The Mechanic

CAST: Jason Stratham (Arthur Bishop), Ben Foster (Steve Mckenna), Donald Sutherland (Harry McKenna), tony Goldwyn (Dean Sanderson), Jeff Chase (Burke); DIRECTOR: Simon West; SCREENWRITER: Karl Gajdusek; GENRE: Drama, Action & Adventure, Mystery & Suspense; DISTRIBUTOR: CBS Films; RUNNING TIME: 100 minutes

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: Audience Age 18 and above


The mechanic in The Mechanic is Arthur Bishop (Jason Statham), a professional killer employed by a murder-for-money corporation that specializes in murders where murderers are untraceable because the modus operandi mislead and the killings don’t look like murders at all. Bishop is a cool criminal, competent in his field in that he leaves his heart in his freezer when he goes out to kill. He is assigned to kill his friend and mentor Harry (Donald Sutherland); he thinks it is a painful job but proceeds anyway—it’s just a job, and Harry is another killer anyway—all in a day’s work. The Mechanic is actually about the relationship between Bishop and Steve, a bum of a son who idolizes Bishop and pleads to be taken under the former’s wing to learn his trade. He learns fast, until the two practically become a team that kills for money during the day and spends the money on prostitutes during the night.

The Mechanic is a remake of a 1972 Charles Bronson starrer, and is reminiscent of The American of George Clooney. The mere mention of action he-man Statham as lead character should give audiences a clue as to the sound and fury in the movie. Directing is Simon West (Tomb Raiders) who follows in the footsteps of Michael Winner (who directed the Bronson version). Whether their movies are worth making at all is beside the point—these directors are accomplished technicians who have honed their skills to the extent of leading their audience to like noise and action as entertainment. The script by Richard Wenk somehow attempts to inject human meaning into this kill-or-be-killed movie, as when the white-haired, hangdog-faced Sutherland character on a wheelchair is credited with more dignity than it deserves.

It can be so disturbing to watch a movie about a killing corporation—a company that employs people to kill. With all the news nowadays about people getting shot at close range by assassins speeding away on motorcycles, one would think it’s not only in the movies after all, that people are hired to murder. If you are strong enough to separate the reel from the real, you may still find entertainment in The Mechanic, because technically it’s good. Substance-wise it’s not entirely bad as there’s the character Steve who acts like a meat-tenderizer for the whole story—watch closely what goes on between the teary eyed Steve and Arthur on the brink of a confession and you’ll know what we mean. But then the ending is inconclusive and leaves the audience to decide what will now happen to the mechanic. He is a genius at cheating death—he is victorious because he prepares for his victories. So, will his hardened heart finally lead to his turn around? Whatever you wish for him to become, remember that in a world that professes that Jesus is the Son of God, killers (even killers of killers) should never be revered as heroes.

The Rite

CAST: Anthony Hopskin (Father Lucas Trevant), Claran Hinds (Father Xavier), Alice Braca (Angeline), Toby Jones ( Father Matthew), Collin O’Donoghue (Michael Kovak), Rutger Hauer (Istvan Kovak); DIRECTOR: Mikael Håfström; WRITER: Matt Baglio, Michael Petroni; DISTRIBUTOR: Warner Bros Pictures, New Line Cinema; LOCATION: Chicago, USA, Budapest, Hungary, Rome, Italy; GENRE: Mystery & Suspense, Drama; RUNNING TIME: 112 min.

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: Audience Age 14 and above


The only way Michael Kovak (Colin O’Donoghue) can go through college—as his father demands—is to continue as a mortician in his father’s business, or become a priest. So, to be independent of his father Istvan (Rutger Hauer), while getting a four-year college education for free, Michael enters the seminary. Michael is a skeptic and has set his mind on leaving the seminary right after his ordination as a deacon. But his superior Fr. Matthew (Toby Jones) who is convinced of the young man’s potential as a pastor despite his skepticism will not let him off the hook that easily. He wants to send Michael off to Rome to take a Vatican-sponsored course on exorcism in Rome; otherwise he will roll his four years in the seminary over into a $100,000 student loan. In Rome, Michael comes under the tutelage of a Dominican priest, Fr. Xavier (Ciaran Hinds). Believing more in psychology than in theology, Michael vents his doubts with Fr. Xavier and a classmate, journalist Angeline (Alice Braga) who is attending the course for research purposes. Seeing Michael to be a hard case, Fr. Xavier assigns him as a virtual apprentice with the eccentric Fr. Lucas who is known for his unusual but effective approach to demon-fighting. Michael comes face to face with evil as he witnesses the aging priest drive away demons from the possessed.

Although it is fiction, The Rite is based on the life story of a priest—Fr. Gary Thomas from the Diocese of San Jose, California—which is the meat of the book “The Rite: The Making of a Modern Exorcist” released in 2009 by journalist/author Matt Baglio. Dubbed as “supernatural horror”, Warner Bros.’ The Rite, being a movie on excorcism, naturally has its share of bodies contorting and convulsing, gory scenes, expletives, abusive language, physical violence, sexual innuendoes and disparaging remarks about Jesus and God. However, nothing of such necessary evil (pardon the pun) is exaggerated, thus the movie doesn’t descend to the level of an average chillfest. Adding to its technical merits is the spot-on casting: newcomers Colin O’Donoghue and Marta Gastini (as the possessed Rosaria) are equally impressive in this first outing; Hauer is credible as the anguished mortician widower, just as Jones and Hinds are effective in their priest-characters. It is Hopkins’ Fr. Lucas, however, that strings everything all together into one neat bundle of thrills. Hopkins seems born to do borderline cases but somehow he escapes the stereotyping trap. Like Geoffrey Rush or Morgan Freeman, he is one thespian whose characters you cannot but take seriously.

The poster for The Rite says that you can defeat the devil only when you believe it. Based on this premise, The Rite intrigues its audience with the idea that a skeptic can be moved to believe in God by seeing the havoc that the devil wreaks. The movie is not a substitute for a theology textbook but it is certainly rich with talking points for those fascinated by or simply curious about absolute good and evil, death of a parent, psychological disorders vs. demonic possession, incest, fear vs. faith, and one’s intention in answering the call to the priesthood. In spite of an incidental colorful word uttered by priests, screenwriter Michael Petroni and director Mikael Hafstrom do not disrespect either the priest’s person or the Catholic religion. In fact the film’s affirmation of faith and the value of priestly ministry reverberates in its entirety, from the opening frame which quotes Pope John Paul II to the closing scene which will be a spoiler to reveal. Suffice it to say that in The Rite, a twist of fate leads to a turn in faith.

127 Hours

CAST: James Franco; DIRECTOR: Danny Boyle; AUTHOR: Aron Ralston; SCREENPLAY: Danny Boyle and Simon Beaufoy; PHOTOGRAPHY: Anthony Dod Mantle; MUSIC: A.R. Rahman; GENRE: Thriller; RUNNING TIME: 1 hour and 33 minutes

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: V14

127 Hours is the true and tragic but triumphant story of Aron Ralston, an experienced mountain climber, as powerfully told by Director Danny Boyle and excellently portrayed by the talented actor James Franco. Cocky with self-confidence, twenty seven year old Aron Ralston ventures alone into the Blue John Canyon in Utah, for some climbing and exploring which he does with much exhilaration. Moving around with some familiarity of the territory, he comes across two female hikers Megan (Amber Tamblyn) and Kristi (Kate Mara) who lost their way and he helps them get to their destination. Shortly after, Aron has an accident. He falls down to the bottom of a shaft where a big rock crushes his arm and pins it against a tunnel wall. Unable to free his arm in spite of all his valiant efforts, survival skills and the use of limited tools, he remains trapped within a narrow space for 127 hours, a little more than 5 days from the end of April to the beginning of May 2003. A loner, he left home without telling anyone. He realizes he can die here without anyone knowing where he is. Now, he knows no help is forthcoming. With his camcorder, he does a video of his thoughts and experiences with the hope that whoever finds it may return his body to his parents. Subjected to vagaries of the weather, hunger and thirst, he has dreams and visions. But in spite of his “half-crazed state” he continues his efforts and is determined to live. How does Aron beat the odds? The viewer may be interested in knowing the details.

The film is based on the autobiography of Aron Ralston entitled Between a Rock and a Hard Place which focuses mainly on his particular searing ordeal in the Canyon. Director Boyle has succeeded in transforming a relatively simple survival tale into a singularly intense cinematic experience. He begins with striking, brightly colored visuals and awesome landscape shots to the accompaniment of A.R. Rahman’s throbbing music. These images give us an early insight into the overweening self-worth of the charismatic main character as well as show-off the beautifully photographed vast and rugged setting. In his dynamic storytelling, Boyle successfully captures on the screen the difficulties of the protagonist (as the latter suffers extremes in temperature, dehydration, fatigue, and mental anguish in the face of death) and deftly intertwines these scenes with flashbacks and hallucinations, without much distraction from the storyline. The film builds in intensity (though not in suspense) and has its apex when Aron makes his radical decision and performs the painful procedure on himself in order to live. The scene is unflinching in its realism, stark and graphic. It is difficult to watch and is not for the fainthearted.

James Franco has been known as a support actor in films like the Spider Man franchise but in 127 Hours he has most probably given a career-altering performance. He is on the screen in nearly every frame and often in close-up, so he “carries” the film for more than an hour. His insightful and very good portrayal of his role keeps us interested and engaged all the time. The others in the cast like Amber Tamblyn, Kate Mara and Lizzy Caplan do comeo performances creditably.

As mentioned, the film is not for the faint-hearted. Neither is it for the very young. The extreme realism with the violence, gore and self-inflicted pain maybe disturbing for them. But in spite of the negative points, 127 Hours is a life-affirming film. In these days when life is viewed cheap by abortionists and hired killers, a film that champions the value of life is most salutary. This is a story of determination and survival, heroism and courage. When Aron finds himself in the desperate situation when there seems no reason for hope, he does not lose heart; he continues to “fight” it out. He does not give up. He is determined to live. He succeeds but with much pain and sacrifice. He had to give up something in order to have the greater good – his life. We may not be able to do what Aron did, but in other instances when we are faced with a desperate situation in life, we may be reminded of Aron’s predicament. And we remember that the determination to continue trying, even after many failures, maybe rewarded. Or we may be called upon to sacrifice or give up something in order to achieve a greater good. And we might just do that. In a way, he did something heroic: save his life. This film shows or suggests that when one wants to do what is good, often it can be done, even in the face of adversity and difficulty, if one is determined to do it. This film depicts the triumph of the human spirit.

