The Priest

CAST: Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins, Brad Dourif, Stephen Moyer, Christopher Plummer; DIRECTOR: Scott Stewart; WRITERS: Cory Goodman, Min-Woo Hyung; GENRE: SciFi/Fantasy, Action/Adventure, Horror; RUNNING TIME: 87 minutes

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

After the Church’s victory on its war against Vampires through the Priests who possess supernatural abilities, the monsters are locked away and the Priests are now disbanded. Then years later, a lone warrior Priest ( Paul Bettany) receives a bad news that his brother has been killed by the vampires and his niece is abducted. Wanting to save his niece, he asks for the Church’s permission to pursue the vampires but they won’t allow him for fear that it would cause public panic. This leaves him without a choice but to break his sacred vows and pursue his quest to track down his niece and save her from becoming one of the vampires.

With its sloppy storyline and ridiculous points and turns, the plot of the Priest is pretty simple bordering on melodramatic than sci-fi. Which is not at all bad because the audience could easily follow through the play of emotions and motivations of the characters in the film given the spectacle of visuals and sounds. The production design is decent and the computer graphics appear to be believable. The fight scenes could be both engaging and distracting (perhaps those were done with the same purpose). Bettany delivers a promising performance and strong screen presence that goes also with the other casts although their characters seem underdeveloped.

The clergy as a peg for the world’s seat of power with the priests as warriors is an intriguing and interesting premise but could also be taken out of context given its portrayal and (mis)representations of the Catholic church rituals. Perhaps, the film is an attempt to emulate the Catholic church’s dark past through a futuristic sense that make everything seem confusing. However, the Church is not portrayed in the film as an evil force, perhaps only neglectful, if not ignorant, of its duties. Again, in the context of its dark history, the Catholic church has already admitted its mistakes and as any other institution, it is not perfect. The Priest also challenges “sacrifice” as the foundation of church believers. It is challenged, questioned and critiqued in the film. But towards the film’s end, it is still “sacrifice” that made all the sense in the story saying that it is the very essense of love not just for one’s self, but for the entire humanity. With sacrifice, the evil is defeated by the good.

Tumbok

CAST: Christine Reyes (Grace), Carlo Aguino (Carlo), Ryan Eigenmann; DIRECTOR: Topel Lee; PRODUCER:Viva Films; GENRE: Horror/Suspense; LOCATION: Philippines

Technical Assessment: 3
Moral Assessment: 1.5
CINEMA Rating: For viewers age 14 and above.

Ilang araw pa lamang sa lumang condominium unit ang mag-asawang Ronnie (Carlo Aquino) at Grace (Christine Reyes) ay marami ng kakaibang nararamdaman, nakikita at naririnig si Grace. Kinumpirma ng mag-inang kapit kwarto nila ang mga kakaibang kaganapan na nakasanayan na nila gayon din ang mga kamalasan sa buhay ng mga tumira sa condominium. Napag-alaman ni Grace na maliban sa kanila ng mag-ina ay mayroon pang mag-asawa at grupo ng mga estudyante na kasama nilang naninirahan sa condominium. Hanggang sa pagtulog ay dinadalaw si Grace ng kababalaghan. Napansin din niya na sunod-sunod na kamalasan din ang nangyayari sa kanila. Napaslang pa ang pinsan niya pagkatapos bumisita sa kanya at payuhan siya na lisanin nila ang condominium dahil sa napakalakas na negatibong enerhiyang bumabalot sa kabahayan. Sa kalaunan ay natuklasan ni Grace na ang pamilya ng asawa niyang si Ronnie ang isa sa mga naunang biktima ng kamalasan ng bahay. Samantala hindi naniniwala sa kababalaghan at malas si Ronnie. May praktikal ding dahilan ito na limitasyong pinansyal kaya mas mainam para sa kanya na manatili sa condo at hwag na lamang pansinin ni Grace ang mga inaakala niyang kababalaghan na naghahatid ng kamalasan sa buhay nila dahil sa pagtira nila sa condominium na nakatirik sa tumbok na tatlong sanga ng daan.

