments.

The Proposal has a plot that is as old as the hills; two people who almost hate each other at the beginning end up getting to like each other, in spite of the madcap obstacles that come their way. Very predictable and formulaic but it does not bore. Cheerfully done, this romantic comedy with all its conventions entertains with its hilarious moments. The humor is devoid of vulgarity, though one embarrassing funny scene involves the two lead actors in the nude. The cinematography enhances the viewers’ pleasure. Though said to have been filmed in Massachusetts and Rhode Island, it replicates the pristine beauty of Alaska. The story is set in a picturesque town with chic, quaint shops (no fast foods or franchise chains) and a waterfront that looks like a tourist haven. This setting exudes a charm befitting this fantasy. Sandra Bullock is versatile as seen in various roles she has played in other movies, but her talent in this romantic comedy is remarkable in her convincing and likeable portrayal of the high-powered uptight New York woman (with the formidable look in pencil skirts and stiletto heels) who is touched and transformed by the loving embrace of Andrew’s family. Ryan Reynolds’ performance is just as commendable as he matches Sandra’s snappy banter and comic skills. Very good support is given by Mary Steenburgen and Nelson Craig as Andrew’s parents, Mary White as the 90 year old grandma and the preacher-exotic dancer Ramon.

The Proposal is entertaining and enjoyable. Scenes of family closeness, togetherness, affection, generosity and understanding will not fail to touch a chord in the hearts of those who value family relationships. It is heartwarming to see here depicted these “old fashioned” values still existing in some towns though practically lost in the fast rat race in the cities. The old grandma especially may be a bit bizarre in her antics but she delights us in her simplicity, wit, and respect for family traditions. On the other hand, there are some negative elements here that should not be glossed over. Like, for instance, the way marriage is viewed by Margaret and Andrew as a vehicle to attain ambition, power, or other mundane practical results like getting a visa. But this sadly happens in real life today. Young people getting married should always start life right and that is by getting the right perspective regarding marriage. Infused with love, marriage should primarily help fulfill each person’s quest for happiness and perfection as well as realize God’s plan. It should never be considered a mere tool for material advancements.

My Sister's Keeper

Cast: Cameron Diaz, Abigail Breslin, Alec Baldwin, Sofia Vassilieva; Director: Nick Cassavetes; Producers: Mark Johnson, Chuck Pacheco, Scott L. Goldman; Screenwriters: Jeremy Leven, Nick Cassavetes; Music: Aaron Zigman; Editor: Jim Flynn, Alan Heim; Genre: Drama; Cinematography: Caleb Deschanel; Distributor: New Line Cinema; Location: USA; Running Time: 110 mins;

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

In this film version of Jodi Picault’s best seller, My Sister’s Keeper, Kate, the daughter of lawyer Sara (Cameron Diaz) and Brian (Jason Patric) is diagnosed at age 5 with leukemia. To save her life, the couple agrees to do the untried: engineer a baby by in vitro fertilization to provide a perfect genetic match to the sick child. The baby, Anna, since birth becomes the donor for Kate’s needs, for blood, bone marrow, and stem cells. Alive at 16 instead of dying at age 5 as medically predicted, Kate (Sofia Vassilieva) now needs a kidney to stay alive, but 11-year old Anna (Abigail Breslin) no longer wants to be her sister’s supplier of spare parts. She instead hires controversial lawyer Alexander Campbell (Alec Baldwin) and sues her parents to gain “medical emancipation”. In denial about Kate’s imminent death, Sara represents herself in court against her 11-year old daughter’s lawyer. The trial takes a surprise turn when the couple’s son Jesse (Evan Ellingson) bursts into a stunning revelation in court.

Besides a solid story and unsurpassably good casting as foundation for the film, director Nick Cassavetes’ My Sister’s Keeper has that subtle ability to emotionally affect its audience while continuing to engage their intelligence despite the occasional plot contrivances. The character-development is superb, with lead Diaz delivering the best performance yet of her acting career, surprising viewers with her dramatic flair and marking her graduation from romantic comedy roles she had also excelled at. Breslin is spunky, determined yet lovable and loving, and the bald Vassilieva makes a winning cancer patient who is cheerful and wise despite her losing battle with cancer. Every character in the sad story has issues of their own and the plot’s twists and turns reveal these in the rest: judge (Joan Cusack), Kate’s fellow patient and boyfriend Taylor (Thomas Dekker), lawyer Campbell, firefighting husband and father Patric, withdrawn son Ellingson. Flashbacks could demand viewers’ effort to situate but in time, through great dialogue, cinematography that captures both pathos and joys faithfully, and great makeup (Kate’s especially), all is understood.

Moral issues are definitely found here—from the start, in fact, when conceptualization is viewed through the eyes of the genetically engineered11-year old Anna. Right away one questions if it’s right for parents to produce another child to extend the life of another. No doubt it’s a happy, loving family, better than most families portrayed in American movies and other media, but how will they confront the consequences of misguided devotion? From birth, the engineered child’s body is practically mined to save her sister: she is coaxed, cajoled, bribed with ice cream as she cries and kicks her way into the operating room, knowing only the pain or inconvenience of medical procedures she is too young to willfully desire. She would be told that by doing so she is saving her sister’s life, but as she sells her gold necklace and raises $700 to offer as attorney’s fees because she “doesn’t want to be cut up anymore,” the viewer starts to root for her. Indeed, why can’t her mother see that the kidney transplant will only leave her with two sick children to look after, if it succeeds at all. If it fails, the dying one dies just the same, leaving the donor unable to enjoy a normal life; and if her remaining kidney fails, no one else in the family can donate. Will they then make another test-tube donor baby, or will this donor-child be virtually disposed of since she has served her purpose?

But how could a mother who did not carry a baby in her womb possibly see that? Test-tube baby Anna is not conceived in love, and if there was love at all, it was love for another child. Even the father Brian admits they “went against nature” in the conceptualization of Anna. The main issue here is a mother’s letting go, and the main message is, parents do not own their children. The viewer may think, this lawsuit wouldn’t have happened had they not created Anna in the first place. But in this development, if the viewer hears with the ears of faith, God speaks. God may have allowed Anna’s unorthodox birth, but in His time He tells the world what her parents missed in their blind devotion: that they are not God, but children are gifts from God. Anna, despite the cold and heartless circumstances surrounding her birth, emerges as the biggest gift in this story, eventually helping everyone else to see the light.

Manila

Cast: Piolo Pascual, Rosanna Roces, Jay Manalo, Alesandra de Rossi, Angelica Panganiban, Jiro Manio, Anita Linda; Director: Adolfo Alix, Jr., Raya Martin; Screenwriters: Adolfo Alix, Jr., Raya Martin; Genre: Drama; Cinematography: ; Distributor: Star Cinema; Location: Manila; Running Time: 90 mins;

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

Dalawang kuwentong hango mula sa mga obra nina Ishmael Bernal at Lino Brocka, ang unang kuwento ay tungkol sa isang drug addict na si William (Piolo Pascual) na gagala-gala sa kalye ng Maynila, tila may kung anong hinahanap sa kawalan. Ito’y sa kabila ng pag-aalala ng ina niyang si Charito (Rosanna Roces) kung nasaan na siya. Sa kalye rin ng Maynila magsasanga-sanga ang ilan pang mga taong may kinalaman sa buhay ni William at sa pagkakalulong niya sa droga. Ang ikalawang kuwento naman ay tungkol sa isang bodyguard na si Philip (Piolo Pascual) na naninilbihan kay Barry (Jay Manalo) anak ng isang Congressman ng Maynila. Tapat ang paglilingkod ni Philip kay Barry sa pag-aakalang parang kapatid ang turing nito sa kanya. Ang katapatang ito ay masusubukan nang maka-enkuwentro ni Barry ang isang dating karibal. Makakapatay si Philip sa pagtatanggol kay Barry at dito niya mapatutunayan ang kawalang-saysay ng kanyang katapatan sa isang among tau-tauhan lamang ang turing sa kanya.