Shaolin

CAST: Andy Lau, Jacky Chan, Fan Bingbing, Nicholas Tse; DIRECTOR: Benny Chan; SCREENPLAY: Allan Yuen; DISTRIBUTOR: Cinestar; GENRE: Action/Drama; LOCATION: China; RUNNING TIME: 130 minutes

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

Set in China at a time when feuding warlords are expanding their territories in neighboring lands, young and arrogant general Huo Chieh (Andy Lau) desecrates a Shaolin temple as he kills a wounded enemy who has sought refuge with the monks. But betrayal of a trusted soldier will turn his fate, losing his power and family in the process. He ends up seeking refuge in the very same Shaolin temple he desecrated. Left with nothing, he realizes the mistakes of his past and decides to dedicate himself through living the way of the monks. Eventually he learns to let go of his anger and follow the righteous path. However, civil unrest and people’s suffering will force him and the monks to take a fiery stand against the evil warlords and the soldiers who betrayed him.

Although Shaolin works on a rather time-tested story template of an arrogant man fallen from grace finding redemption in a different way of life, still, the film has its universal charm that has worked effectively in its totality. The movie is packaged as an action genre but it turns out that it’s more dramatic than action-filled. The highlights of the film are not really the action scenes but the dramatic ones when characters pour out their emotions. This is quite unusual for a kung-fu film but it fits quite well and has given the film a different turn. Andy Lau delivers the part in multi-faceted levels of action and drama. Jacky Chan underplays the character as support but his mere screen presence and brand of humor is as always a delight to the audience. The relatively unknown supporting characters deliver well and each is able to make an impact. The fight and chase scenes are spectacular though sometimes a bit toned-down. The coherent and solid storytelling elevates the kung-fu genre into a film that is worth taking seriously.

Amidst the violence and some level of gore, Shaolin advocates more than anything else, universal values of love, sacrifice, forgiveness, peace, humility and courage through the ways of the monks. The realization of Huo that greed for power leads to destruction is a timely message now that wealth and power are on top of people’s priorities. Absolute power corrupts absolutely and this is what happened to Huo. His karma has taken away all he’s got but he is able to find renewal through sincere repentance. He takes full responsibility for what his soldiers have become. This is such a rare trait of a remarkable leader. Even in the middle of the war, peace can still reign for as long as there is goodness in man’s heart. The evil may destroy everything but still hope springs eternal for those who follow the path to righteousness. Though in context, Shaolin inevitably shows graphic violence, and that may influence the vulnerable minds of the very young, so CINEMA recommends the film to be appropriate to viewers 14 years old and above.

Exorcismus

CAST: Doug Bradley, Sophie Vavasseur, Richard Felix, Stephen Bellington; DIRECTOR: Manuel Carballo; SCREENWRITER: David Munoz; GENRE: Horror; LOCATION: Spain

BRIEF FILM SYNOPSIS

Emma Evans is having problems and strange occurrences around the home. Turns out she is possessed Her family calls in a troubled priest with a troubled past who has to exorcise this demon from Emma. (www.deadderickreviews.com/blog)

Technical Assessment: 1.5
Moral Assessment: 1.5
CINEMA Rating: Not for public showing

Yogi Bear

CAST: Anna Faris, Justin Timberlake, Dan Aykroyd, T.J. Miller,Nathan Corddry, Tom Cavanagh, Andrew Daly, Dean Knowsley; DIRECTOR: Eric Brevig; WRITER: Brad Copeland, Joshua Sternin; GENRE: Animation, Family; RUNNING TIME: 82 min.

SYNOPSIS: Jellystone Park has been losing business, so greedy Mayor Brown decides to shut it down and sell the land. That means families will no longer be able to experience the natural beauty of the outdoors -- and, even worse, Yogi and Boo Boo will be tossed out of the only home they've ever known. Faced with his biggest challenge ever, Yogi must prove that he really is "smarter than the average bear" as he and Boo Boo join forces with their old nemesis Ranger Smith to find a way to save Jellystone Park from closing forever.

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: PG 13 (For viewers aged 13 and below with parental guidance)

Season of Witch

CAST: Nicolas Cage (Behmen), Ron Perlman (Felson), Stephen Campbell Moore (Debelzaq), Claire Foy (The Girl), Robbie Sheehan (Kaylan), Kevin Rees (Dying Monk); DIRECTOR: Dominic Sena; SCREENWRITER: Bragi F. Schut; GENRE: Mystery & Suspense; DISTRIBUTOR: Relativity Media; LOCATION: Europe; RUNNING TIME: 95 minutes

SYNOPSIS: The church elders, convinced that a girl accused of being a witch is responsible for the devastation, command the two to transport the strange girl to a remote monastery where monks will perform an ancient ritual to rid the land of her curse. They embark on a harrowing, action-filled journey that will test their strength and courage as they discover the girl's dark secret and find themselves battling a terrifyingly powerful force that will determine the fate of the world.

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: V 14 (Viewers aged14 and above)

Gulliver's Travel

CAST: Jack Black, Jason Segel, Emily Blunt, Billy Connelly,Amanda Peet, Catherine Tate, James Corden, Olly Alexander; DIRECTOR: Rob Letterman; WRITER: Jonathan Swift
GENRE: Comedy, Action/Adventure; RUNNING TIME: 85 min.

SYNOPSIS: In a contemporary re-imagining of the classic tale, Gulliver, a big-talking mailroom clerk who, after he's mistakenly assigned a travel piece on the Bermuda Triangle, suddenly finds himself a giant among men when he washes ashore on the hidden island of Lilliput, home to a population of very tiny people. At first enslaved by the diminutive and industrious Liliputians, and later declared their hero; Gulliver comes to learn that it's how big you are on the inside that counts. MRQE

Simple assessment"
Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: PG 13

Love and other Drugs

CAST: Anne Hathaway, Jake Gyllenhaal, Oliver Platt, Hank Azaria,Judy Greer, Brenna Roth, Gabriel Macht, Jaimie Alexander,George Segal, Katheryn Winnick; DIRECTOR: Edward Zwick; WRITER: Marshall Herskovitz, Charles Randolph; GENRE: Drama; RUNNING TIME: 113 min.

Technical Assessment: 3
Moral Assessment: 2
CINEMA Rating: V 18 (For viewers 18 and above)

Jamie (Jake Gyllenhaal) is a first-class jerk who lost his job as audio equipment salesman when he slept with the boss’ girlfriend. ) Next he works as a pharmaceutical salesman from Ohio with ambitions of hitting the big market in Chicago. If he must flirt with receptionists at doctor’s offices to push his drugs (which include Viagra), he will, and then do more—or worse. He has polished the art of flirting to a high buff, and women fall for his tricks, leading him to feel that he can have any woman he wants. Which is what happens, actually. Except when he meets 26-year-old Maggie Murdoch (Anne Hathaway) who enchants him with her loverly but noncommittal brand of intimacy. Maggie has a reason for not wanting deeper involvement, but she keeps it a secret: she is on the early stages of Parkinson’s disease and shuts herself off from serious relationship as her defense mechanisms. But the two who begin a casual affair grow into wanting a more serious and maybe permanent relationship. Is it love? Or is it simply an addiction for Jamie and morphine for Maggie?

Directed by Edward Zwick, Love and Other Drugs is based on the book “Hard Sell: the Evolution of a Viagra Salesman” by Jamie Reidy. Written by Charles Randolph, Zwick and Marshall Herskovitz for this 20thCentury Fox production, the movie is a cross between a romantic comedy and drama. The genre apparently shifts halfway through the 112-minute film, parallel with the development of the Jamie-Maggie relationship from devil-may-care encounters to careful considerations of an uncertain future. The fast paced story is backed by snappy dialogue and crisp cinematography. Gyllenhaal and Hathaway, who played a couple inBrokeback Mountain, deliver a totally different performance here that demonstrates the level of chemistry they may actually possess, or can manage for the camera.

Love and Other Drugs may be viewed in many ways, depending on which side of the morality fence you’re on. Some people may see its positive message—that commitment is more important than casual sex—but others would say it makes casual sex more enticing than commitment. That’s the conflict in the movie—and the director’s or the writers’ intentions notwithstanding, the movie leaves its resolution to the viewer. It seems convinced about its positive message but it also titillates the viewer first with voyeuristic and vicarious experiences of almost unbridled fornication before it attempts to be heard. In effect it’s saying that true lovedoes come, but only after indulging yourself in false lovemaking. Try telling a child to want yoghurt as the ultimate health food, but don’t give it to him unless he finishes his chocolate cake first. And to the adult it says, “Don’t neglect your vitamins, but first take Viagra.” If only for this movie, CINEMA should create a new rating: PG 18—for mature viewers with parental guidance.

The Green Hornet

CAST: Seth Rogen, Jay Chou, Cameron Diaz, Christoph Waltz; Edward James Olmos, David Harbour, Tom Wilkinson, Edward Furlong, Chad Coleman, Robert Clotworthy; DIRECTOR: Michael Gondry; WRITER: Evan Goldberg, Seth Rogen, Fran Striker, George W. Trendle; SCREENPLAY: Seth Rogen; PRODUCER / DISTRIBUTOR: Columbia Pictures; GENRE: Action/ Adventure; RUNNING TIME: 108 minutes

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

Having to deal with the loss of his mother at a young age and with a father (who owns a journalism empire who doesn’t seem to have time for him), Britt Reid (Seth Rogers) grows up into becoming an irresponsible, directionless man who parties all night with alcohol and different women. But when his father suddenly dies mysteriously because of a bee sting, Britt finds himself overwhelmed inheriting the family newspaper business and living up to his father’s legacy, thus, turning him all the more into a useless bum. Then he finds rescue with his father’s brilliant mechanic Kato (Jay Chou) who knows martial arts as well. After the two have a night of encounter with criminals, Britt gets an idea of how they could further help resolve criminality in their area by becoming masked vigilantes themselves. Their actions later blow up into proportions that attract the attention of hard core underworld boss Chudnofsky (Christoph Watz).

The Green Hornet is a deconstruction of the usual superhero audiences see on screen. This time around, the main superhero seems to be less competent and hardly dependent on a sidekick that he takes for granted. Britt Reid as the Green Hornet is just as flawed and weak as any other man. This is quite an interesting premise to begin a story with, however, something is still missing in the whole gamut of exploring the dynamics of hero/anti-hero characters in the film. Although there are some hilarious and comic moments in the movie, some parts still lack the supposed wit it tries to convey. Rogers is solid as the Green Hornet while Chou still needs a bit of a push to register strong screen presence. Their contrasting characteristics works well as a tandem at times, but sometimes, it falls flat. Camera works, editing and direction are imaginative but some fight and chase scenes seem to lack coherence. As a whole, The Green Hornet still delivers a certain level of entertainment value and does not really disappoint, only that it can still do better than what it is.