Masalimuot ang kwento ng pelikulang Tumbok. May kalabuan kung seryosong nais ipahatid ng pelikula ang paniniwala tungkol sa kamalasang hatid kapag nakatirik ang iyong tirahan sa tumbok ng daanan. Hindi malinaw kung mga ligallig na kaluluwa o espiritu ng demonyo ang mga namiminsala. Bigla na lang may mga taong nagbubuwis ng buhay para lang maipakita ang kamalasan. May kakahayahan na makapanghalay ang demonyo habang nasa anyong tao o kaya ay bilang espiritu sa realidad o panaginip. Sa layunin na makapanakot ay pinagalaw ang mga bagay kahit walang tao, bumubukas at sara ang mga pintuan, may mga lumilitaw na imahe ng batang babae at lalaki, at mga tunog ng iyak ng bata at paghiyaw ng babae. Establisado ang pagkakaroon ng temang may kaugnayan sa kadiliman ang pelikula. Ang lumang condominium ay tila di ana angkop tirahan dahil madumi at kawalan ng ayos. Hindi masyadong gumamit ng mga nakakatakot na imahe o make-up. Medyo palaisipan naman na sumabog ang kalan sa isang kuwarto at namatay lahat ng nasa loob pero ang kwarto lamang nila ang nasunog.. Wala namang dating ang pagganap ni Christine Reyes, walang naipakitang takot sa mga ekesanang hinihingi ito. Gayon din si Carlo Aquino kulang din ang ipinakitang damdamin sa pagganap bilang police photorgrapher at asawa ni Grace lalo na mayroon pala siyang nakaraan sa mahiwagang bahay.

Maliban sa mga pananalita ng kapitbahay nina Grace na dinadaan sa panalangin ang mga kababalaghan at kamalasan na nakasanayan na niya sa ilan taon ng paninirahan niya sa condominium ay wala nang iba pang mapupulot na aral sa pelikulang Tumbok. Maganda naman ang samahan ng mag-asawa. Pero nakakabahala na natapos ang pelikulang nagpapatotoo sa mga tinatawag na malas at swerte. Karumaldumal ang ilang eksena ng pagpaslang. Iilan lamang ang tauhan ng pelikula subalit walang naipakitang positibong image --- mag-asawang nagbubugan at humantong sa patayan, estudyanteng maiingay at walang galang, pulis opisyal na nagbabanta kapag nalaman ng publiko ang pangit na katotohanan sa serbisyo, at kasero na kampon ng demonyo at nanghahalay ng tumitirang babae sa paupahan, ina nais mamatay ang anak na iniluwal sa paniniwaang kampon ng demonyo, at istambay sa daan na bigla na lang mananaga ng mga inosenteng dumadaan sa kalye.. Sa kabuuan ay halos walang naihaing moral ang pelikula.

Thor

CAST: Natalie Portman, Anthony Hopkins, Chris Hemsworth,Idris Elba, Ray Stevenson, Kat Dennings, Stellan Skarsgård,Rene Russo, Jaimie Alexander; DIRECTOR: Kenneth Branagh; WRITER: Ashley Miller; PRODUCER: Marvel Studios; GENRE: Action/Adventure; LOCATION: U.S.A.; RUNNING TIME: 130 minutes

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers age 14 and above.

Hammer-wielding Thor (Chris Hemsworth) is heir to the throne of his father King Odin (Anthony Hopkins). When he learns that their family palace in Asgard has been ransacked by their enemies, the frost giants, Thor, a rather gung-ho kind of royalty, defies his father’s orders and packs his brother Loki and a handful of buddies along to give the frost giants a lesson. But stands to learn his lesson, too, as Odin is just as determined to teach him one for his brazen disobedience. He banishes Thor to Earth, along with his hammer, his favorite weapon of destruction, but on Earth, Thor loses his nobility status and becomes just an ordinary guy. Worse, his magical hammer is stuck in rock, which means it will only yield to his touch when he stops being a (as Odin says) “vain, greedy cruel boy.” On Earth he meets scientist Jane Foster (Natalie Portman)—that and Odin’s death spell the beginning of change for Thor.