Masarap balikan ang ilang obra ng mga batikang Pilipinong direktor na naglagay sa Pilipinas sa mapa ng pandaigdigang sining. Ang mga pelikulang pinaghanguan ng Manila ay talaga namang maituturing na klasiko at nararapat lamang bigyan ng kaukulang paggalang. Maganda ang intensiyon ng Manila ngunit nagkulang ito sa akmang sinseridad na hinihinling ng kuwento. Sa halip na mapalutang pang lalo sa kasalukuyang panahon ang dalawang piling obra, ay lalo pang napalabo ang mensahe nito. Sayang at pawang magagaling pa naman ang mga nagsiganap. Maganda rin at mahusay ang kuha ng kamera pati na ang pag-iilaw. Hindi rin masyadong problema ang editing. Marahil ang tunay na problema ay ang kaiksian ng oras na inilaan nila para sa kabuuan ng pelikula. Pilit ipinagsiksikan sa iisang pelikula ang dalawang dapat sana’y malawak na istorya. Mahirap masundan ang emosyon sapagkat hindi malinaw ang pinanggagalingan ng bawat karakter. Sayang at malaki sana ang potensiyal ng pelikula na maihanay sa mga obrang pinaparangalan nito.

Isang masukal at malupit na gubat ang lungsod ng Maynila. Ito ang sinasabi ng pelikula. Ipinakita nito ang pinakamadidilim na kasuluksulukan ng Maynila. Ang dalawang magkaibang pangunahing tauhan ay sumisimbolo sa dalawang uri ng tao Maynila. Isang nagpakalunod sa masamang bisyo upang makalimutan ang mga realidad ng siyudad at isang humaharap dito nang buong katapatan sa pag-aakalang ito’y masusuklian ng kaginhawahan. Anu’t-anupaman, sina William at Philip ay larawan ng kadiliman at kawalang-pag-asa sa isang siyudad na siya sanang kakalinga sa mga tulad nila. Kung tutuusin ang kuwento ay nagpakita lamang ng isang parte ng mukha ng Maynila: ang kasamaan at kadiliman nito. Malinaw naman ang itensiyong ito ng pelikula. Hindi nga naman interesado ang mga manonood sa maganda, mapayapa at maaliwalas na buhay. Maaring tunay ang mga ipinakitang larawan ng Manila ngunit pawang hindi malinaw ang nais nitong iparating at kung anong klaseng imahe ng Maynila ang nais nilang ipakita sa ating mga kababayan at maging sa mga dayuhang manonood. Kung puros kawalan ng pag-asa at kabukutan ang ating makikita, ano nga ba ang nararapat na gawin? Marahil sinasabi rin ng pelikula na bawat isa sa atin ay may pananagutansa mga katulad nina William at Philip. Hindi lamang sila ang may kagagawan ng kung anong kapalaran nagkaroon sila. Malinaw na ang mismong lipunang kanilang ginagalawan ang nagtulak sa kanila sa maling landas. Dapat gabayan ang mga batang manonood upang maipaliwanag ito ng husto, kung hindi’y maitatanim sa kanilang isipan na ang Maynila ay isang malupit na siyudad sa mga mahihirap at walang lakas. Maaring ito nga ay totoong nangyayari ngunit dapat sana’y magpakita man lang ng kahit na isang kislap na pag-asa ang pelikula upang makapaghimok ng mga natutulog na damdaming makabayan.

Public Enemies

Cast: Johnny Depp, Christian Bale, Marion Cotillard, Jason Clarke, Rory Cochrane, Billy Crudup; Director: Michael Mann; Producer: Michael Mann; Screenwriters: Ronan Bennett, Ann Biderman; Genre: Gangster- Action/Drama; Distributor: Universal; Location: 1930s Chicago, Florida, Miami; Running Time: 143mins;

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

The movie begins as 30 year old enigmatic gangster John Dillinger (Johnny Depp) reunites his gang after orchestrating a prison break. They proceed to rob banks in Chicago and living it all up in their nightlives. Meanwhile, FBI director, Edgar Hoover (Billy Crudup) is eager to get a boost for the agency and decides that closing in on Dillinger would do the job. He assigns special agent Melvin Purvis (Christian Bale) on pursuing the “public enemy no. 1." However, Dillinger is smooth and popular and almost effortlessly evades being caught until a hotel personnel recognizes him when his crew takes a vacation in Miami . Dillinger is transferred to Indiana to stand trial but he escapes using a fake wooden gun. But life on the run proves difficult for him as he is forced to work with a new crew and the trigger-happy Baby Face Nelson (Stephen Graham), and violence replaces the cool precision of their robberies. Will Dillnger’s charisma be able to save him from Purvis’ determination and the disaster of working with Nelson?

Public Enemies is based on the true-to-life story of the 1930s famous gangster and the FBI efforts to catch him. Mann delivers a tight action drama that thrills the audience completely. The cinematography is tight and the hand-held shots bring the audience in the scene. The production design is perfect and alive from sets to costumes to props. The action is provoking and the drama is brilliant. Performances from Depp, Bale, Cotillard and Crudup are strong and honest. This is perhaps one of the best action biopic films of the year.

Like most characters of a gangster film, Dillinger is presented as a sympathetic and even lovable character, which unfortunately makes us root for the bad guys. But we do see members of Dillinger’s gang meeting tragic and horrible ends, so in a way justice is served. Dillinger has many redeemable virtues like refusing to participate in kidnapping and his gentlemanliness; however robbery no matter how non-violent is still stealing, immoral and illegal. No matter how cool, cute or popular a criminal is, he is still doing something against the law and against morality. Criminals who are glamorized as sensitive and appealing characters on the big screen may create a distorted image for impressionable young viewers. The violence in the movie focuses more on Dillinger’s complexities; however, some situations and language may not be appropriate for young impressionable viewers, especially those who love Depp’s Jack Sparrow character. The gangster theme is better suited for older viewers.