What do audiences really get out of an anti-stereotypical super hero? Well, it makes them realize and appreciate even more that human weakness can possibly be turned into strength. Although his past is not a justification, Reid’s character could well be a wake-up call to parents to nurture their children even more. Time and again, the family remains to be most crucial in bringing up useful citizens of the land. The Green Hornet says it is never too late for anyone to start over. However, looking at the film closely, such intention is not quite coherent with its plotlines as a whole. Reid wants the Green Hornet and his sidekick to be heroes while appearing as villains but they kill people (although yes, criminals) without remorse. They took the law in their own hands through executing criminals via extra-judicial means. There’s no way that this can ever be right. This might also be rooted in the fact that Reid’s intention of becoming a vigilante-hero is fuelled by his anger towards his father. Although such intention is later on purified, still, their end does not justify their means. How could Green Hornet and his sidekick be really heroes if they cause unnecessary destruction, thus, hurting and killing lives in the process? The way Reid manipulated the press for his own agenda is also disturbing. Some scenes of suggestive sex, violence and gore, although a necessity to portray the underworld, might leave a lasting impression on the vulnerable minds of a young audience, so CINEMA finds the movie unfit for viewers below 14 years old.

Hereafter

CAST: Matt Damon, Bryce Dallas Howard, Jay Mohr, Richard Kind, Cécile De France, Lyndsey Marshal, Mylène Jampanoï, Steve Schirripa, Marthe Keller, Niamh Cusack; DIRECTOR: Clint Eastwood; WRITER: Peter Morgan; GENRE: Suspense/Thriller; RUNNING TIME: 129 min.


Technical: 4
Moral: 3
Rating: V 14 (14 years old and above)

An illness in the childhood of George Lonegan (Matt Damon) gave him the ability to communicate with the recently departed. Becoming a celebrated psychic, he realizes he cannot ever enjoy a normal life if it is spent connecting with the dead. He hides from the public by working in a warehouse in San Francisco, but somehow is found by people needing to communicate with their dear departed or to simply understand death. One of them is a French television reporter Marie LeLay (Cecile De France) who, on a holiday with her producer-lover (Thierry Neuvic), goes through a near-death experience that changes her life. Another is a widower who is distraught over his wife’s sudden death. Then there is also a young boy Marcus (Frankie McLaren) who cannot get over losing his beloved twin brother Jason (George McLaren). It seems George cannot escape his mysterious ability which people say is a gift but which he sees as a curse.

If you’ve ever seen a perfectly braided hairdo, you will note that its beauty depends on balance, as the hair is divided into three equal parts which are made to criss-cross over one another to form a perfect braid. That is the image Hereafter evokes, with its three separate tales involving death somehow skillfully woven until they are revealed to be part of one whole story that bears a powerful message about death. The master weaver here is Clint Eastwood, getting even better as a director at age 80. The plot is seamless and the treatment of the subject of communicating with the dead handled with discretion, prudence, and—again—balance. No mushiness, no fear-inducing special effects, no notions that make death larger than life while plumbing the depths of feelings and thoughts that haunt people who have been confronted with death. Nothing more, or less, may be asked of Damon’s acting; watching him the viewer does not see the actor but the character, a gifted man who refuses to buckle under the weight of his gift. Technically at least, Hereafter deserves an Oscar.

The three main characters consulting the psychic do not know one another. They are separated by space, their circumstances in life cocoon them from the rest of the world, and yet their individual world share a gloom that every man in their situation must inevitably face. It is a gloom that a person must learn to grapple with by himself to understand and accept, but in time the gloom gives way to light. Hereafter is a film that can make you think about your own mortality, even as you try to understand other people’s loss by it. There is something to be learned, too, from the psychic’s attitude towards his unusual ability. In the film, the psychic’s feet are firmly anchored to the ground—while he cannot question that he has an unusual ability, he is not awed by it nor overwhelmed by people adulation of him. Hereafter presents a sensible view that may be good for viewers to adopt, particularly in our culture where such abilities are all too quickly accepted as “powers” and “gifts” that put the psychic several notches above the average man.

The Tourist

CAST: Johnny Depp, Angelina Jolie, Paul Bettany, Rufus Sewell,Timothy Dalton, Ralf Moeller, Raoul Bova, Steven Berkoff,Clément Sibony, Igor Jijikine; DIRECTOR: Florian Henckel von Donnersmarck; WRITER: Julian Fellowes, Christopher McQuarrie, Jeffrey Nachmanoff; GENRE: Drama, Suspense/Thriller; RUNNING TIME: 103 min.

Technical: 3.5
Moral: 2.5
CINEMA Rating: Age 14 and above

Pursued by Scotland Yard, Englishman Alexander Pearce is in hiding, having stolen 740 million dollars from an English gangster in the past. Interpol and a few Italian cops on the corrupt side are tailing Pearce’s girlfriend Elise Ward (Angelina Jolie) in the hope of pinning the fraudster down. Pearce sends Elise a note instructing her to take a train to Venice, pick up a passenger who matches his weight and height proportions, and take the stranger with her to her hotel room to fool the agents into thinking he is Pearce after changing his face through plastic surgery. Once the decoy is arrested, Pearce and Elise can escape their pursuers to be together. On the train, Elise finds and picks up Frank Tupello (Johnny Depp), an American math teacher from Wisconsin holidaying in Europe to nurse a broken heart, who easily falls into the trap. Elise engages Frank in a passionate kiss by the window, knowing she is the under constant surveillance by the agents, thus setting off a chase to get the wrong guy. Elise leaves the sleeping Frank the following morning, but Frank, bewitched by Elise, is determined to find her while running for his dear life.

The Tourist is the kind of movie you may want to see twice to get right, yet two viewings won’t guarantee you certainty that you indeed have it right. Credit that to the implausible plot and the great acting especially of Depp and Jolie that will have the viewer believing the story is really what it seems. The major twist towards the end might make you come to your own conclusions, but not quite so. Hold it, put your thinking mechanism on auto pilot, and just enjoy the suspenseful fluff. Take the train ride for free; explore the side streets and have a splash on the canals of Venice in a boat with an elegant Jolie at the wheel; check in at the plush Danieli (and note how Americans are an amusement on that part of the globe); dare to chase the barefooted Depp traipsing the rooftops in his pajamas—after all The Tourist is technically superb, from the cinematography to costumes. (Yes, drool over la Jolie’s gowns which she displays to best advantage as she sashays through life as though the world’s admiration is her birth right. It might as well be). It’s an entertaining remake of a 2005 French movie, Anthony Zimmer, with more comic touches added by the new writers Florian Henckel von Donnersmark andChristopher Macquarrie. If at the end you feel you’ve been had, blame the clever direction of von Donnersmark who won the Oscar and universal fame for his first feature film The Lives of Others. The Tourist is but his second; imagine what the next would be.

The theme, the war among thugs and fraudsters killing and getting killed over money may be serious, but because of its light treatment it might not be worthwhile to discuss the morality, immorality or amorality the movie displays. Suffice it to say that stealing is bad, even if it’s stealing from a bad man; killing is bad, even if you’re killing your inefficient employee. And what of returning the money stolen? Is that good? Reality check: why would a thief do that? But it happens in The Tourist. Nobody says it’s a true story.—By Teresa R. Tunay, OCDS

Little Fockers

CAST: Ben Stiller, Robert De Niro; Jessica Alba; DIRECTOR: Paul Weitz; SCREENPLAY: John Hamburg, Larry Stuckey; PRODUCER: Jane Rosenthal, Robert de Niro, Jay Roach, John Hamburg; EDITING: Greg Hayden, Leslie Jones; MUSIC: Stephen Trask; GENRE: Comedy; DISTRIBUTOR: Universal Pictures; LOCATION: Chicago; RUNNING TIME: 107 minutes

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: V14 (For viewers 14 and above)

Little Fockers is the 3rd franchise of the Meet the Parents series. This time Greg Focker (Ben Stiller) and wife Pam (Teri Polo) are proud parents of 5-year-old twins Sam and Henry. Apparently, patriarch father-in-law Jack Brynes (Robert De Niro) is having some health issues and must pass on the headship of the family to a successor. And he chooses Greg to be the “Godfocker”. The rest of the movie is a series of skits wherein Greg tries to authenticate his upcoming role and Jack tries to prove his theory that Greg is having an affair with a sexy pharmaceutical representative Andi Garcia (Jessica Alba).

Little Fockers is a pathetic and lame attempt to cash in on a film that made some money when it first came out. The movie is clean and acceptable technically but fails miserably on the creative side. The story is boring, corny and flat. The characters are caricatures matching the over the top performances. And because of a full pack cast, the attempt to provide a storyline for everyone further confused the story. The script and plot are almost nonsense and characters are placed in the scene merely to create a joke that unfortunately is not even funny. Apparently, the writers loved the “Godfocker” joke so much that they made sure it was repeated constantly throughout the movie.

This 3rd installment of the movie franchise repeats the message in the very first movie: in-law problems are caused by prejudice, self-centeredness and the refusal to open up and reach out. In-laws are important in the family as they provide support and assistance as proven by Greg saving Jack’s life at the end of the movie. The imperative joke about father and son-in-law (or daughter and mother-in-law) clashing with each other to provide the comical situation is actually a dangerous stereotyping of the relationship because people may begin to be wary even before getting to know their would be in-laws. This movie once again reiterates how much happier a home can be when in-laws get along and actually love and trust each other.

The pro-family message is passable, but the sex jokes, toilet humor, the nonsensical turkey carving mishap and other failed attempt to create comedy makes the film inappropriate for young audiences. Perhaps it would make for adult entertainment, as demonstrated during a full-house Sunday night showing at a Makati theater where the audience lapped up the jokes. And you’ve got to give it to De Niro and Hoffman—it takes some guts for respectable actors to appear for the third time in a comedy series that’s wearing thin.—By Pie Mabanta

Rosario

CAST: Jennilyn Mercado, Dennis Trillo (Alberto), Isabel Oli (Carmen) Sid Lucero (carding), Yul Servo (Vicente), Philip Salvador (don enrique), Eula Valdez (dona adela); Dolphy (Hesus). DIRECTOR: Alberto P. Martinez. PRODUCER: TV5 and Cinemabuhay. STORY: Manny Pangilinan.