In mythology, as one of the movie’s posters proclaim, Thor is god of thunder. It seems apt that Thor the movie’s soundtrack is as thunderous as they come, even ear splitting in certain battle scenes. While Thor and Odin are supposedly Nordic gods—and every square centimeter of Hemsworth’s face, from any angle, under any lighting, leaves you no doubt as to the authenticity of his noble Nordic looks—but director Kenneth Brannagh casts the cinematic Thor and company as aliens from a non-heavenly realm, perhaps aware that mythology is lost to the majority of moviegoers these days. Portman’s role here is rather a letdown after her Black Swan soared to higher heavens—but she did aim to be credible as a scientist. Editing is good, it must be said, and the CGI leaves nothing more to be desired. Particularly giddying but pleasantly so are the scenes that enable the viewer to zoom through intergalactic space. Makes you feel really smaller than a dust particle in the whole of creation.

When Thor becomes small, that’s when he becomes really big. When Thor learns to bow his head in weakness, that’s when he gains true power. When he loses his weapons as a warrior, that’s when he’s most heroic. There’s a line by Erik, speaking to Thor that goes "When you learn you don't have all the answers, you ask the right questions" which seems to be the message behind the paradoxes in Thor. Despite its violence, its being a glamorized fluffy action movie, Thor has something weighty to say. Weighty as in biblical. There goes another paradox. And hey, Thor’s fave weapon is a hammer—isn’t that also carpenter’s tool? Go figure.

Pak! Pak! My Dr. Kwak!

CAST: Bea Alonso (Dr. Cielo), Vic Sotto (Dr. Kwak, Angelo), Zaijan Janranilla (Angelito), Xyriel Manabat, Pokwang, Jose Manalo, Wally Bayola, Zanjoe Marudo; DIRECTOR: Tony Y. Reyes; PRODUCER: ABS CBN & M-Zet’s Productions; GENRE: Comedy/ Drama/Fantasy; DISTRIBUTOR: Star Cinema; LOCATION: Philippines

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Si Angelo (Vic Sotto) ay isang pekeng manggagamot. Nagpapalit-palit siya ng anyo at lugar dahil sa banta sa kanyang buhay sa minsang hindi niya napagaling na pasyente. Mapapadpad ang grupo nila sa isag bagong lugar kung saan naroon si Dra. Cielo (Bea Alonzo). Bagama't may pagtingin si Dra. Cielo kay Angelo, magiging kontra ito sa mga gawaing pangagamot ni Angelo dahil sa ginagawa nitong pananamantala sa mga tao. Sa pagpipilit ni Dra. Cielo na patunayang pekeng doktor si Angelo ay darating si Angelito (Zaijan Jaranilla), nisang anghel na pinababa mula sa langit dahil sa misyong pagbaguhin si Angelo. Gagawa si Angelito ng mga himala para kay Angelo sa kondisyong gagawa ito ng kabutihan kapalit ng mga milagro. Maging matagumpay kaya ang kanyang misyon kay Angelo?

Wala namang masyadong bagong putaheng inihain ang Pak! Pak! My Dr. Kwak! Nakita na natin ang maraming kuwento ukol sa huwad na faith healers pati na ang tungkol sa mga anghel na pinababa sa lupa dahil sa kapilyuhan. Sinubukang bigyan ng pelikula ng bagong-bihis ang mga gasgas na konseptong ito sa pamamagitan ng pagbibigay ng bagong koneksyon sa mga lumang elemento. Pero ang kinalabasan ay tila pilit pa rin. Maging ang mga special effects ay hindi rin naging kapani-paniwala. May ilang mga nakakatuwang eksena pero karamihan sa kanila ay ibinabalik lamang ang nakagawian nang "toilet humor" kundi man slapstick. Nariyan pa rin ang mga karaniwang pormula sa pagpapatawa tulad ng sampalan, pambabatok, mga bastos na patawa kundi man nakakapandiri. Karaniwan na rin at walang bagong ipinakita ang mga komedyante sa pelikula. Si Sotto ay ganoon pa rin ang atake samantalang si Alonzo naman ay parang naligaw sa maling pelikula. Walang naramdamang kilig sa dalawa. Sa patawa nama'y hindi rin ito masyadong naging matagumpay. Marahil, kung ginawa na lamang nilang drama ang pelikula baka naging mas epektibo pa ito.