Brutus; Ang Paglalakbay

Cast: Ronnie Lazaro, Yul Servo, Timothy Mabalot, Rhea Medina; Director: Tara Illenberger; Screenwriter: Tara Illenberger; Editor: Fiona Borres, Tara Illenberger; Genre: Drama; Distributor: Bonfire Productions/ Cinemalaya; Location: Mindoro; Running Time: 110 minutes;

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

Sina Adag (Timothy Mabalot) at Bayang (Rhea Medina) ay dalawang batang Mangyan na nagbalak bumaba ng bundok at pumunta sa bayan nang may kani-kaniyang dahilan. Gusto ni Adag na makabili ng gamot para sa kanyang nakababatang kapatid samantalang si Bayang naman ay balak hanapin ang nawawalang kuya na hindi na bumalik matapos magpaalam na pupunta ng bayan. Upang makalikom ng panggastos ay nag-brutus sila sa mga illegal loggers kung saan ay mambubulabog sila ng mga troso at ilalakbay sa ilog gamit lamang ang kanilang balsa. Sa kanilang paglalakbay ay aanurin ang kanilang balsa dahil sa sama ng panahon. Sa kanilang pagkakaligaw sa gitna ng gubat ay makikilala nila ang isang grupo ng mga sundalo sa pamumuno ng isang sarhento (Ronnie Lazaro) na aakalin nilang dadakip sa kanila. Bagama’t mapapalapit sa kanila si Sarhento ay tatakasan pa rin nila ito. Dito naman nila makikilala si Carlito (Yul Servo) na isa palang rebelde na pinaghahanap ng militar. Maiipit sa gitna ng laban ng militar at rebelde sina Adag at Bayang habang namumulat ang kanilang mata’t isipan sa maraming katotohanan sa kanilang paligid.

Payak ang pagkakagawa ng Brutus: Ang Paglalakbay. Ngunit sa kabila na kapayakan nito ay lumutang ang tunay na yaman at diwa at pelikula. Ang lahat ng nagsiganap ay mahuhusay. Ang dalawang batang hindi kilala ay nagbigay ng natural na pag-ganap, tuloy nagmukhang dokumentaryo ang pelikula. Ipinamamalas nito ang hindi na karaniwang napapanood ng mga tao: ang buhay ng mga katutubo. Naipakita rin sa pelikula ang matulaing bulubundukin at ilog ng Mindoro, kasama na ang mayamang kultura ng mga Mangyan. Maayos ang daloy ng kuwento na bagama’t may kabagalan sa simula ay nagawa namang bawiin sa gitna hanggang wakas. Malalim ang karakterisasyon at malinaw ang pinaghuhugutan ng bawat karakter. Sa kanilang paglalakbay ay maihahatid ang manonood sa isang mundong bihirang silipin at sa payak na pamumuhay na talaga namang hitik sa puso at damdamin.

Mayaman din sa mensahe ng kabutihang-asal ang pelikula. Ipinakita sa mata ng dalawang inosenteng bata kung paanong ang kalikasan at mga katutubo ay nilalapastangan. Pati ang walang hanggang suliranin ng digmaan at kapayapaan ay tinalakay din nang walang kinikilingan. Tunay ngang sinira na ng modernisasyon hindi lamang ang kalikasan kundi pati na ang mayayamang kultura ng ating mga kapatid na katutubo. Sa una’y nakabahala kung paanong ang mga bata ay natututong gumawa ng bagay na labag sa batas, ngunit malinaw ang mensahe ng pelikula na hindi ito tama. Dahil sa pelikula ay mamumulat ang kaisipan ng mga manonood kung gaanong kalalang problema ang idinudulot ng ilegal na pagto-troso. Ang pagsira sa likas na yaman ay pagsira na rin sa buhay ng mga tao. Hitik din sa puso ang pelikula ukol sa kasalukuyang kalagayan ng ating mga katutubo na pawang nawaglit na sa kamalayan ng gobyerno at lipunang abala sa pagpapayaman at pagpapayabong ng sariling interes. Sa usapin naman ng mga rebelde ay walang pinanigan ang pelikula. Ang sinumang nagkasala sa batas ay dapat maparusahan ngunit ipinakikita rin sa Brutus kung ano ang maaaring tunay na damdamin at saloobin ng mga rebelde. Tao rin silang nagmamalasakit sa kapwa bagama’t iba ang kanilang naging paraan. Sa gitna rin ng kanilang gulo ay maraming inosenteng buhay ang nadadamay. Higit sa lahat, malinaw ang mensahe ng pelikula ukol sa pagmamahal sa pamilya at kaibigan—ito ay hindi matatawaran at makakayang tumbasan ng kahit na anong yaman. Mawala man at malapastangan ang lahat ay mananatiling masaya ang buhay kung may pamilya at mga kaibigan na handang magmahal at magmalasakit.

Harry Potter and the Half-Blood Prince

Cast: Daniel Radcliffe, Rupert Grint, Emma Watson, Michael Gambon, Alan Rickman; Director: David Yates; Producers: David Barron, David Heyman; Screenwriters: Steve Kloves, J.K. Rowling; Music: Nicholas Hooper; Editor: Mark Day; Genre: Fantasy Adventure; Cinematography: Bruno Delbonnnel; Distributor: Warner Bros. Pictures; Location: Bjorli, Norway; Running Time: 153 min.;

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

The movie opens with the Death Eaters attacking London while Dumbledore (Michael Gambon) takes Harry (Daniel Radcliffe) to befriend and unlock the memory of former Hogworts potions professor, Horace Slughorn (Jim Broadbent) who once taught Tom Riddle—the young Lord Voldemort. Meanwhile, Harry’s nemesis Draco Malfoy and Defense Against the Dark Arts Teacher Severus Snape (Alan Rickman) have joined the Death Eaters. All the while, Harry is picking up magical tips from a mysterious character known as the Half-Blood Prince—a previous owner of the used Potions textbook Harry is now using. However, Harry and friends face a bigger challenge than the return of Lord Voldemort—raging adolescent hormones and teenage romance. Harry falls in love with Ginny Weasley (Bonni Wright) who unfortunately is already dating someone else and Hermoine (Emma Watson) is seething with jealousy when Lavander Brown decided Ron Weasley (Rupert Grint) is the one for her.

HARRY POTTER AND THE HALF-BLOOD PRINCE looks like a conduit to the climax to the whole Harry Potter series so in reality the movie does not really reach a climax. The battle scenes and love stories at times struggle for dominance and the movie could have benefited if the director made a clear choice are fantastic and breathtaking. This combined with great performances from the actors who have matured before the world makes the movie memorable and worthwhile.

While the violence, witchcraft and darkness are more subtle, parents are strongly advised to accompany their very young children when watching. Although the movie has several efforts to moralize—for instance, the code of honors of good witches, as well as values taught to Hogwart students—these values are only applied to up to a certain problem faced by the characters. Case in point, honesty is emphasized but in certain occasions stealing is tolerated.

The most powerful theme in the story is “fitting in”. Most characters crave for a sense of being part of a group and being accepted as himself. Take the Professor Snape and Draco Malfoy who joined Voldermort because of their innate desire to be accepted. Even Harry, who lost his parents and was raised by an unloving family, found confidence and strength in his friends at Gryffindor. The real magic of Harry Pottter lies not in the supernatural power or spells or potions but in finding a home for the heart where friendships and love are able to grow.