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: R 18

Taong 1920, darating mula sa Nuweba York and kaakit-akit na dalagang si Rosario (Jennylyn Mercado) upang magbakasyon sa kanilang hacienda. Dahil sa lubhang makabago niyang mga gawi, madali siyang lulutang sa mga pagtitipon, bagay na kanyang ikagagalak ngunit ikababahala naman ng kanyang amang si Don Enrique (Philip Salvador). Mapusok si Rosario at hindi itatago ang kanyang nasa kay Vicente (Yul Servo), katiwala ng kanyang ama sa kanilang pataniman ng tabako na mapapa-ibig naman ng dalaga. Hindi maglalaon, matutuklasan ni Don Enrique ang bawal na pag-ibig, palalayasin ang binugbog na binata at ikukulong sa kumbento si Rosario. Makakatakas naman si Rosario at magtataanan sila ni Vicente patungong Maynila. Sapagkat mahusay sa gawain at masipag si Vicente, giginhawa naman ang buhay nila at ng kanilang anak sa Maynila ngunit magkakasakit si Vicente ng tuberkulosis at titigil ito sa trabaho, bagay na magiging dahilan upang si Rosario ay maghanap ng trabaho. Papatol si Rosario sa masugid niyang mangliligaw na makikilala niya sa kanyang pinapasukang opisina, si Alberto (Dennis Trillo). Mahuhuli ni Vicente ang kapalaluan ng dalawa, at ihahabla nito ang asawa at ang kanyang kalaguyo sa hukuman. Mapapatunayang nagkasala si Rosario’t si Alberto at hahatulang itapon sa Hongkong kung saan iluluwal ni Rosario ang anak na lalaking si Hesus. Pagbabalik ng mag-anak sa Pilipinas, lalayasan naman ni Alberto ang mag-ina sa paghihinalang nakikiapid si Rosario kay Carding (Sid Lucero), pamangkin ng may-ari ng bahay na kanilang tinutuluyan. Titiisin ni Rosario ang hirap ng buhay, tatanggap ng labada at palantsahin upang maitaguyod ang anak, ngunit sadyang magiging malupit sa mag-ina ang tadhana.

Ang Rosario ay base sa tunay na pangyayari ayon sa Producer nitong si Manny Pangilinan, at isinagawa naman sa pelikula sa pagdidirihe ng kilalang aktor na si Albert Martinez bilang kanyang unang proyekto bilang direktor. Ang paglalahad ng kuwento ng karanasan ni Rosario ay nagmumula sa pananaw ng kanyang anak na si Hesus (Dolphy), na siyang magbubukas at magsasara ng pelikula. Hindi lamang ginastusan kundi pinaghirapan ding sadya ang Rosario, at ito’y mababakas sa maayos na pagsasalarawan ng panahong 1920.

Hindi madaling gumawa ng period movie pagkat mahirap maghanap ng mga elementong bubuo ng mga production sets upang higit na maging tapat sa panahon at kapani-paniwala ang pelikula. Marahil madaling tumahi ng mga costumes o damit para magmukhang “unang panahon” ang pelikula; gayon din sa make-up at ayos ng buhok, pati na ng mga ekstra, basta’t masusing sinaliksik ito at hindi ginawang tantiya-tantiya o hula-hula lamang. Subali’t ang paghahanap ng mga bahay, pier at barkong luma, halimbawa, ay kailangang pagpawisan; tulad din ng pag-iipon ng sapat na mga sasakyang sinauna na magagara pa at tumatakbo nang maayos upang ipakita ang karangyaan ng buhay-hacienda ng dalagang si Rosario. (Kung sabagay halos wala nang hindi magagawa sa tulong ng Computer Generated Imagery o CGI ngayon.) Ang mumunting mga bagay na ito ay may kani-kanyang ambag tungo sa ikabubuo at ikagaganda ng pelikula. Para madala ng pelikula ang manunood sa nakaraan, hindi siya dapat makasulyap man lang ng kahit anong makabago o magpapaalala sa kanya sa kasalukuyan. (May nasilip ba kayong kotseng Toyota, o plantsang de-koryente, o MacDonald’s noong sa Maynila na naninirahan sila Rosario?)

May mga bagay din naman sa Rosario na nakakabawas sa pagiging buo ng pelikula, tulad halimbawa ng labis na liwanag sa mga mukha ng artista magkaminsan na nakakahadlang sa pagkakaroon ng akmang “mood” ng eksena. O kaya’y ang pag-iiba-iba ng hugis ng kilay ng mga babaeng artista—hindi “consistent” ang guhit, ika nga, na nagpapahiwatig na hindi sanay ang make-up artist sa pagpinta ng make-up noong panahong iyon. Dapat sana’y may giya silang larawan ng mukhang gusto nilang palabasin, at tularan iyon hangga’t kinakailangan ang ganoong anyo. Maaari namang pagpikitan na lang ng mata ang mga kapintasang iyon lalo na’t kung susukatin mo ang katapatan ng pagganap ng mga pangunahing aktor.

Mahusay na ginampanan nila Servo, Trillo at Lucero ang kani-kaniyang papel—pinangibabaw nila ang kani-kanyang karakter, kaya’t “buhay” ang mga ito. Sa ma-dramang papel naman ni Rosario ay makikitang nagsisimula nang mamukadkad ang talino sa pag-arte ni Mercado. Bagama’t ang kanyang karakter ay isang babaeng may sariling pag-iisip noong mga panahong hindi ito tanggap ng lipunan, nakuha ni Mercado na manulay sa pagitan ng pagiging malaya at pagiging api. May sapat na karakter ang mukha at kilos ni Mercado upang siya ay maging kapani-paniwala bilang isang biktima man o isang nambibiktima. Hindi namin mapigilang magtaka kung bakit hindi man lamang nakakuha ng nominasyon si Mercado bilang “Best Actress” sa nakaraang Manila Film Festival (MFF) samantalang bukod-tanging Rosario lamang ang pelikulang may napakalaking hamon para sa mga nagsisiganap.

Rosario lamang ang hindi naglalaman ng komedya sa mga pelikulang tampok sa nakaraang MFF; ito’y isang kuwentong hango mula sa tunay na buhay na isinalaysay ng tunay na anak ni Rosario, si Hesus, kay Pangilinan. Ang mga inilahad ng pelikula ay sumasalamin lamang sa mga totoong pangyayari; wasto lamang na hindi sinikap ng direktor o ng pelikula na pangunahan ang manunood na husgahan si Rosario. Sa halip, ipinakikita lamang ng pelikula na ang tadhana na mismo ang siyang humuhusga sa gawain ng tao. Sa sinapit ni Rosario sanhi ng kanyang kapusukan at dala ng kagipitan, maaaring masabing may isang buhay na nasayang, mga pamilyang nawasak, kayamanang tinalikuran, at kinabukasang itinapon. Maganda, matalino at may husay sa pagtugtog ng piano si Rosario, ngunit pinili niya ang pinili niyang buhay. Maihahalintulad si Rosario sa isang maapoy na konsiyertong inihinto sa kalagitnaan ng paglikha, isina-isang tabi, natabunan ng limot, hanggang sa hindi na ito matagpuan—tulad ng mga labi ni Rosario na hindi na rin malaman kung saan dadalawin ng mga naiwan. -Teresa R. Tunay, OCDS

The Fighter

CAST: Christian Bale, Mark Wahlberg, Amy Adams, Melissa Leo,Robert Wahlberg, Dendrie Taylor, Jack McGee, Jenna Lamia,Salvatore Santone, Chanty Sok; DIRECTOR: David O. Russell; WRITER: Scott Silver, Paul Tamasy, Eric Johnson; GENRE: Drama; RUNNING TIME: 114 min.

Technical: 3.5
Moral: 3
Rating: For viewers 18 years and above

A true-to-life story of boxer Micky Ward (played by Mark Wahlberg), The Fighter opens with Micky’s younger half-brother, ex-boxer Dicky Eklund (Christian Bale) being filmed by an HBO crew for a story which he boasts to everybody is about his comeback, but which is actually a documentary about drug abuse in America. Dicky’s claim to fame is his having knocked down Sugar Ray Leonard in a fight ten years ago, but since then he has been addicted to cocaine and to training Micky who has in turn their fork-tongued mother Alice (Melissa Leo) as manager. Micky’s eye is caught by a smart barmaid, college dropout Charlene (Amy Adams); they set a dinner date, and disappear for three weeks. Micky returns home with Charlene in tow. Meanwhile Charlene has convinced Micky he’d be better off with a trainer and manager who will really look after him, unlike his predatory blood relatives Dicky and Alice who make him fight for the money. Defying his opportunistic family’s wishes Micky goes into intensive training and metamorphoses into a true fighter, starts winning and gaining self-confidence.

The realities of family life are vividly portrayed in The Fighter, thanks to solid performances from the lead actors. It is reported that Wahlberg and Bale, in particular, took the trouble to observe and “internalize” Micky Ward and Dicky Eklund for a more sterling portrayal of their characters. Bale went so far as losing weight to the point of looking emaciated, shaving some hair to make for a receding hairline, and perfecting his imitation of Eklund’s gait—all that so that none of Christian Bale is left on the screen.

On the other hand, Wahlberg—who admits he is a great fan of the Filipino boxing champ Manny Pacquiao—wanted his performance “to have the caliber of Manny Pacquiao”, and so, following his idol during the latter’s training sessions at the Wild Card Gym, underwent training himself with the champion’s trainer Freddie Roach.
Fans will most likely compare the two lead actors’ performances and root for their respective idols, but it must be pointed out that they are portraying extremely contrasting personalities: Dicky is the swaggering junkie high on dope and his delusions of grandeur; Micky Ward is the upright but timorous guy who prefers to stay in the background. Micky is a man of few words; Dicky is vociferous. Micky lacks self-confidence; Dicky has an excess of it.

Melissa Leo paints Alice, the hateful mother whose domineering stance can castrate a husband, terrify her sons, and mute seven squabbling daughters. Not to be outshone in this den of cuss word spewing brood is Adams who departs from her sweet lighthearted roles (Enchanted, Night at the Museum) to play a relatively well-mannered girl until provoked—then she out-swears everybody else.

The Fighter presents a finely chiseled story that need not depend on surprises or clever dialogue to make its point. That it is a true story makes the viewer’s interest in it more than just passing. The daily situations that spin about the world of one big family in one small town may mirror the dramas going on in families anywhere in the world. The hub of the mayhem is Micky, and everyone wants a piece of him. In this boxer’s story, the fiercer fights take place outside of the ring. Look at the family dynamics and see your own in them: at times while we profess love for our family members, we do not always act in their best interest. We use them for our selfish ends, compete against them, knock them down when they don’t do our bidding; parents play favorites, children take advantage of parents’ weaknesses, etc.

While the transformation of the characters—notably of Micky who is now empowered to stand on his own and gain liberation from his delusional family—offers a justifiable denouement, CINEMA recommends The Fighter only to older teens and up due to strong language, imitative behavior and premarital sex scenes.—By Teresa R. Tunay, OCDS

Shake, Rattle and Roll 12

CAST: Shaine Magdayao, Ricky Davao, Andi Eigenmann, Carla Abellana; Nash Aguas DIRECTORS: Zoren Legaspi, Topel Lee, Jerrold Tarog; PRODUCERS: Roselle Monteverde-Teo, Lily Monteverde; LOCATION: Luzon; GENRE: Horror; DISTRIBUTOR: Regal Films

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: V14

Ang unang kwento ay umiikot sa magkapatid na naulila na sa ina. Sa isang pagdalaw nila sa sementeryo ay makakapulot ng isang lumang manyika ang mas nakababatang kapatid. Iuuwi niya ito at tatawagin MAMA DOLL dahil tila ba pupunan nito ang pangungulila niya sa ina. Pero malaki ang pagdududa ng kanyang nakatatandang kapatid na si Anna (Shaina Magdayao) na may masamang espiritu nakapaloob sa manyikang ito at hindi nito titigilan hangga’t hindi matuklasan ang kwento sa likod ni Mama Doll.