Sa kabila ng maraming kakulangan ng pelikula sa teknikal na aspeto, hitik naman ito sa mabubuting aral. Nasundan sa pelikula ang kuwento ng dalawang tauhan na kapwa may kailangang baguhin sa kanilang mga pag-uugali. Isang pilyong anghel at isang huwad na mangagamot na puno ng galit ang puso. Nagawa nilang pagbaguhin ang isa't-isa at natuto silang maging mapagbigay at magsakripisyo para sa kanilang mga minamahal. Sa umpisa'y ipinakita kung paanong nasasadlak sa maling gawa ang isang tao at ang ugat nito karaniwan ay kasamaan din tulad ng galit at pagiging ganid. Malakas din ang mensahe ng pelikula ukol sa tunay na pagbabago na ibang-iba sa balatkayo lamang, Ang tunay na pagbabago ay nanggagaling sa puso at hindi ipinipilit dahil lamang sa makukuhang kapalit sa bandang huli. Nakababahala nga lang ang ilang ipinakitang representasyon ng mga anghel at langit na tila walang malinaw na basehan at nagmumukhang katawa-tawa ang kanilanng anyo. Nakakabahalang maniwala ang mga batang manonood na ganito nga itsura ng langit at mga anghel. Ang ilang pambabastos din sa kababaihan at may kapansanan sa ngalan ng pagpapatawa ay nakakabahala din. Pero sa kabuuan naman ay may malalim na mensahe ang pelikula ukol sa pagbabago at pagsasakripisyo at sa puntong ito ay pwede nang patawarin maging ang ilang kasalanan ng pelikula dahil ito naman ang tunay na tatatak sa isipan ng manonood sa bandang huli.

Diary of a Wimpy Kid: Rodrick Rules

CAST: Zachary Gordon, Devon Bostick, Robert Capron, Steve Zahn, Rachael Harris, Peyton List, Ben Hollingsworth, Robert Capron, Michelle Harrison, Grayson Russell; DIRECTOR: David Bowers; WRITERS: Gabe Sachs, Jeff Judah, Jeff Kinney; GENRE: Comedy, Drama; RUNNING TIME: 96 minutes.

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

Diary of a Wimpy Kid: Rodrick Rules takes off from last year’s surprise comedy hit about the Heffley family of three sibling brothers Rodrick (Devon Bostick) , Greg (Zachary Gordon) and toddler Manny and their parents Susan(Rachel Harris) and Frank (Steve Zahn). Rodrick as usual bullies his kid brother 7th grader Greg who has no choice but to play along with him or else. Mom knows it and would give anything to see her two boys living in peace and harmony—to the extent of paying them a dollar for each trouble-free hour they’re together. Susan and Frank one day decide they would go on holiday and leave the house to Greg and Rodrick, extracting a promise from the kids that they would behave while on their own. As soon as their parents leave their sight Rodrick prevails upon Greg to throw a party—but it would be boozeless, relatively safe. But as it turns out, a party’s being alcohol-free is no guarantee of order. The two are caught red-handed and get the appropriate punishment from their disappointed parents.

As far as its genre goes, Diary of a Wimpy Kid: Rodrick Rules plays the game by the rules, following a formula that is sure to click with its target audience—kids and families—as the first Diary… did, reportedly making a neat profit for its makers. The viewer can forget about its being fiction as it more or less fairly reflects 21st century parenting American style. You can’t fault the actors for being unbelievable—they’re such naturals given the plot and the never-a-dull-moment script. As for the other things that make a movie technically correct— Diary of a Wimpy Kid: Rodrick Rules has them all neatly pulled together. It is an entertaining movie that its makers have taken pains to keep wholesome, so much so that even the stricter critics in the US have freely given it a rating of “PG for some mild rude humor and mischief”.

If you’ve ever been a parent you’ll understand that all Diary of a Wimpy Kid: Rodrick Rules is saying is “kids will always be kids but hang on, they’ll grow up, too, and outgrow their mischievous ways”. And CINEMA agrees. Our 2.5 Moral Assessment score doesn’t mean the movie promotes destructive values—it simply means that parental explanations are in order if you allow your children to watch this movie. The parents (Susan and Frank) have good intentions and their children’s best interests at heart, although they could be mistaken for being so naïve or lenient—something that’s balanced by the father of Rowley (Robert Capron), Greg’s chubby best friend, who makes sure his son follows his rules. The movie’s many humorous moments and funny scenes are interspersed with not-so-desirable instances some youngsters might imitate but the resolution at the end gives the viewer a better picture of its optimistic message. In real life, we see worse examples, and children eventually grow up to be mature adults in spite of them.