Hanna Montana; The Movie

ASSESSMENT ONLY
Cast: Cyrus, Billy Ray Cyrus, Jason Earles, Emily Osment; Director: Peter Chelsom; Producers: Alfred Gough, Miles Millar; Screenwriter: Daniel Berendsen; Music: John Debney; Genre: Musical Performing Arts; Distributor: Walt Disney Pictures; Location: USA; Running Time: 102 min.;

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

BRIEF FILM SYNOPSIS

Peter Chelsom directs teen superstar Miley Cyrus in this feature that brings the popular Disney Channel character Hannah Montana to the big screen. With a crazy double life in California as an everyday teen with the secret pop-star persona Hannah Montana, Miley Stewart (Cyrus) has forgotten who she really is. To get her back on track, Miley's dad, Robby Ray Stewart (Miley's real-life father, Billy Ray Cyrus), decides that she needs time back on the family farm in Tennessee to celebrate Grandma Ruby's (Margo Martindale) birthday. At first, Miley is belligerent, but with the help of Travis (Lucas Till), a former childhood crush who now works for Grandma Ruby as a farmhand, she begins to realize what is really important to her. Cyrus is famous for her girl-next-door personality, easy smile, and mugging for the camera, which abounds in this film. The coming-of-age tale also delves into the trials and tribulations of growing up and dealing with your first love, which made all the more complicated by her secret superstar life. Till's Travis is sure to make every teenage girl want her own well-mannered cowboy. Vanessa Williams appears as Miley/Hannah's pushy publicist and Peter Gunn is a sneaky English journalist intent on getting some dirt on Hannah. Jason Earles and Emily Osment reprise their television roles as Miley's brother, Jackson, and her best friend, Lilly. Country music fans will enjoy performances from Taylor Swift, Rascal Flatts, and Billy Ray Cyrus himself. The film also includes 12 new songs from Miley/Hannah. (www.rottentomatoes.com)

OUTSTANDING FEATURES OF THE FILM: Realistic presentation of stardom complex that can destroy a person's life unless there is intervention, in this case, from the father of the teenage star.

ADDITIONAL REMARKS: Commendable material for discussion among teenagers who can be easily carried as “fans” of popular actors/singers.

Bente

Cast: Jinggoy Estrada, Richard Gomez, Iza Calzado, Ryan Eigenmann, Alfred Gatchialian, Glaiza de Castro, Snooky Serna, Emilio Garcia; Director: Mel Chionglo; Producer: APT Productions; Screenwriter: Ricky Lee; Location: Manila; Running Time: 100 min.;

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

Si Arnie (Jinggoy Estrada) ay isang batikang komentarista sa radyo na laging pinupunterya ng batikos ang Mayor (Emilio Garcia) na dati niyang kababata. Dahil dito, ipinag-utos ng Mayor na bantayan ang bawat kilos ni Arnie at inatasan niya ang mga tauhan niyang sina Ramon (Richard Gomez) at Caloy (Ryan Eigenmann) na gawin ito. Ngunit si Ramon ay may matinding pinagdaraanan – duda siyang may ibang lalaki ang kanyang asawa (Iza Calzado) at nais niyang malaman kung tama ang kanyang kutob. Habang sinusundan nila si Arnie ay mamatyagan din niya ang kanyang asawa. Sa kabilang dako naman ay sinusundan ng ibang grupo ang isang student leader na aktibista (Alfred Gatchialian) na malapit nang malaman ang susi sa pagkawala ng ilang aktibista at saksi sa anomalya. Higit na magpapalala pa sa kanyang sitwasyon ay pagbubuntis ng kanyang nobya (Glaiza de Castro) ngayong nakakatanggap siya ng maraming banta sa kanyang buhay. Paano nga ba mabubuhay ng payapa at tahimik sa isang lipunang kayang matyagan ng ibang tao ang bawat mong kilos at galaw?

Isang mapangahas na pelikula ang Bente. Tumatalakay ito ng isang matinding isyung panlipunan: ang kawalang hustisya sa pagkawala at pagkamatay ng mga taong kumakalaban sa gobyerno at ipinaglalaban ang katarungan at karapatan ng mahihina sa lipunan. Sa kabila ng maraming tauhan, nagawa ng pelikulang paigtingin ang mensahe nito ukol sa lumalalang karahasan. Mahusay ang pagkakasulat at ang direksyon. Maging ang pag-arte ng mga tauhan ay tamang-tama rin. Sayang nga lang at maraming bagay ang hindi malinaw sa kuwento, gaya ng kanino ba talaga ang kabuuan ng istorya? At sa bandang huli’y hindi malaman kung ano na nga ba ang patutunguhan ng isang lipunang namamayani ang kawalang-katarungan? Wala ring malinaw na solusyon na inihain at pawang naubos ang oras ng pelikula sa napakahabang habulan na maari namang mapaikli at nagdagdag pa sana ng mas maliwanag na resolusyon. Resulta tuloy ay walang masyadong bigat ng damdamin na mararamdaman ang manonood na siya na sanang magpapasiklab at gigising sa natutulog sa diwa at kamalayan para sa bayan.

Bente pesos na nga lang ba ang halaga ng buhay ng tao ngayon? Ito ang mensaheng nais iparating ng pelikula. Gaano pa nga ba kahalaga ang buhay ng isang tao at saan at paano nga ba ito nasusukat? Wala sa haba ng buhay kundi sa kung paano ka nabuhay at kung paano mo ipinaglaban ang iyong mga prinsipyo. Hindi kailanman magiging tama ang karahasan at hindi rin ito ang solusyon sa anumang problema, maging sa pamilya man o panlipunan. Ito ang nais iparating ng kabuuan ng pelikula. Ang nabubuhay sa bala ay sa bala rin mamamatay. Nakakabahala nga lang na wala ng kapayapaan ang buhay ng mga tao ngayon at ang kalayaan sa pamamahayag ay lagi na lamang may kaakibat na panganib. Yun nga lang, pawang hindi napahalagahan sa pelikula ang buhay ispritwal kahit pa hindi naman lingid sa kaalaman ng karamihan kung gaano katindi ang suporta ng simbahan sa mga usapin ng lipunan tulad ng kawalang katarungan at karahasan. Nakababahala rin kung paanong naging katanggap-tanggap na ang pagbubuntis sa labas ng kasal. Sa aspetong ito, dapat gabayan ang mga batang manonood. Ang pakikiapid naman ay inilagay sa konteksto ng karahasan kung kaya’t maliwanag na hindi ito kinukunsinte. Sadyang wala lang mapuntahan ang karakter na nakiapid at hindi siya basta makatakas sa kanyang sitwasyon. Sa huli nama’y walang nananalo sa karahasan at kasamaan.

The Haunted; The Deaths of Ian Stone

Cast: Mike Vogel, Christina Cole, Michael Dixon, Jaime Murray, Jeff Peterson; Director: Dario Piana; Producers: Steve Christian, Brian Gilbert, Brendan Hood; Screenwriter: Brendan Hood; Music: Elia Cmiral; Editor: Celia Haining; Genre: Horror-Suspense; Cinematography: Stefano Morcaldo; Distributor: Cinestar; Location: Britain; Running Time: 87 min.;

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

Ian Stone (Mike Vogel) is an American ice hockey player living in Britain hopelessly in love with his girlfriend Jenny (Christina Cole). Driving home one night, he is mercilessly attacked by a corpse only to wake up the next morning as an executive missing his deadline. He is involved with Medea (Jaime Murray) but Jenny, along with some familiar faces is seen in the office. Later on, he is warned by an old man who tells him he is being hunted by the Harvesters, vampire-like creatures who feed on fear, who come after him whenever the clock stops. However, Ian does not stay dead and usual wakes up with a new life in a new place, only for the Harvesters to chase and kill him again. Again attacked by a Harvester Ian runs home to Medea only to be stabbed in the stomach. He wakes up in another person’s life but this time Jenny and the Harvesters link him to the truth. He discovers the truth behind his identity and a force more powerful than fear and pain.