Ang sumunod na kwento ay pinamagatang ISLA dahil naganap ito sa isang liblib na islang tinitirahan diumano ng engkanto. Daranting sina Andrea (Andi Eigenmann) dito upang magbakasyon at paghilumin ang puso. Susubukan niyang idaos ang SOULMATE RITUAL kung saan ay makikita niya ang mukha ni Rey (Rayver Cruz), ang tagapangalaga ng isla na nawalan na rin ng kasintahan dito. Pero sa halip ay matitipuan si Andrea ng engkanto at tuwing gabi ay susunduin siya ng mga lambana upang dalhin sa kaniyang kuta. Mapipigilan ba ni Rey na maulit kay Andrea ang nangyari sa kanyang kasintahan?
Ang huling kwento ay ang PUNENARYA at umiikot ito kay Diane (Carla Abella) at ang kanyang karanasan sa pamilya ng mga batang kanyang tinuturuan. Dahil sobrang sensitibo sa liwanag ang kanilang pamilya ay mapipilitan si Carlo (Sid Lucero) na kumuha ng tutor para sa kanyang mga anak sa kabila ng panganib na matuklasan ni Diane ang kakila-kilabot na liham ng kaniyang pamilya.

Hindi ko maintindihan kung bakit kung kailan panahon ng pagsasaya at pagdiriwang ay gugustuhin ng mga taong manuod ng kakatakutan. Sa ika-12 serye ng Shake, Rattle and Roll lalong ginawang nakakikilabot and mga eksena dahil talaga namang nakadidiri ang umaapaw na dugo at lamang loob. Isa-isahin natin ang aspetong teknikal ng 3 kwento.
Sinikap ni Legaspi na bigyan ng bagong atake ang istilo ng pananakot sa MAMA-YIKA sa pamamagitan ng tila hapyaw at magulong mga kuha. Maganda sana ito at nakadagdag sa tensyon kung sinikap din ng manunulat na ayusin ang mga dialogue at gawing mas orihinal ang kwento. Hindi lamang korni ang script kundi nakakabagot pa ito. Hindi rin buo ang kwento dahil maraming eksena o tauhan ang maaring alisin nang wala naming mawawala sa itinakdang istorya. Nakakatawa rin ang halimaw na manyika. Kunwa’y imortal at di tinatablan ng patalim o ng pagpugot ng ulo pero namatay pangsumandali nang tamaan ng bala. Ang walang buhay na pagganap ni Magdayao ay lalong nakapangit sa yugtong ito.

Kung nakaiinis ang mala Chuckie doll na MAMA-YIKA ay nakalilito naman ang kwento ng ISLA. Hindi mo na nga maintindihan ang tinutukoy na misyteryo ng Engkanto at ni Ray, magulo pa ng pagtatagni-tagni ng mga eksena. May mga lumitaw na engkanto na bigla na lamang nawala at nakalimutan. Maging ang tauhan ni Maya (John Lapus) ay hindi naman nakatulong sa istorya, bagkus ay pampatawa lamang para siguro hindi naman mahalata ng tao na walang saysay ang yugtong ito. Hindi ko na rin bubusisiin ang hindi magandang visual at computer generated effects nito na para bang isiningit lamang ng wala ni kaunting pagplaplano.

Pinakamatino na sana ang PUNENARYA. Magaling ang supporting cast, malinaw ang istorya at buo ang daloy ng kwento. Maganda rin ang katauhan ni Diane (kahit magtataka ka kung bakit ang pilay na kapatid pa ang pinasundo niya nang siya ay malagay sa panganib) bilang bida dahil matapang siya at marunong manimbang kumpara sa iba babaeng pinatatakbo at pinasisigaw lamang habang hinahabol ng mga halimaw. Kaya lang ito rin ang yugto na talaga namang nakadidiri at dinaan ang pananakot sa pag-agos ng dugo, mga asong kumakain ng laman at pagtiwangwang ng lamang-loob ng biktimang kinakain nnag buhay.

Sa kabuuan, hindi sulit ang panunuod ng Shake Rattle and Roll 12; mas tipid pa kung aabangan na lamang ang pagpapalabas nito sa telebisyon o cable para malibang naman ang manunuod sa mga isisingit na commercial. Kadalasang nakikita sa mga pelikulang horror ang katapangan ng bida at katapatan sa kanyang mga mahal sa buhay. Sinikap ng pelikula na ipakita ito sa pagmamalasakit ni Anna sa kapatid, sa mga kaibigan ni Andrea at sa kabaitan ni Dianne. Magandang halimbawa rin sana ang katauhan ni Carlo na may paggalang sa tao kahit kaunti kaya’t pinili nilang bangkay lamang ang kainin (mala –Cullen ng Twilight). Pero ang katangiang ito ay nasasapawan ng maliit ngunit nakababalisang mensahe.

Una, sa MAMA-YIKA, hindi marunong magpatawad si Anna dahil hanggang kalagitnaan ng kwento ay sinisisi pa rin niya ang kanyang ama sa pagkamatay ng ina. Ikalawa, ang pagmamahal ng kanyang ama ay katumbas lamang ng mga laruan at materyal na bagay na naibibigay niya sa anak. Parang hindi siya nagsumikap na makabawi o mapunuan sa mga anak ang pagkawala ng kabiyak dahil sa kanyang kasalanan. Ikatlo, sa ISLA, tila ba ang paraan ng pagsasaya at paglimot sa sakit ng kalooban ay ang paglulong sa alak gabi-gabi.

Subalit ang pinakanakababalisa sa lahat ay sa tatlong kwento, para bang hindi naggapi ang kasamaan. Ang katapusan ng tatlong istorya ay nagpapahayag ng muling pagsasaboy ng lagim at kamatayan. Oo nga’t ganito ang buhay, umiikot at madalas nagpapatuloy pa rin ang kasamaan sa kabila ng pakikipaglaban ng ilan pero sana ay nagbigay naman ang pelikula ng kahit kapirasong pag-asa upang maipakita na sa huli kabutihan pa rin ang mangingibabaw.

Hindi angkop ang pelikula sa mga bata dahil sa tema, mga tagong mensahe at labis na karahasan ng mga eksena.—Ni Josefina Fenomeno

RPG: Metanoia

CAST: (voices of) Zaijan Jaranilla, Aga Muhlach, Eugene Domingo, Vhong Navarro; DIRECTOR: Luis Suarez; SCREENPLAY: Luis Suarez; PRODUCER: Ambient Media, DISTRIBUTOR: Star Cinema; GENRE: Animation; RUNNING TIME: 100 minutes;

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

Si Nico (boses ni Zaijan Jaranilla) ay isang tipikal na batang mas kinahihiligan ang paglalaro ng computer games kaysa pakikipaglaro sa labas. Sa kabila ng pangungumbinsi ng kanyang ina (boses ni Eugene Domingo) na maglaro sa labas, ay tila may pag-aalinlangan parati si Nico. Ang totoo kasi’y walang tiwala si Nico sa sariling kakayahan at ang pag-aakala niya’y hindi siya nararapat sa mga gawain at larong pisikal. Sa paglalaro niya ng RPG: Metanoia, nagiging bayani at bida si Nico bilang si Zero, isang superhero na may taglay na kapangyarihan sa pamamagitan ng yoyo. Dahil kay Nico, nanguguna ang kanilang grupo sa larong Metanoia. Sa mundo ng Metanoia ay nagkakaroon si Nico ng kompiyansa sa sarili at dito na rin napapatibay ang samahan nilang magkakaibigan. Sa Metanoia rin natagpuan ni Nico ang kahulugan ng buhay at pag-ibig. Ito rin ang nagbibigay sa kanila ng koneksyon ng kaniyang amang nagtatatrabaho sa Dubai. Ngunit dahil din sa kabayanihang ito ni Nico ay mapapatalsik ang kanyang grupo sa internet café na kanilang pinaglalaruan. Mapipilitan sila ngayon na manumbalik sa kalsada at makuntento sa mga larong kalye. Lingid sa kanilang kaalaman ay may nagbabadyang panganib sa Metanoia dahil ang kalaban ay may nakuhang kakaibang lakas at tanging sila lamang ang maaring makalaban at makapagligtas sa iba pang nasa panganib. Makabalik kaya silang muli sa laro at maging bayani kayang muli si Nico?

Isang pelikulang tunay na maipagmamalaki ng bawat Pilipino ang RPG: Metanoia. Sa una’y aakalain na isang napakataas na ambisyon para sa mga manlilikha ng pelikula at sumabak sa larangan ng animation na tanging mga progresibong bansa lamang ang nakakagawa nito ng buong husay. Ngunit pinatunayan ng RPG: Metanoia na kayang-kaya na ng mga Pilipinong makipagsabayan sa larangang ito ng pelikula. Walang itulak-kabigin ang kahusayan ng CGI (Computer Generated Imagery) sa pelikula—world class ika nga. Aakalain din ng manonood na puro effects lamang ang mapapanood sa pelikula ngunit hindi. Ang RPG Metanoia ay may simple ngunit malalim na kuwento rin. Maayos ang pagkakalahad nito at talaga namang maituturing na orihinal sa kulturang Pilipino. Kahanga-hanga kung paanong napagtagpo ng pelikula ang makabagong teknolohiya at ang makaluma at tradisyunal na pagpapahalagang Pilipino. Sa isang banda, tinatangkilik ng pelikula ang mga likhang-banyaga ngunit sa isang banda rin ay binibigyang-pugay nito ang ating pagiging Pililipino sa napakaraming detalye ng pelikula na maididikit lamang sa pagka-Pilipino nito. Tulad ng yoyo na imbensiyong Pilipino, nariyan din ang kalesa, daing na bangus, barong, larong kalye at iba pa. Nariyan ding ipakita ang napakaraming hilig ng Pilipino—kuwentuhan sa sari-sari store, mga Koreanovela, OFWs at marami pang iba.