Beastly

CAST: Vanessa Hudgens, Alex Pettyfer, Mary-Kate Olsen, Peter Krause, Lisa Gay Hamilton, Neil Patrick Harris; DIRECTOR: Daniel Barnz; WRITERS: Alex Flinn, Daniel Barnz; GENRE: Romance, Drama; RUNNING TIME: 95 minutes

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

Make a person rich and smart and good looking and in no time at all that person will be a beast inside. That’s what Kyle Kingsberry (Alex Pettyfer) is, mocking all the unbeautiful creatures in the Buckskin Academy High School campus. In fact, running for president, Kyle has for his motto “Beautiful people get it better; that’s just the way it is.” Kyle openly derides a campus mate who has Gothic fashion and makeup leanings, Kendra (Mary-Kate Olsen), rumored to be a witch. Alas, it is not mere rumor, for the offended Kendra retaliates by casting a spell on him that turns him, once he gets home, into a beastly looking creature. However, Kendra is not entirely merciless, for she says she will lift her spell provided Kyle finds someone who’ll love him within a year. That someone turns out to be Lindy (Vanessa Hudgens). From there you can expect a fairytale ending.

Most actors in this movie are necessarily young, the story being set in a school environment, but it gives the young characters enough interaction scenes with adults, and with good results. Pettyfer (I am Number Four) and Hudgens (High School Musical) surprisingly show promise as dramatic actors here. Not that the script is that demanding, but at least theirs is a timely departure from the musical or the CGI adventure that they first came to be known for, preventing them from being filmdom stereotypes. Give them meatier roles and good directors and they’ll probably metamorphose into real seasoned actors in due time.

Beastly tries to play up to the YouTube-and-tattoo generation by not making a werewolf out of Kyle. Rather, he simply loses his blondie-blond hair and gets covered with scars, metal hoops and ever-morphing tattoos which would actually make him just so cool in Punkland, USA. As Lindy says when he uncovers himself before her eyes, “I’ve seen worse…” Beastly is obviously a retelling of Beauty and the Beast and the one outstanding message is “it’s not to your credit that you were born rich and smart and good-looking so chill out or lose it all.” Kyle is humbled by becoming disfigured, and learns to start loving when there’s no longer himself to love in the mirror. We can’t really say Lindy has learned to love Kyle in spite of his beastly appearance for as we said, he doesn’t look all that beastly, but rather, she appreciates the transformation within Kyle, from the conceited egomaniac that he was to someone who has learned to care for another.

Rio

CAST: Jesse Eisenberg, Anne Hathaway, Jamie Foxx, Leslie Mann, Rodrigo Santoro, Jake T. Austin, George Lopez, Will i Am, Carlos Ponce, Kate del Castillo; DIRECTOR: Carlos Saldanha; GENRE: Animation, Action/Adventure, Comedy; RUNNING TIME: 96 minutes


Technical Assessment: 4
Moral Assessment: 3.5
CINEMA Rating: General Patronage

The very title of this movie promises a riot of colors and music and yes, quite interesting characters. Rio is an overwhelmingly child-friendly animated adventure about Blu, a Brazilian native macaw (voiced by Jesse Eisenberg) which is the last male of his species but unfortunately has been raised as a pampered pet in Minnesota. This spells extinction for the blue macaw, unless Blu is returned to Brazil to mate with Jewel (voiced by Anne Hathaway), his sole remaining female counterpart. Blu’s owner, Linda (voiced by Leslie Mann) reluctantly agrees to go with her pet to Brazil with Rio-based scientist (voiced by Rodrigo Santoro) for the bird’s species’ sake. This opens the door to adventure as never known before, because Blu doesn’t know how to fly. Take the family along as Rio has a number of lessons to teach about the environment, personal freedom, caring and nurturing, courage, and the value of family (whether human or bird), to name a few.