The Haunted, originally titled The Deaths of Ian Stone does not deliver the usual screams, and creeps of a horror film but director Piana knows how to intensify the tension of Hood’s intriguing script. The performances from Vogel and Murray are decent and the special effects are acceptable. However, the production design is a spin off from the Matrix and Blade while the lighting is too bleak for one to appreciate what is happening in the scenes. While the concept is creative and unique, the filmmakers fail to translate it cinematically.

There is no greater or stronger force in this world than genuine love. Love brings conversion and melts even the toughest heart so as to learn compassion and sympathy. Love conquers hatred and discrepancies. Love bridges distance and close gaps. A person in love will overlook physical and social differences of color, race, creed or social standing. Love brings out the best in people because real love is selfless and willing to sacrifice for the sake of what is good and true. Love triumphs over fear, pain and death. Someone who is truly in love will exude goodness and benevolence.

The movie poetically teaches us about love and how one who discovers this will overcome all other obstacles to truth and goodness.

However, because of the gruesome scenes of Ian Stone’s death, very young children may be traumatized or disturbed. It is advisable that mature viewers accompany their children when watching the movie.

Ice Age 3; Dawn of the Dinosaur

Cast: Romano, John Leguizamo, Denis Leary, Simon Pegg, Sean William Scott, Josh Peck, Queen Latifah; Director: Carlos Saldhana; Producer: Lori Forte John Donkin; Screenwriters: Michael Berg Peter Ackerman, Yoni Brenner; Music: John Powell; Genre: Animation/ Sci-Fi Adventure; Distributor: 20th Century Fox; Location: Pre-Historic Times; Running Time: 87 min.;

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

Ice Age 3 opens with the usually gentle-mannered Manny (Ray Romano) now a nervous wreck because Ellie (Queen Latifah) is due to give birth anytime. Eventually, Sid (John Leguizamo) turns from delighted to devastate as he realizes he will soon become an outcast to the mammoth family. Meanwhile Diego (Dennis Leary) thinks he has lost his prowess as a hunter when he fails to capture a gazelle he has been stalking and decides to leave his herd. But before he is able to do so, Sid falls into an ice crack and discovers three eggs he believes were abandoned. Despite warning from Manny, Sid decides to adopt the eggs and soon they hatch with 3 baby T-Rexes. Oblivious to what they are, Sid happily ignores his friends warnings and raises his 3 new babies until the angry mommy T-Rex shows up and takes her 3 missing infants and Sin into a hole in the ice. Now Manny and Diego, with a very pregnant Ellie and the usually mischievous possum brothers and the help of their new friend Buck, a one eyed underground living weasel, must rescue Sid in a land beneath the ice where an entire world of dinosaurs have survived.

This 3rd installment of the sub-zero animation comes with a strong storyline and clever script. The CGIs are amazing as audience is treated to a majestic visual depth of 3D animation. The action sequences are exciting both for the intended viewers and their adult companions. The cast obviously has already found their comfort zones and interacts with each other well. And as always, the quirky saber-toothed squirrel Scrat steals the scenes whenever he appears. The movie is well-paced and enjoyable.

In between Sid’s mushiness, Manny’s one-note laggardness are wholesome life-lessons about family and friendship being more important above all. Just like the first 2 films, Ice Age 3 emphasizes the importance of learning to go past ones differences and get along to live in harmony. Being one family and community necessitates going past our personal agendas and individual desires. Instead it calls for us to focus on protecting the interest of each other at all costs.

The plot is straightforward and simple enough for the children to follow although some jokes are better suited to an older audience, the film still delivers a lovely entertaining 97 minutes for the entire family.

Villa Estrella

Cast: Geoff Eigenmann, Jake Cuenca, Maja Salvador, Shaina Magdayao; Director: Rico Maria Ilarde; Producer: Marizel Samson-Martinez; Screenwriters: Joel Mercado, Rico Maria Ilarde, Adolfo Alix, Jr., John Paul Abellera; Music: Malek Lopez; Editor: Renewin Alano; Genre: Horror; Distributor: Star Cinema; Location: Manila, Batangas; Running Time: 90 min;

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

Napadpad ang magkakabata at dating magkasintahan na sina Anna (Shaina) at Alex (Jake) sa Villa Estrella, isang lumang resort na pag-aari ng pamilya nina Anna at pinag-iisipan na i-renovate upang muling pagkakitaan. Labag sa kalooban ni Anna ang pagsama kay Alex dahil may bago na siyang kasintahan, pero kagustuhan ng kanyang ama na sumama siya at ayaw niya itong suwayin. Kinailangan nilang manatili ng isang gabi para matapos ang mga dapat asikasuhin at makapag-usap sina Anna at Alex upang maibalik ang relasyon katulad ng nais ng kanilang mga magulang. Samantala si Anna ay matagal ng binabagabag ng masamang panaginip tungkol sa babaeng nalulunod sa swimming pool at tumindi ang epekto nito sa kanya sa pananatili niya sa lumang resort. Maliban kay Alex ay nakapagpayapa naman kay Anna ang ibang tao na nadatnan niya sa Villa kasama na si Giselle or Andrea (Maja) na isa palang multo at siya lang ang nakakita. Ang sandaling pananatili ni Anna sa Villa ay napuno ng takot dahil sa mga kakaibang kaganapan na nakakabagabag kaya nagpasundo siya sa kanyang nobyo na si Dennis (Geoff). Ano ang kaugnayan ng multong si Andrea sa mga nangyayari at ano ang pakay niya kay Anna?

Hilaw ang kuwento at puno ng katanungan kung paano nagkaroon ng mga kaganapan na ipinakita sa pelikula. Sinabayan pa ng hilaw na pag-arte ng mga pangunahing tauhan. Subalit bumawi ang mahinang kuwento at pag-arte ng mahusay na paglalapat na tunog, musika, pangkalahatang disensyo ng produksyon at ilang special effects lalo na ang make-up ng batang nagmumulto. Malaki ang naitulong ng mga nasabing teknikal na aspeto ng pelikula upang magkaroon ito ng saysay. Walang tipikal na sigawan ng takot subalit tagumpay ang direktor sa paghahatid ng mga eksenang nakakagulat tulad ng paglitaw ng mga imahe ng multo bagamat madaling malaman ng manonood kung kelan ito mangyayari. Sa kabuuan ay nakitaan ng pagsisikap ang gumawa ng pelikula na tutukan ang aspetong teknikal. Ganon pa man ay nakakahinayang na hindi masyadong tinutukan ang pag-aayos ng daloy ng kwento na sa kalaunan ay siyang higit na tumitimo at nagmamarka sa isipan ng manonood.

Higit sa lahat, ang buhay ng tao ay mahalaga at dapat proteksyunan. Hindi naging sensitibo ang pelikulang "Villa Estrella" sa pagpapahalagang ito. Sa halip ay ipinakita nito na isang mapaniil na ama ang pinagtiisang pakisamahan at sundin ng anak dahil sa habilin ng namayapang ina. Isang anak na nagpakabulag sa katotohanan ay umayon na ibaon sa limot at itikom ang bibig tungkol sa nasaksihan krimen na ginawa ng ama. Nagwakas ang pelikula na matagumpay sa paghihiganti ang mga ligalig na kaluluwa at pare-parehong nagbuwis ng buhay ang mga inosente at responsableng tao sa krimen. Maliban sa saglit na eksena ng paghingi ng tawad ng ama bago malagutan ng hininga na halos di napansin ay wala ng kaliwanagan o inspirasyon man lamang na inihatid ang pelikula. Sa kabuuan ay nakababahala ang naging wakas ng pelikula dahil di naging payapa ang kaluluwa sa kabila ng mga buhay na nawala.