Hitik sa magagandang aral ng kabutihang-asal ang RPG: Metanoia. Bagama’t masasabing pawang may karahasan at masasamang epekto ang makabagong teknolohiya, partikular na ang computer games, ay naipakita pa rin ang ilan at maraming magagandang bagay na maaring maidulot nito. Sa larong Metanoia ay naisasakatuparan ng mga manlalaro ang kani-kanilang papel bilang bayani at kalaban. Ipinakita dito ang paglalaban ng kasamaan at kabutihan na gaano man kahirap at kalakas ang kalaban, ang kabutihan pa rin ang siyang magwawagi basta’t may pagtutulungan at malasakit sa isa’t-isa. Si Nico ay simbolo ng mga kabataang Pilipino sa makabagong panahon—mahusay sa teknolohiya, matalas ang isip at higit sa lahat, may angking katapangan sa oras na kinakailangan. Kitang-kita na ang nagtutulak sa kanya upang maging matapang ay pagmamahal. Sa kabila nito ay ang kanyang hindi maitatangging kamusmusan—maraming takot, maraming alinlangan ngunit sa tulong ng mga kaibigan at lalo’t higit ng pamilya, kanya itong nalalagpasan. Kahanga-hanga kung paanong isinalarawan ang pamilyang Pilipino sa pelikula. Tunay ngang marami sa ating pamilya sa kasalukuyan ay hindi pisikal na magkakasama dala na rin ng matinding pangangailangang mangibang-bayan alang-alang sa kapakanan ng pamilya. Sabi nga rin sa pelikula, sila ay mga tunay na bayani rin. Ang pagiging tunay na bayani ay hindi lamang makikita sa pakikipag-laban kundi pati rin sa pagsasakripisyo alang-alang sa kabutihan ng nakararami. Tunay na bayani rin ang mga nasa likod ng pelikulang RPG: Metanoia na sa gitna ng maraming balakid ay nagawang makabuo ng isang maipagmamalaking obra na pinagsanib ang modernong teknologhiya at kulturang Pilipino. Kung hindi man pantay-pantay ang katayuan ng mga lahi sa mundo, sa Metanoia, maaring maghari ang lahing Pilipino. Hindi man pisikal na magkakasama ang pamilyang Pilipino, sa Metanoia, maari silang magkita, magkausap at magkatulungan. Sana ang RPG: Metanoia na ang simula upang kilalanin ang Pilipinas sa buong mundo bilang mahuhusay na manlilikha ng animasyon at sana rin ay matamo ng pelikulang ito ang nararapat na suporta ng manonood upang magpatuloy pa sila sa paggawa ng maraming obra.--Ni Rizalino R. Pinlac, Jr.

Si Agimat at Si Enteng Kabisote

CAST: Bong Revilla, Vic Sotto, Gwen Zamora, Sam Pinto, Oyo Boy, Amy Perez; DIRECTOR: Tony Y Reyes; MUSICAL DIRECTOR: Jesse Lasaten; PRODUCER: Marlon Bautista, Marvic Sotto, Orly Ilacad, Aneth Gozon; DISTRIBUTOR: Imus Production, M-ZET, APT, GMA Films, Octo Arts; GENRE: Comedy; LOCATION: Manila Philippines; RUNNING TIME: 110 minutes

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: PG 13 (Children aged 13 and below with parental guidance)

Sa pagtugis ni Agimat (Bong Revilla) sa kalaban ay mapapadpad siya sa Enkantasya kung saan kasalukuyang sinusundo ni Enteng (Vic Sotto) ang kanyang asawa na si Faye (Gwen Zamora). Sa simula ay mapapagkamalan ni Enteng na kalaban si Agimat subalit mamamagitan si Ina Magenta (Amy Perez) at matatanto ni Enteng na magkakampi sila sa pagsupil sa kasamaan. Upang matupad ang pagsasanib-puwersa nina Agimat at Enteng ay sabay silang magbabalik sa mundo ng mga tao upang magbigay ng proteksyon laban sa paghahasik ng lagim ng mga kampon ng kadiliman. Sa maikling pamamalagi ni Agimat sa tahanan ni Enteng nakadama si Agimat ng magkahalong kasiyahan at panibugho dahil sa nakita niyang magandang samahan ng pamilya ni Enteng. Naisip niya na dahil sa pagtupad niya sa kanyang misyon na paglaban sa kasamahan ay hindi siya nagkaroon ng pagkakataon na magkapamilya. Lingid sa kaalaman ni Agimat, si Samara (Sam Pinto), isang babaeng mandirigma, ang matagal nang humahanga at inaasam na maging asawa niya. Magiging tulay ang batang si Bebeng (Jillian) na kapwa nila nailigtas mula sa kamay ng mga halimaw upang magkalapit sina Agimat at Samara. Katulad ni Enteng ay nakasumpong din si Agimat ng masayang pamilya sa piling nina Samara at ng ulilang si Bebeng na itinuring nilang anak. Samantala nagsanib din ng mga pwersa ang mga mortal na kalaban nina Enteng at Agimat. Mula sa taglay na kapangyarihan ng mga kampon ng kadiliman ay ginaya ang anyo ng dalawa upang kidnapin sina Faye at Samara at pagbintangan ang isa’t isa. Dahil dito ay magiging magkalaban sina Enteng at Agimat.

Maganda ang ideya ng produksyon ng Ang Agimat at si Enteng na pagsamahin sa isang pelikula ang dalawang malaking tauhan sa pelikula. Ang karakter ni Agimat ay may misyon na pagsupil sa kasamaan samantala simpleng tao naman ang karakter ni Enteng na hindi sinasamantala ang kapangyarihang enkantado ng kanyang asawa at mga anak. Nabigyan ng patas na pagtatampok ang dalawang karakter bilang mga alagad ng kabutihan sa pelikula. Bagamat umiinog sa mga kaaway ni Agimat ay markado ang partisipasyon ng orihinal na kalaban ni Enteng na si Satana. Maliban naman kay Sotto ay wala ng masyadong inihain sa pag-arte ang iba pang nagsiganap. Gayunpaman ay nakapagbigay-aliw ang mga “special effects” ng mahika at ang disenyo ng produksyon. Patok sa mga batang manonood ang mga eksenang tulad nito. Maganda rin ang mga kuha ng kamera at iba’t ibang komposisyon na nagpapakita ng magagandang tanawin.

Pagbubuklod ng pamilya at pagwawagi ng kabutihan laban sa kasamaan ang tema ng Ang Agimat at si Enteng. Isang pamilyang nagkakabuklod sa pananalangin, suporta at proteksyon sa bawat isa at sa kapwa. Isang amang nakakaunawa at handang tiisin na malayo ang anak bilang paggalang sa hangarin nito na abutin ang pangarap. Pinakita rin ang pagiging responsable at paggamit sa taglay na kapangyarihan sa tamang paraan. Bilang tao ay mas matamis ang tagumpay kung patas at pinaghihirapan ang lahat. Ang isang may misyon ay nakitaan ng focus at dedikasyon. Bagamat ginamitan ng teknik na walang pinakitang dugo sa mga eksena ng espadahan ay dapat pa ring gabayan ang mga bata na kathang isip lamang ang kwento at delikadong maglaro ng matalim na bagay tulad ng espada. Sa kabuuan ay positibo ang pelikula sa mga aral ng buhay. –Ni Imelda Benitez

Fr. Jejemon

A note from CINEMA: Days before the Manila Film Festival opened last Dec. 25, a barrage of text messages, calls and emails came our way at CINEMA, demanding action or at least condemnation of the movie Fr. Jejemon. A number of concerned Catholics saw the movie’s trailer and were offended by what they perceived to be “sacrilegious” scenes involving the Holy Eucharist. Some wanted the movie banned; others to delete those scenes from the film. The contentious scenes, supposedly during communion, showed a wafer stuck in a woman’s cleavage and another caught between an old person’s dentures. CINEMA got all sorts of protests: Sacrilege! Blasphemy! An affront to the Presence of Jesus in the Eucharist! This is an attack on the Church! Why are you so quiet? Aren’t the bishops going to say something? Aren’t you going to do something about it? Parrying those knee jerk reactions kept us busy for some time, but we did patiently explain to them that CINEMA does not evaluate trailers, and that as matter of policy we do not comment on a movie until we have seen it in its entirety and evaluated both its technical and moral contents. We wish to put that on record for the benefit of the movie-going faithful. Lastly, allow us to suggest: next time there’s a similar uproar, please see the whole movie before joining the fray.

CAST: Dolphy, Cherie Gil, Maja Salvador, Ejay Falcon, Roy Alvarez, Tony Mabesa, Efren Reyes Jr., Nash Aguas, Roadfill, Moymoy Palaboy and Rhap Salazar DIRECTOR: Frank Gray Jr. WRITERS: Bibeth Orteza and Rhandy Reyes PRODUCER: RVQ Productions

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: PG 13 (For viewers aged 13 and below with parental guidance)

Matanda at nanghihina na si Fr. Baby (Tony Mabesa), kura paroko ng parokya Parm Bil. Ang tanging kasama’t taga-alaga sa kumbento ni Fr. Baby ay ang kanyang kapatid na si Violeta (Cherie Gil) at ang anak nitong si Isabel (Maja Salvador). Bilang paghahanda sa kanyang pagyao, hiling ni Fr. Baby na makatulong niya sa kaniyang parokya ang kanyang kababatang si Fr. Jejemon (Dolphy) pinaikling “Jeremiah Jerome Montes.” Tatanggihan ni Violeta (Cherie Gil) ang pagdating ni Fr. Jejemon sa pangambang palalayasin nito silang mag-ina kapag wala na ni Fr. Baby. Tatangkaaing buwisitin ni Violeta si Fr. Jejemon sa pag-asang lilisanin nito ang parokya pagkat hindi ito kawili-wili, ngunit mahinahon lang tatanggapin ng pari ito, pati na ang paninira sa kanya ng asenderong si Mr. Perez o “Mr. P” (Roy Alvarez). Bilang nagmamay-ari ng pataniman ng kape, si Mr. P ay popular sa mga tao sa Parm Bil pagkat ugali nitong tumulong sa mga nangangailangan, ngunit “maaamoy” ni Fr. Jejemon ang tunay na layunin ni Mr. P at pagdududahan nito ang pagka-malapit ng asendero sa alkalde at hepe ng pulisya ng Parm Bil. Pagkat tama ang kutob ni Fr. Jejemon, takot si Mr. P na mabunyag ang katotohan tungkol sa kanya, kaya’t kukuntsabahin at susuhulan ni Mr. P ang ilang mga ina sa parokya upang palabasing isang “pedophile” o nang-aabuso ng mga bata si Fr. Jejemon.

Pangunahing layunin: magpatawa
Kapag nasa isang pelikula si Dolphy, tinaguriang “Hari ng Komedya” sa industriya ng pelikula sa Pilipinas, umasa kang hindi maaaring walang pagtawanan. Kuwela man o korni ang mga patawa, hinihingi man ito ng kuwento o hindi, hindi mawawala iyan pagkat iyan ang pangunahing layunin ni Dolphy sa paggawa ng pelikula: ang magpasaya ng manunood, kahit siya na ang pagtawanan ng mga kritiko. Tutal, biling-bili naman siya ng kanyang mga tagahanga pagkat kuhang-kuha niya ang kiliti ng masang aliw na aliw sa slapstick at toilet humor.