Tum: My Pledge of Love

CAST: Robin Padilla, Mariel Rodriquez, Datu Khomeini Bansuan, Ejay Falcon, Nash R Raza, Queenie Padilla; DIRECTOR: Robin Padilla; SCREENWRITER: Robin Padilla; PRODUCER: Star Cinema; GENRE: Romantic Comedy; DISTRIBUTOR: Star Cinema; LOCATION: India, Philippines

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

Nagbalik si Ravaan (Robin Padilla) sa bayan ng Alipur, India nang mabalitaan nito ang pagkamatay ng amang Indiyanong-Muslim. Nailibing na ang ama pagdating niya at maaatasan siyang pamahalaan lahat ng negosyong naiwan ng kanyang ama. Ngunit ang pamanang ito ng kanyang ama ay may kalakip na kondisyon: kailangan niyang pakasalan si Linda (Mariel Rodriguez) na siyang punong-guro sa paaralang pag-aari nila. Hindi magiging maganda ang kanilang pagtatagpo at hindi rin magiging maayos ang pakikitungo nila sa isa’t-isa sa simula. Ngunit pagkalaon ay magkaka-hulugan din sila ng loob at tuluyang magpapakasal. Ngunit hadlang pa rin dito ang ilan dahil sa ibang relihiyon at lahing pinanggalingan ng dalawa.

Nagsubok ang Tum: My Pledge of Love na gumawa ng pelikulang may kakaibang timpla at inspirasyon. Nariyan ang kuwentong pag-ibig na malapit sa kuwento ng dalawang tauhan sa totoong buhay at nariyan din ang lugar ng India pati na ang pagpapakilala sa atin sa “Bollywood” na siyang industriya ng pelikula sa bansang India. Ang resulta’y isang pelikulang puno ng maraming elemento na tila hindi rin naman nagkatugma at hindi nakuha ang tamang timpla sa kabuuan. Madilim ang mga kuha ng camera at mangilan-ngilan lamang ang pagkakataong maeengganyo ang manonood sa mga tanawin ng India. Malamlam at kung minsan ay over-acting ang mga tauhan lalo na si Rodriguez. Alanganin din ang takbo ng kuwento at di malaman kung saan nito nais magtungo. Kung ang Tum ay kuwentong pag-ibig, kulang ito sa kilig. Kung ito naman ay drama, kulang ito sa hagod ng damdamin. Mas lamang ang pagiging aksyon ng pelikula ngunit pawang kulang pa rin sa sipa ang lahat ng ito kung susumahin.

Malakas ang mensahe ng pelikula ukol sa pagtanggap sa iba’t-ibang lahi at relihiyon. Na ang relihiyon o pagkakaiba ng lahi man ay di dapat maging hadlang sa pagmamahalan at kapayapaan. Magkakaiba man ang tao ng paniniwala at kulay ng balat ay iisa ang kanilang adhikain—ang mabuhay ng payapa sa pag-ibig. Ganunpaman, naging labis na nakababahala ang ipinakitang karahasan sa pelikula. Nariyan ding palabasing masasama at makikitid ang mga pang-unawa ng karamihang mga katutubong Indian. Pihadong hindi masyadong matutuwa ang mga taga-India na makakanood nito. Taliwas sa mensahe ng pelikula ang ilang mga imaheng ipinakita dito. Pero sa bandang huli nama’y ipinakitang pag-ibig at pag-ibig lamang ang siyang makakahanap ng paraan upang magkatagpo ang dalawang pusong pinaglayo ng pagkakataon. At tanging pag-ibig din lamang ang siyang maaring magpatalikod sa isang tao sa karangayaan at kapangyarihan.

Gnomeo & Juliet

CAST: James McAvoy, Emily Blunt, Michael Caine, Jason Statham, Maggie Smith, Patrick Stewart, Ashley Jensen, Jim Cummings, Richard Wilson, Julie Walters; DIRECTOR: Kelly Asbury; WRITERS: Kevin Cecil, Andy Riley; GENRE: Animation, Family, SciFi/Fantasy; RUNNING TIME: 84 minutes.

Technical Assessment: 4
Moral Assessment: 3.5
CINEMA Rating: Audience all Ages

Is this animated Shakespeare? Not really. Although the title is a takeoff from "Romeo and Juliet" most of the characters in Gnomeo & Juliet are garden gnomes in the yards of English homes. We know this is England because we glimpse a bus whose destination is Stratford on Avon. These gnomes have obviously been sneaking off to the movies while their human owners were not looking. And they have been watching the Toy Story series because they do the same thing, have a life of their own but go into their expected poses as soon as humans turn up.