Pitik Bulag

Cast: Marco Alcaraz, Paloma, Victor Neri; Director: Gil Portes; Screenwriter: Eric Ramos; Genre: Drama; Distributor: ALV Entertainment; Location: Manila; Running Time: 100 minutes;

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

Si Angelo (Marco Alcaraz) ay isang stuntman sa mga pelikula ng kanyang idol na si FPJ. Simula ng mamatay ang huli, humina na ang kita ni Angelo dahil wala nang gumagawa ng pelikulang action. Hindi rin masyadong sinusuwerte si Angleo sa mga audition para sa pelikula kung kaya’t wala siyang maipangtustos sa kanyang asawang si Kara (Paloma) at isang anak na iniwan sa probinsiya. Minsang mangungutang siya sa isang Uncle na dating kasamahan ng kanyang tatay sa trabaho ay makakapulot si Angelo ng isang bag na puno ng pera na umaabot ng sampung milyon. Naisip niyang ito na ang kanyang swerte kung kaya’t dali-dali niyang inilipat ang pera sa kanyang bag. Malalaman niyang ang pera pala ay nahulog galing sa sasakyan ng mga nagnakaw sa isang bangko. Ang malaking pang problema ay naiwan niya ang kanyang wallet kung saan niya napulot ang pera. Nasa panganib ang buhay niya pero ipagsasaalang-alang kaya niya ito para sa inaakala niyang suwerte na babago sa buhay at kinabukasan ng kanyang pamilya?

Maganda sana ang kuwentong nais iparating ng Pitik Bulag. Maraming bagong elemento sa paglalahad ng istorya ang makikita sa pelikula. Kaiga-igaya ang paggamit ng pelikulang Pilipino bilang kalugaran ng kuwento. Maihahantulad nga naman ng buhay natin sa isang artista na pilit hinahanap ang kinang ng bituin. Ngunit malaking palpak ang napakarami ring butas sa kabuuan ng pelikula. Ang mga ginawang insidente ay pawang nakaugat sa katangahan. Maging ang maraming imposibleng eksena ay pawang kamangmangan pa rin ang inspirasyon. Wala rin gaanong mararamdaman sa pag-arte ng mga tauhan. May ibubuga pa sana sila kung nabigyan pa ng mas malaman na kuwento at diyalogo. May ilang parte naman sa pelikula at ilang linya na nakakaaliw pero sa kabuuan ay nakakabagot ang malabis na kapalpakan. Maging ang ilang eksena ng paghuhubad ay pawang mga hindi kailangan sa kuwento at nakasira lamang sa kabuuan nito.

Ano nga ba ang gagawin mo sakaling makapulot ka ng malaking pera na maaring bumago sa buhay mo at ng pamilya mo? Ito ang nagsusumigaw na tanong sa Pitik Bulag. Kailan nga ba nagiging tunay na marumi ang pera? Kapag ito’y ninakaw lamang? Paano kung ito ay kusang dumating sa iyo ng hindi mo inaasahan? Sa kabilang banda, pinag-isip ng pelikula ang mga manonood kung ano nga ba ang nararapat gawin sakaling maharap sa ganitong uri ng sitwasyon. Dalisay ang puso ni Kara na ninais ipamahagi ang pera sa iba lalo na sa mga pamilya ng biktima ng pamamaslang ng mga magnanakaw ng pera. Si Kara rin ang nagsilbing kunsensiya ni Angelo sa kung ano ang tama at hindi tamang gawin sa perang napulot nito. Nalagay rin sa alanganin ang buhay nila Angelo dahil sa pag-angkin nila sa pera. Tunay na hindi dapat angkinin ang anumang hndi sa atin lalo ang perang hindi pinaghirapan at galing sa masama. Pero nakababahala pa ring palabasing isang bayani ang isang taong madaling masilaw ng salapi. Si Angelo ay kitang likas rin ang katamaran na umaasa lamang sa suwerte. Ang ituring na kabayanihan ang kanyang ginawa ay tunay na nakababahala. Higit sa lahat, nakababahala ang maraming eksena ng hubaran sa pelikula. Nariyan pa ang lesbianismo at homosekwalidad na pawang walang kinalaman sa kuwento at halatang inilagay lamang para maging kontrobersiyal ang pelikula. May ilang karahasan din sa pelikula na nararapat lamang sa mga manonood 18 gulang pataas.

Transformers: Revenge of the Fallen

Cast: Shia LaBeouf, Megan Fox, Josh Juhamel, Tyrese Gibson; Director: Michael Bay; Producers: Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura, Don Murphy; Screenwriters: Ehren Kruger, Roberto Orci; Music: Steve Jablomsky; Editor: Roger Barton, Tom Muldoon, Joel Negron, Paul Rubell; Genre: Action/ Adventure/ Science Fiction; CinematographBen Seresin; Distributor: Dreamworks; Location: New Mexico, USA; Running Time: 150 min.;

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

Long ago, the first time Transformers came to Planet Earth, there took place a huge war wherein the key to a giant weapon was hidden. Now, the robots are back—Optimus Prime, Bumblebee, Megatron, etc. The Decepticons are the villains in the story, and they’re headed for Earth under the leadership of The Fallen (voice of Hugo Weaving). The Fallen has sent an advanced troop to resurrect Megatron (voice of Hugo Weaving) and kill Optimus Prime (voice of Peter Cullen), intending to invade Earth in order to get the missing key and the giant weapon it runs, and then destroy Earth’s sun. But first they must capture Sam (Shia LeBeouf) and his girlfriend Mikaela (Megan Fox) who are in possession of a precious shard of the Allspark. A destructive chase after this otherwise insignificant human being Sam represents the meat of the story.

Transformers: Revenge of the Fallen has all the characteristics of a bedtime story for preschoolers: it does not have to be a coherent story; its plot need not be logical but it must offer non-stop ticklers to engage the imagination; its characters do not have to be credible but some of them need to be cute; the fight between good and evil is so protracted that in the end the kids won’t care a hoot who wins. The movie’s length is the other thing that makes it perfect as a bedtime story for kids who can’t seem to have enough: at two and a half hours running time, it will surely put them to sleep before it ends. The big thing about Transformers: Revenge of the Fallen is the special effects. Although most of the time, the robot wars make it hard to distinguish the bad robots from the good robots, the men behind the computers must be given Oscars for their labors. Makes you wonder what they’re going to come up with next. Here it’s handsome cars morphing into Hulk-y robots, and there are robot flies, robot ants, robot pumas, robot blenders, robot girlfriends—ooops, no offense to Megan Fox, but the camera (or the cameraman) is fixated on making her look like Angelina Jolie’s baby sister minus the brains. But that’s okay because she’s paired with Shia LeBeouf who himself can pass for the baby brother of Russell Crowe minus the brawn. Meowing aside, if we could we would award the CGI geniuses.