Sa Fr. Jejemon, makikita mong marami ang patawang korni at walang kinalaman sa istorya, na alam mong isinisingit pa rin para lang magpatawa. Meron ding patawang napapaloob sa istorya pero eksaherada naman sa haba—tulad nung eksena ng tatlong matatandang hikain na bumubuo ng koro—sinasayang lang ang oras. May mga patawa din namang sadyang nakakatawa dahil hindi pilit at nakabase pa sa mga totoong pangyayari, kagaya nung “tumikim” ng alak na pang-misa yung tatlong batang sakristan, kaya gumewang-gewang ang lakad nila patungong altar at nagkandatulog pa sa misa.

Hindi maaaring pagtawanan
Ang hindi mo pagtatawanan ay ang pagganap ni Dolphy bilang isang pari: dibdiban. Ang papel ni Dolphy sa Fr. Jejemon ay katuparan ng isang pangarap para sa “King Of Comedy.” Sa ilang dekada niya bilang artista, lumabas na si Dolphy sa kung ano-anong papel maliban lamang sa pari. Sa Fr. Jejemon (na ayon kay Dolphy ay huli na niyang pagsali sa Manila Film Festival), nagampanan nang mahusay ni Dolphy ang ipinipinta ng kuwentong larawan ng isang maka-Diyos at maka-taong pari na laging panatag ang kalooban sa anumang kalagayan. Ang pagiging ulirang pari ni Fr. Jejemon ay hindi nakasalalay sa isang uri ng di-makabasag-pinggang panglabas na kabanalan, hindi sa pagiging isang santo-santito, kundi sa pagiging isang tunay na taong tapat sa sarili at sa Diyos.

Bagama’t pa-kuwela at maunawain si Fr. Jejemon sa mga kabataan, hindi siya kunsintidor; marunong siyang manuheto kung kinakailangan. Masayahin siyang tao at mahilig magbiro, pero kung dapat maging siryoso, siryoso siya, halimbawa’y kapag kinakausap niya nang masinsinan si Fr. Baby o kapag nagsesermon siya. At kahit napapaligiran na siya ng “kakuwanan” ng mga tao, kahit siya na mismo ang pinupuntirya nito, hindi ito nagiging dahilan para siya ay mainis o magalit. “Dedma” lang, hindi siya nagtatampo sa Diyos.

Saan nag-uugat ang lakas ni Fr. Jejemon?
Maaaring hindi ito sinasadyang isaad sa pelikula ngunit maliwanag na makikita rito ang ugat ng pagiging panatag ni Fr. Jejemon kahit sa harap ng panganib: ang kanyang puso ay puso ng isang paslit—payak, mapagtiwala sa Diyos, walang pagkukunwari. Nasasalamin ito sa paraan ng kanyang pananalangin kung saan—habang nakaluhod sa harap ng imahen ng nakapakong Kristo—mistula siyang isang musmos na nakikipag-usap sa kanyang mapagmahal na Ama. Ikinalulungkot niya na tila hindi siya tanggap ng mga tao sa parokya; nangangako siya sa Panginoon na tatanggapin niya kahit saang parokya siya ipadala, ngunit humihingi siya ng palatandaan, ng liwanag, upang matiyak kung ano ang kalooban ng Diyos para sa kanya.

Kung paano siya makipag-usap sa kanyang Ama sa langit, ganoon ding kapayak ang kanyang pakikipag-usap sa kanyang inang nakabaon na sa lupa. Ang unang-unang hinango ni Fr. Jejemon mula sa kanyang maleta pagdating niya sa kanyang bagong silid-tulugan ay isang aklat-dasalan, sinundan ng isang naka-kuwadrong larawan ng kanyang yumaong ina na lagi niyang kinakau-kausap na animo’y buhay at kasama niya sa kuwarto.

Nagpapatawa lang ba talaga?
Hinangad lang kaya ng pelikulang Fr. Jejemon na magpatawa lamang, o tinangka din kaya nitong tawagin ang pansin ng mga nanunood sa ilang bagay tungkol sa ating pananampalataya, sa Simbahang Katoliko, at sa kalagayan ng mga pari? Maaaring tulad ng dati, gusto lang ng pelikula ni Dolphy na magbigay-aliw habang nagbabahagi din ng ilang makabuluhang aral. Ngunit sa mga manunood na bukas ang “ikatlong mata” at may damdamin sa Simbahan, mayroong mga parating ang Fr. Jejemon na makabubuting pagnilayan.pagkatapos ng tawanan.

Isa na rito, bukod sa mga nabanggit na, ay ang kalagayan ng mga paring matatanda na’y wala pang makahalili sa parokya. Sino ang mangangalaga sa kapakanan nila upang sila ay hindi mapagsamantalahan ng mga makapangyarihan at halang ang kaluluwa sa kanilang parokya? Tama ba na ang mga kadugo ng pari ang mga kasama niya sa kumbento? May nagmamalasakit ba sa kanilang kilos at pananamit upang tiyaking wasto ang kanilang bihis at kapita-pitagan ang kanilang anyo? Bagama’t mukhang malinis ang damit ng dalawang pari sa pelikula, kapuna-punang mali ang paggamit ni Fr. Jejemon sa Roman collar niya—nasa ilalim ng kuwelyo ng ordinayo at makukulay na polo shirt. Ito ba’y kapabayaan ng direktor at costume designer, o tanda ng pagiging kakaiba ni Fr. Jejemon, o sinasabi ba ng pelikula na ang mga tumatandang pari ay wala nang pakialam sa katumpakan ng pananamit nila?

Kapuna-puna rin na sa pagkamalapit ng mga kabataan kay Fr. Jejemon ay natural lamang na yakap-yakapin siya ng mga ito. Ngunit kahit isang marilag na dalaga (Salvador) ang yumayapos at humihilig sa dibdib niya, kilos-pari pa din si Fr. Jejemon, “malinis ang hipo” ika nga, at walang malisyang mababakas sa mukha, tunay na “tatay ng lahat.” Sa eksenang ito, agad naming naalala ang pagmamahal at debosyon ni Fr. Jejemon sa kanyang yumaong ina na tila buhay pa kung kausapin niya. Maaaring ang inang ito ang kumakatawan sa Birheng Maria sa kanyang pagka-pari, kaya’t napapatnubayan siya nito laban sa tukso ng laman—sino ang makapagsasabi? Maaaring tinutugon din ng Diyos ang debosyon ng pari sa mahal niyang ina, kung kaya’t hindi rin siya nayayanig nang siya ay nililibak na ng mga parokyano bilang isang pedophile. Habang namamalatak na sa tuwa ang mga utak ng paninira kay Fr. Jejemon, hindi niya ipinagdiinan ang kanyang pagka-malinis, bagkus ay naghahanda siyang lumisan sa parokya na buo ang tiwala na lulutang din ang katotohanan pagdating ng panahon.

Katapatan at katapangan
Ang katapatan ni Fr. Jejemon sa kanyang sinumpaang tungkulin ay nababakas sa kanyang walang-luhong pamumuhay. Nang dumating siya sa Parokya Parm Bil at inilagay siya ni Violeta sa kuwartong mistulang bodega sa kalat at dumi, masaya niyang tinanggap iyon. Masaya niyang ginagampanan ang kanyang tungkulin sa kabila ng pagiging hamak ng kanilang parokya—wala silang magarang kumbento, sariling man lamang sasakyan, o makabagong mga kagamitan na maaaring makatulong sa kanilang Gawain. Para kay Fr. Jejemon, ang yaman ng Parm Bil ay ang mga parokyano—lalo na ang mga kabataang na inaasahan niyang magdulot ng pagbabago sa parokyang malaon nang pinaghaharian ng kasakiman at sabwatan nila Mr. P, ng alkalde, at ng hepe ng pulisya.

Kung katatawanan ang hanap mo at ang titingnan mo lamang ay ang mga poster ng pelikula, mae-engganyo kang manood ng Fr. Jejemon, at maaaring makita mo ang hanap mong aliw. Kung isa ka naman doon sa mga nangalisag ang balahibo at naglabas ng pangil dahil sa nakita mong kabastusan sa trailer ng pelikula, at nag-aabang ka pa ng mga pambabastos na lalo mo pang ikagagalit, masisiphayo ka, pagkat ang pari dito ay isang tapat, matapang at mahinahong kalaban ng kasamaan. Sa kadulu-duluhan ng pelikula, mauunawaan ng masusing manunood na ang Fr. Jejemon ay isang butil ng ginto na nababalot sa mumurahing palara. Sana, dumami pa ang mga paring katulad ni Fr. Jejemon.--By Teresa R. Tunay OCDS

Tanging Ina Mo Rin (Last na 'to)

Lead Actors: Ai Ai delas Alas, Eugene Domingo, Marvin Agustin, Shaina Magdayao, Nikki, Carlo Aquino Musical Director: Jesse Loseten Editor: Maya Ignacio Story and Screenplay: Mel Del Rosario Director: Wenn V Deramas Producer: Charo Concio and Malou Santos Distributor: Star Cinema Genre: Drama/Comedy Location: Manila Running Time: 110 minutes

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: PG 13

Masaya naman sana sa buhay ang tanging ina na si Ina a.k.a. Madam (Ai Ai de las Alas) sa kabila ng pangungulila sa ibang anak na hindi na niya kapiling. Subalit napuno siya ng agam-agam matapos ma-diagnose ang di-matiyak na karamdaman na pinangangambahang malubha at maaring bilang na araw ng kanyang buhay. Sumailalim sa iba’t ibang pagsusuri si Ina at habang hinihintay ang resulta ay namayani sa kanya ang takot dahil sa tingin niya ay hindi siya handang iwan ang kanyang mga anak. Ipinasya ni Ina na ilihim sa kanyang mga anak ang kanyang kalagayan. May kani-kaniyang masalimuot na sitwasyon ang magkakapatid at ayaw niyang makadagdag pa sa kanilang alalahanin. Dahil sa mga problema ay madalas na namamagitan si Ina sa mga pagtatalo sa loob ng bahay. Sa mga panahon ng ganitong ligalig ay di naman siya iniwan ng matalik niyan kaibigan na si Rowena (Eugene Domingo). Di sang-ayon si Rowena sa paglilihim ni Ina sa mga anak pero iginalang at sinuportahan niya ang pasya ng kaibigan. Kahit mabigat sa loob ay sinamahan niya si Ina sa mga paghahanda sa kanyang pagpanaw. Inayos niya ang paghahati-hati ng ari-arian sa bangko para mailipat sa mga anak at walang pataw na magmahalan, magkaisa at magkasundo ang magkakapatid. Isang kahilingan ni Ina na bago siya pumanaw ay makapiling niya ang lahat ng kanyang mga anak.