What might make Gnomeo & Juliet more enjoyable for film buffs is the strong voice cast. James McAvoy and Emily Blunt are the starcrossed lovers and Michael Caine is plain to hear as Juliet’s father. You have to listen quickly to catch Julie Walters and Richard Wilson as the human Capulets and Montagues. There is a monstrously huge mower, called the Terrafirmanator, obtained by a computer savvy gnome, Benny (Matt Lucas)—and it is ‘voiced’ by wrestler Hulk Hogan. Someone for everyone! Even a Hispanic-sounding flamingo from the garden. (And a nice trivial pursuit question: what film did Maggie Smith and Jason Statham appear in together? Here it is, she Gnomeo’s mother and he the rather typecast Tybalt.)

Yes, we know what is going to happen, but it is entertaining to see how this entertainment for children incorporates Shakespeare. And, yes, the soundtrack replete with familiar melodies is a collection of Elton John and Bernie Taupin songs because the film is a product of Elton John and David Furnish who have turned their attention to children.

The Roommate

CAST: Leighton Meester, Minka Kelly, Danneel Harris, Cam Gigandet, Alyson Michalka, Matt Lanter, Frances Fisher,Katerina Graham, Tomas Arana, Cherilyn Wilson; DIRECTOR: Christian E. Christiansen; WRITER: Sonny Mallhi; GENRE: Suspense/Thriller, Drama; RUNNING TIME: 93 minutes

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For viewers age 18 and above.

Pretty girl from Des Moines, Iowa, Sara (Minka Kelly) goes to college in Los Angeles. The roommate she gets at the dorm is Rebecca (Leighton Meester), an only child of wealthy parents. Rebecca turns out to be a nice girl-next-door type, supportive of Sara, shows her the sights in town, offers her wardrobe for Sara to borrow anything from, and even consents to her bringing in a forbidden pet into their room. Sara is grateful that college would be bright with such a roommate around, until Rebecca begins to know her friends. When she comes in late without calling, Rebecca gets mad. When an ex-boyfriend hounds Sara, Rebecca makes sure he keeps away—she has become a little too possessive.

The Roommate is another of those countless movies about psychotics, and naturally extremely violent. It’s a relief, however, that despite the mad killings and vicious attacks on persons practically no blood is shown, and physical combats are limited to what’s possibly human, without CGI to show more super human violence for its own sake. The cinematography is better than most movies of this genre display, and the music appropriately keeps the viewer in tension. The actors, while not that well-known yet, also do justice to their roles considering the limited depth of the characters they portray The story is rather flat, offering no justifiable motivation for Rebecca's behavior, for example, or adequate emotional depth in the her parents' regard of her situation.

Filipino parents with college age children might worry thinking whether the lifestyle of the American college teens isn’t yet being adopted by their children. The movie shows them at parties where booze flows freely and sex at first meeting is an expected part of the party package. You might also wonder what The Roommate is trying to tell us by its underscoring of the wild side of college kids—they are quite too often shown dancing, flirting, and drinking until they’re too toxic to walk home, but never shown poring over books. The only library scene is done more as a scare tactic than anything else. Parents—although by themselves they seem refined—are shown to be powerless over a stubborn daughter. A male teacher bribes a female student to take an “official” trip to Paris. Girls sleep with their boyfriends or engage in lesbian sex in total disregard of what their elders might say. This story delivers no moral lesson, nor does it give direction to young people towards a better life. But maybe you’ll come out of the theater hoping your kids will never imitate these ones!