Let’s give it the benefit of the doubt and say Transformers: Revenge of the Fallen has good intentions. Besides keeping the movie clean enough for young viewers, it also offers you tidbits on which to build your own moral conclusions, although that might seem like squeezing milk out of pyramid blocks. Some practical lessons that pop up at the oddest moments are: one, marijuana should be kept out of reach of adults; 2, pretty girls who throw themselves at you are always suspect—especially when they can grow metal tails that can strangle the hell out of you; 3, handsome cars are more reliable than pretty girls—they’ll be there for you till kingdom come; but 4, look twice before buying your sons Matchbox cars—you’ll never know when a shard from outer space will transform them into nasty little bug robots—it might be safer to get them Megan Barbies instead. Ho-hum.

Echelon Conspiracy

Cast: Shane West, Edward Burns, Ving Rhames, Yuriy Kutsenko; Director: Greg Marcks; Producers: Alexander Leyviman, Steve Richards, Roee Sharon; Screenwriter: Michael Nitsberg; Music: Bobby Tahouri; Editor: Joseph Gutowski, James Herbert; Genre: Action/ Adventure; Cinematography: Lorenzo Senatore; Distributor: Hyde Park International; Location: Bangkok, Thailand; Running Time: 105 min.;

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

Max Petetson (Shane West) comes to Thailand to render his computer expertise, particularly password protection, to a certain company. After finishing the job, he receives a mysterious gift through mail sent at his hotel that turns out to be a cutting-edge, top of the line cellular phone. He receives equally mysterious text messages from an unknown sender. The first one is a warning for him to change his flight home. He follows and the plane he was supposed to be on crashes. Then he receives another text message suggesting him to invest in a certain stock and its price skyrockets by more than 300%. The text message instructs Max to go to a casino in Prague, Czech Republic and the sender recommends slots machines and blackjack tables where winning is guaranteed. Unfortunately, Max’s good luck draws attention of the casino’s security chief, John Reed (Edward Burns), and of FBI agent Dave Grant (Vhing Rhames). Everyone wants to know whose sending the text messages and what will they instruct Max next. It then turns out that Max’s life for cellular phone’s history reveals a body count.

Echelon Conspiracy’s concept could’ve been promising but the shallow storytelling and the series of implausible events leaves the feature with many loose ends. How could a machine be so powerful and omniscient? The action sequences appear to be less exciting as it should be and the performances of the casts are apparently misguided. There are some scenes that seem too long that eventually looses audience’s interest. Too much computer jargons also alienates the audience at times and the supposedly suspense scenes become less thrilling towards the movie’s end.

In the history of humankind, man has attempted for countless times to be God-like in manipulating the world. Consequently, man has failed in all these countless attempts for they can never contain the power of God. Echelon Conspiracy is another attempt to put to test the extent of man’s power to control the universe through modern-day machines like computers and cellular phones. Such machines are created to make human lives easier but it can also do otherwise. In the evil intention of invading one’s privacy and accumulating illegal wealth, such machines can also be of help. It is clear in the film that the one manipulating is evil, however, Max’s character surrenders to the wills of the said sender for the promise of fortune without hesitation and remorse in the end. This makes the entire feature disturbing. Until he has really learned the danger the machine could bring to him, he has no plans of questioning its motives as long as it bring him good luck. Ultimately, it is disturbing how the government could manipulate human beings for no specific noble cause. This means, humans themselves, and at the authority at that, creates machines for their own destruction and they do not realize it. If this is the case, we are really indeed living in a dangerous world.

The Coffin

Cast: Karen Mok, Ananda Everingham, Napakpapha Nakpasitte, Andrew Lin, Suchao Pongwilai, Tassawan Seneewongse, Aki Shibuya; Director: Ekachai Uekrongtham; Directors: Mickey M. Bonura, Daniel Ingraham; Producer: Shawn Ramagos; Screenwriters: Mickey M. Bonura, Daniel Ingaraham; Music: Marco Werba; Editor: Kristopher Hoffman; Genre: Horror; Cinematography: Kristopher Hoffman; Distributor: Scorpio East Pictures, MediaCorp Raintree Pictures & Cathay-Keris Films: Location: Thailand; Running Time: 90 min.;

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

Two people journey to Thailand to participate in a horrifying ritual to save one’s self or one’s beloved. Chris‘s (Ananda Everingdam) is a claustrophobic architect whose fiancé, Mariko, is dying slowly while Sue (Karen Mok) is a health conscious nutritionist who just learned she has cancer. After participating in the Thai ritual, they momentarily experience miracles as Mariko awakens and Sue escapes a near death accident and is declared cancer-free. However, the happiness is short lived as a woman and her baby haunt Chris, and Sue’s fiancé dies but continues to stay with her. Soon they find themselves with a paranormal professor as they frantically try to exorcise the ghosts and reverse their luck before another misfortunate befalls on them.
For a horror film, The Coffin is exquisite as it features beautiful Thailand with its magnificent century old temples and historic cemeteries. The production design is cinematically eerie with scenes like hundred of coffins arranged around a giant Buddha and a closet stretching endlessly with mirrors facings each other on both sides. The horror is brilliant as it delivers a shock right after one has relaxed with the seemingly harmless settings. The performances are raw and vulnerable, drawing the audience with the characters’ lives and emotions. However, the script and storyline fail to develop seamlessly with a few loose ends here and there. The efforts to add drama at the end is weak and clichéd. Overall, the movie is thrilling enough to hold the audience for an hour and half at the edge of their seats.
The movie is inspired by a controversial north eastern Thai ceremony where fate and karma are merely elements of ritual as disturbing as lying in a coffin. The movie, though, takes this a step further and says the world is merely balanced by good and bad karmas where receiving a good fortune must necessarily bring on a misfortune to somebody else. As much as we would understand how hopeless and helpless people cling on to any prospect of salvation, we must also be reminded that the best piece of hope is one’s inner strength that comes from one’s fervent prayers. As Catholics, we throw up our hands and resign to the will of the Almighty but we also do so with a conscious desire to participate in the sufferings and offerings of the Body of Christ. We do not rely on karma but depend on the mercy and blessing of our Creator. And while doing so, we also employ all means humanly possible to alleviate and solve our problems and concerns. We need to emphasize the value of prayer and self-reliance instead of the quick fixes and easy way out.

The Taking of Pelham 1 2 3

Cast: Denzel Washington, John Travolta, Luis Guzman, Victor Gojcaj; Director: Tony Scott; Producers: Todd Black, Jason Blumenthal, Tony Scott, Steve Tisch; Screenwriters: Brian Helgeland, John Godey; Music: Harry Gregson-Williams; Editor: Chris Lebenzon; Genre: Crime/ Drama/ Thriller; Cinematography: Tobias A. Schliessler; Distributor: Columbia Pictures; Location: New York, USA; Running Time: 106 min.;

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

A psychopath with an axe to grind against New York City’s bureaucracy, Ryder (John Travolta) hijacks the subway train Pelham 123, aided by his band of thugs (Luis Guzman, Victor Gojcaj, Robert Vataj). With the 17 passengers and the train conductor held hostage, Ryder makes known his demands to the train dispatcher on duty, Walter Garber (Denzel Washington), a high ranking transit official facing suspension for suspicion of taking a bribe. Ryder wants $10 million within one hour, or he’ll kill the passengers one by one. When police hostage negotiator Lt. Jack Cambria (John Turturo) takes over as Garber goes off duty, Ryder reacts violently and shoots the conductor dead. He wants only to negotiate with Garber whose unruffled manner of dealing with him seems to rub the psychopath the right way.