Pagpapatuloy sa pagwawakas ng unang dalawang kuwento ang Tanging Ina mo rin (last na ‘to). Uminog ito sa tema ng pagkakaroon ng malubhang karamdaman ng bida at ang pagdadala nito bilang ina. Maganda ang naging takbo at pagbibigay saysay sa pagwawakas ng kwento ng tanging Ina. Mahusay ang pagkakadirehe ng pelikula. Matagumpay na nailabas ang mga kinakailangan emosyon sa mga eksenang drama at patawa. Magaling ang mga nagsiganap sa paghahatid ng mga karakter na kanilang ginampanan. Hindi nabigo ang pelikula sa mga datihan at baguhang artista. Bawa’t isa ay may mga tampok na eksena at naging markadong pagganap mapa-drama o komedya. Maayos ang mga kuha ng kamera. Hindi masyadong gumamit ng effects dahil di naman kailangan. Maganda ang disenyo ng produksyon, gayundin ang make-up. May konting sablay sa editing sa mga pagpapalit ng eksena pero halos di nahalata. Akma ang inilapat na musika lalo na sa mga sundot ng eksena ng pagtutog ng piyano at trumpeta ng kasambahay sa pelikula. Sa kabuuan ay maganda ang teknikal na aspeto at makikitaan ang mga nasa likod nito ng pagsisikap na makagawa ng makabuluhang panoorin.

Muling ipinakita sa pelikulang Tanging Ina mo rin (last na ‘to) ang kadakilaan ng isang ina na walang hinahangad kundi ang malagay sa ayos ang mga anak. Sa mga panahon ng pagsubok ay nagpapakatatag ang isang ina at humuhugot ng lakas sa pananalangin sa Diyos, sa pagmamahal ng mga anak at suporta ng matapat na kaibigan. Malinaw ang hatid na aral ng pelikula lalo na sa mga anak na palaging magkasundo. Bagamat natural ang pagkakaroon ng alitan sa pagitan ng isa’t isa, lalo na sa mga praktikal na kadahilanan katulad ng pera o utang at palitan ng masasakit na salita ay di marapat na magkimkim ng galit at sama ng loob para manatili ang kapayapaan at pagmamahalan sa tahanan. Sa halip ay unawa at suporta ang dapat na pairalin upang maging maayos ang buhay. Para sa mga magulang, may hatid na kasiyahan ang makitang nagkakasundo ang mga anak na may kani-kaniya ng buhay. Gayundin naman mas mainam ang pagiging bukas sa bawat isa at huwag maliitin ang kakayahan ng mga anak na maunawaan ang mga seryosong kalagayan lalo na may kaugnayan sa buhay at kalusugan sa pamilya.

Sagana sa positibong mensahe ang pelikula bagama’t nabahiran ito ng salungat na parating: sa kagustuhan marahil na magpatawa ng pelikula, naging paulit-ulit ang pamimintas at panlalait ng ina sa panlabas na anyo ng mapapangasawa ng kanyang magandang anak. Binalewala ng pelikula ang gintong kawikaan na di dapat husgahan ang tao sa panlabas na anyo kundi sa nilalaman ng puso at sa pag-uugali nito. –By Imelda Benitez

Dalaw

Cast: Kris Aquino, Diether Ocampo, Maliksi Morales, Susan Africa, Gina Parreno, Karylle, Alessandra de Rossi; Director: Dondon Santos; Screenplay: Joel Mercado; Producer/ Distributor: Star Cinema; Running Time:100 minutes; Location: Manila; Genre: Horror

Technical Assessment: 2
Moral Assessment: 2
Rating: For Viewers 14 years old and above

Ang biyudang si Stella (Kris Aquino) ay nakatakdang ikasal sa kanyang dating kasintahan at tunay na mahal na si Anton (Diether Ocampo). Ngunit tila tutol dito ang kululuwa ng kanyang namayapa nang asawa niyang si Danilo dahil sa madalas nitong pagpaparamdam sa kanya. Sa araw ng kanilang kasal, inatake ang ina ni Anton na pinaghihinalaang pinagmultuhan ni Danilo. Kinailangang alagaan ang ina ni Anton kung kaya’t napilitan si ang mag-asawang Stella at Anton na lumipat at manirahan sa lumang bahay nito kasama ang anak ni Stella kay Danilo na si Paolo (Maliksi Morales). Ngunit tila sumusunod pa rin ang kaluluwa ni Danilo sa kanila dahil sa maraming kababalaghang nangyayari sa kanilang pamilya. Subalit balot ng hiwaga ang mga dalaw kay Stella, at sa pamamagitan ng katulong nilang si Olga (Gina Pareno), malalaman din ni Stella kung ano ang multong sumusunod sa kanya at ginugulo ang buhay niya.

Sa mga taong sadyang matatakutin at mapaniwalain sa multo at pamahiin, maaaring makagulat pa ang Dalaw, tulad ng napansin naming ilan sa mga nanunuod na napapatili pa sa mga panggulat na eksena. Ngunit sa pihikan at masusing manunood na may alam sa mga aspetong teknikal ng paggawa ng pelikula, naging katawa-tawa lang ito. Nagsubok maghain ang Dalaw ng kakaibang kuwentong katatakutan sa pagpupuno ng maraming komplikasyon sa kuwento. Ngunit sa halip na maging kakaiba ay naging kakatwa ang kinalabasan nito. Sa pagsasama-sama ng maraming elemento, naging mas magulo ang pelikula sa kabuuan. Maraming dapat sana’y mga nakakagulat na eksena ay nagiging katawa-tawa na lamang; ang ilan nama’y parang nakaka-insulto lang ng katalinuhan.

Sa kagustuhan ng Dalaw na piliting maniwala ang manunood sa multo, pinagpatung-patong nito ang mga eksena ng pananakot hanggang maisip mo nang, “Sobra namang kulit ng multong iyan!” lalo pa’t gasgas na ang mga panggulat na iyon sa laksa-laksang horror movies na naipalabas na. Sa kabuuan ay hindi napalabas ng pelikula na ang isang multo ay may mga kakayahang tulad ng kanilang ipinakita, pagka’t tila pinakyaw na ng isang multong ito sa Dalaw ang lahat ng kapangyarihan ng lahat ng mga multo sa buong kasaysayan ng pinilakang tabing. May multo ba talagang makapagkakalat ng putik saan man siya pumunta? Nahahawakan na ba talaga ang multo ngayon at maari nang makipagbuno sa kanila? At ang katawa-tawa pa, bakit nang makipagbuno ang multo sa tao ay nabura ang putik sa braso nito at lumitaw ang tunay niyang balat? (Ay, taong putik lang pala!). Sa maraming eksena ay nakakasapaw ang tunog at kakatwang musika na lalong nagpa-korni sa pelikula. Kakatwa din ang pag-arte ng mga tauhan na tila hindi nagtutugma-tugma. Nasayang ang kani-kanilang galing. Si Aquino ay pasado na sana ngunit lumalabas pa rin siyang nakakatawa kapag mataas na ang eksena dahil kulang sa damdamin. Si Ocampo ay wala pa rin gaanong ibubuga. Nakakahinayang ang husay nila Pareno, Africa, de Rossi at Karylle subalit gawa ng mataimtim nilang pagganap ay—sige na nga!—nagkaroon ng kaunting kabuluhan ang pelikula bilang isang sining.

Gaano nga ba kalakas ang ang kapangyarihan ng isang kaluluwa o ng multo ng yumaong hindi matahimik? Ito ang isang malaking katanungan sa Dalaw. Oo nga’t may pinanggagalingang negatibong emosyon ang isang kaluluwa kung kaya’t hindi ito matahimik, pero anong klaseng kapangyarihan ang naidudulot nito upang makagambala nang ganoong katindi? Kung ito man ay kapangyarihang itim, hindi ba dapat na nilabanan agad ito ng kapangyarihan ng kabutihan at dasal? Sa halip, mas naging mapaniwalain si Stella sa kapangyarihan ng kababalaghan imbes na manalangin sa pagtataboy ng masamang espiritu. Naganap man ito sa bandang huli—sa bendisyon na isinagawa ng isang pari—hindi naman naging malinaw kung ito nga ba ay ipinalalabas nilang nakatulong o nakapagpalala pa sa situasyon. May mga kasalanang pinagsisihan sa bandang huli ngunit kailangan pa bang takutin at pagmultuhan ang isang tao para mabagabag ang budhi niya? Hindi rin nilinaw kung ano ang naging plano ng isang lalaki sa magiging anak nito sa kanyang kasintahan at palabasing tama ang kanyang desisyong magpakasal sa iba habang mayroon pala itong sinasaktan at pinapabayaan.

Sa kabuuan ay malabo rin ang mensaheng nais ipahiwatig ng Dalaw. Ninais lamang ba nitong kilitiin ang mga manonood sa pagbibigay ng kuwentong katatakutan? Gusto lamang ba nitong bigyang babala ang mga lalaking nang-iiwan sa kanilang mga binubuntis? Ang pinakamalaking pagkakamali ng Dalaw ay hindi ang maging katawa-tawa sa kaniyang pananakot, kungdi ang hayaang apihin ng paghihiganti ng isang multo ang tao. Bakit ni hindi naisip ninuman sa kanila ang tumakbo sa Diyos, manalangin at humingi ng tulong gayong nginig na nginig na sila sa takot? May imahen mang sagrado kang masisilip sa ilang mga eksena, ito’y nagsisilbing dekorasyon lang sa dingding o sa altar. Wala silang pinagtitiwalaan kungdi ang sarili nilang lakas—tuloy nawika ng isang matabil naming katabi sa sinehan, “Alam mo nang hindi mo kaya, hindi ka pa magdasal, buti nga sa iyo!” At hindi pa tapos yan: sa dulo ng pelikula, ipinahiwatig pa na hindi pa nasisiyahan ang multo sa dami ng pinatay nitong mga tao sa kanyang paghihiganti. May isa pa siyang pinupuntirya—isang walang sala. At doon nagwakas ang pelikula.

Ang MTRCB rating sa Dalaw ay PG 13. Ibig sabihin nito, puwede itong panoorin ng mga batang wala pang 13-taong gulang, basta’t magagabayan ng mga magulang. Kung sa murang edad pa lamang ay tinuturuan na natin ang mga bata sa pamamagitan ng pelikula na higit pang makapangyarihan ang multo kaysa tao—at walang Diyos na maaaring tumulong sa tao—ano na ang mangyayari sa kinabukasan ng ating magulo nang lipunan?--By Rizalino Pinlac