The Taking of Pelham 123 (2009) is a second remake of the 1974 film, novelist John Godey’s best seller (with the same title) which was also made into a TV movie in 1998. For a psychological thriller with a lot of action thrown in, this version rather lacks the tension needed to evoke terror in the audience. Is it due to the lighting? The music? The photography? Perhaps Travolta as the hooligan boss doesn’t look menacing enough in spite of his handlebar moustache and the four-letter words he relentlessly spews out. When he flashes that smile at Washington, who’d believe he’s sick? Why, he looks “as normal as Kansas in August”—as amiable, in fact, as a headwaiter at an Italian pizza joint. The thugs racing to escape with bags of cash are captured to fast too soon. Washington is credible enough as the low-key Garber, sporting a pot belly for his family-man role, and speaking his lines as though he meant them.

This hijack movie is more about developing an odd friendship than collecting ransom. It seems providential that the calm train dispatcher happens to be on duty when the psychopath hijacker only needs to be listened to. Perhaps if his folks paid attention to him as a kid he wouldn’t be the criminal he is now, frittering away precious minutes making small talk with the negotiator. Well, not really that small, because it leads to a revelation—without which the story would just annoy you with cusswords that outnumber the bullets fired. Although the ending appears to be redemptive for both Ryder and Garber, the movie’s moral ambiguity should be pointed out. Ryder the psychopath is raised a Catholic, prays, then makes the right decision—fine. Garber risks his life and more than makes up for his past indiscretion—good. The ransom money is recovered—who could ask for more? But what about the body count? Cops dying in line of duty, hapless train passengers shot in cold blood as though in a video game. Due to the troubling content, CINEMA can only approve The Taking of Pelham 123 for mature audiences.

Kamoteng Kahoy

Cast: Nash Aguas, Robert Villar, Gloria Romero, Ana Capri, Sharlene San Pedro, Yul Servo; Director: Maryo J. delos Reyes;Screenwriter: Ricardo Lee; Genre: Drama; Distributor: APT Entertainment; Location: Bohol; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 3.5
CINEMA Rating: For viewers of all ages

Payak at tahimik ang pamumuhay ng mga tao sa San Isidro sa gitna ng ilang komplikasyon ng kanilang mga relasyon. Malapit na magkaibigan ang mga batang sina Ariel (Nash Aguas) at Rosemarie (Sharlene San Pedro). Dahil sa kahirapan ng buhay, si Ariel ay nais ipaubaya ng kanyang ina (Ana Capri) sa kanyang ama (Gerard Madrid) na may iba nang pamilya, ngunit labag ito sa kalooban ni Ariel na hindi pa rin mapatawad ang ama sa ginawa nitong pag-iwan sa kanila. Maayos naman ang pamilya ni Rosemarie at malapit sa mga ito si Ariel. Sa kanilang eskuwelahan, nagtitinda ng mga kakanin si Lola Idang (Gloria Romero) na may matinding hinanakit sa kanyang mga anak na umiwan sa kanya liban sa isa (Yul Servo). Malalason ang isang daang mga mag-aaral kasama na sina Ariel at Rosemarie pagkatapos kumain ng bibingkang kamoteng kahoy ni Lola Idang. Mamamatay si Rosemarie habang makakaligtas naman si Ariel. Labis na maapektuhan si Ariel sa pagkamatay ni Rosemarie, ngunit mapapalapit naman ito kay Atong (Robert Villar) ang kanilang kaklaseng walang kaibigan dahil sa kanyang itsura, amoy at pag-uugali; lingid sa lahat, si Atong ay minamaltrato ng kanyang malupit na tiyahin (Irma Adlawan). Kamumuhian si Lola Idang ni Ariel at ng mga magulang na namatayan, at halos kukulungin naman ito ng kanyang anak upang hindi tugisin ng mga mga galit na taong bayan.

Isang mapangahas na kuwento ang Kamoteng Kahoy, na hinalaw mula sa isang tunay na pangyayari sa lalawigan ng Bohol ilang taon pa lamang ang nakakalipas. Naipakita nang maayos ang payak na pamumuhay sa probinsya. Maganda ang mga tanawin at nakakaaliw sa pagkapayak ng produksiyon. Magagaling ang mga nagsipagganap lalo na sina Irma Adlawan, Robert Villar, Nash Aguas, at Gloria Romero bagama’t hindi gasinong lumalim ang kanilang mga karakter gawa ng pagkaka-”sabog” ng istorya. Pinilit maging maayos ang daloy ng kuwento ngunit sadyang nakakalito sa dami ang mga kuwentong pinagtagni-tagni at isiniksik sa isang malaking trahedya. Hindi mo tuloy malaman kung kanino o sa ano ba talaga umiinog ang kuwento? Ang dapat sanang bigat ng kuwento na kay Lola Idang at ang kanyang panindang kamoteng kahoy (kaya nga ito ang pamagat ng pelikula, dip o ba?) ay hindi gasinong naramdaman pagkat malabo ang pagkakalahad ng kanyang pagkatao. Nangibabaw naman ang punto de bista ni Ariel dahil laman siya ng pelikula mula simula hanggang wakas ngunit pawang karaniwan lamang ang kanyang pinagdaanan, di tulad ni Atong na may pinakamakulay na buhay ngunit ginamit lamang na “tungkod” sa kuwento ni Ariel. Ito ang matinding problema ng pelikulang maraming tauhan: hindi nabibigyan ng kaukulang pansin ang halaga ng bawat isa. Malaki sana ang potensiyal ng pelikula, subalit lumabas itong parang bibingkang napakaraming budbod, bukayo, latik, asukal at niyog sa ibabaw ngunit hilaw naman ang kamoteng kahoy na binubudburan.

Mapapatawad na natin ang minsa’y eksaheradong pag-arte ng mga naghihinanakit na tauhan sa Kamoteng Kahoy sapagkat malinaw at kahanga-hanga ang mensahe ng pelikula ukol sa pagpapatawad. Ipinasisilip nito sa atin kung gaanong kahirap matutuhan ang pagpapatawad—mahapdi at sadyang mapait na proseso ito na hindi kailanman maaring ipilit o apurahin. Habang matinding hinagpis ang pinagdadaanan ng buong bayan sa nangyaring trahedya sa mga bata ay may kani-kaniya naman silang suliranin na kinakailangan nilang lutasin sa loob ng kani-kanilang mga tahanan. Dalisay ang debosyon ni Lola Idang sa 20-taong pagtitinda ng kamoteng kahoy sa paaralan, ngunit nababalutan pa rin ang kanyang katauhan ng poot sa kanyang mga anak—bagay na naging sanhi ng walang saysay na pagkamatay ng isang-daang mga bata at halos nagtulak sa kanya sa tiyak na kapahamakan. Ipinakita sa Kamoteng Kahoy kung paanong ang galit ay nagiging isang matinding lasong kumikitil sa kaluluwa—higit pa sa lasong pumapatay lamang sa katawan. Hangga’t may galit at walang pagpapatawad sa puso ay hindi kailanman magiging maayos ang buhay ng isang tao, ng isang pamilya, at maging ng isang bayan.