Catch Me... I'm in Love

CASTt: Sarah Geronimo, Gerarld Anderson, Matteo Guidecelli, Ketchup Eusebio, Arlene Muhlach, Joey Marquez, Christopher de Leon, Dawn Zulueta; DIRECTORr: Mae Czarina Cruz; SCREENPLAY: Mel Mendoza del Rosario ; PRODUCER/ DISTRIBUTORr: Star Cinema ; LOCATION: Manila; GENRE: Romantic Comedy; RUNNING TIME:105 minutes

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers ages 13 and below with parental guidance

Si Roan (Sarah Geronimo) ay nagmula sa isang simple ngunit masayahing pamilya. Nagtatrabaho siya sa isang NGO (Non-Government Organization) na tumutulong sa mga mahihirap na pamilya sa probinsiya. Si Erick (Gerard Anderson) naman ay ang nag-iisang anak ng presidente ng Pilipinas (Christopher de Leon) na kababalik lamang mula Amerika kung saan siya ay nagtapos ng isang kurso. Palibhasa’y lumaki sa luho at may hinanakit sa ama, kakikitaan ng kawalang-direksiyon sa buhay si Erick ng kanyang ama. Sa isang kakatwang insidente ng pagtatagpo nina Roan at Erick ay makakaisip ang ama ni Erick ng paraan kung paanong maturuan si Erick na magkaron ng direksyon sa buhay. Papupuntahin si Erick ng kanyang ama sa probinsiya upang makihalubilo sa mga uring magsasaka. At dito ay papasamahin siya kay Roan. Hindi magiging magkasundo ang dalawa sa umpisa. Ngunit kalaunan di’y magkakahulugan ng loob ang dalawa. Ngunit hindi pala magiging madali para kay Roan ang maging kasintahan ng anak ng may pinakamataas na tungkulin sa bansa.

Kung tema ang pag-uusapan ay medyo luma at gasgas na ang kuwento ng Catch Me I’m in Love. Bago sanang maituturing na makasilip ang manonood ng kathang-isip na kuwento patungkol sa Unang Pamilya ng Pilipinas ngunit sa kabuuan ay pawang wala namang bagong nasabi ukol dito. Hindi rin ramdam ang laki ng konsepto ng pelikula. Pawang pinilit at pinababa nilang lalo ang opisina ng Pangulo ng Pilipinas. Pawang hindi tugma ang mraming bagay sa pelikula at nangunguna na rito ang kakulanga ng tinatawag ng “chemistry” ng dalawang tauhan. Ang papel na ginampanan ni Gernonimo ay tila kaparehas na lang mga nauna pa niyang pelikula. Sa maraming pagkakataon ay lumalaylay ang mga eksena sa pelikula at tumatamlay ang interes ng mga manonood dito. Maayos naman ang pagganap ng mga tauhan ngunit sadyang walang maramdaman sa kabuuang daloy ng kuwento. Masyadong naging mababaw ang dating ng materyal na dapat sana ay mayabong at malalim kung napagtuuan lamang ng pansin.

Marami namang aral na inihain ang pelikula. Nariyan ang patungkol sa pagmamalasakit sa kapwa at pag-iisip ng kapakanan ng iba bago ang sarili. Kita ang mahalagang papel na ginagampanan ng pamilya at magulang sa pelikula. Pinatunayan lamang nito na ang pamilya pa rin ang humuhubog ng pundasyon ng isang pagkatao. Ang dalawang pangunahing tauhan, bagama’t magkaiba ng estado sa buhay ay parehas napalaki sa maayos na pamilya kung kaya’t maituturing silang magandang halimbawa. Mahalaga ring tingnan kung anong buti ang maidudulot ng pagmamahal sa pelikula. Sa pagmamahal sa kapwa ay sumusunod na rin ang pagmamahal sa Diyos at bayan. Ang tunay na pagmamahal ay nakakapagpayabong sa isang pagkatao at nagagawa nitong possible ang mga bagay na inaakala nang imposible katulad ng pagbabago ni Erick sa pelikula na tumubo lamang dahil siya’y pinagmalasakitan ni Roan. Ang tunay na pagmamahal ay ang pag-iisip sa kapakanan ng minamahal bago ang sarili. Ito ang maliwanag na ipinakita ni Roan kay Erick lalo na sa mga panahong nahihirapan siyang makisabay sa uri ng pamilya at mga kaibigan ni Erick. Sa kabuuan ay hitik sa magagandang aral ang pelikula at sinasabi nitong ang pagmamahal ang pinakahigit sa anu pa man na nais nating magkaroon sa buhay na ito- yaman, kasikatan, kapangyarihan.

Sucker Punch

CAST: Emily Browning, Abbie Cornish, Jena Malone, Vanessa Hudgens, Jamie Chung, Carla Gugino, Jon Hamm, Oscar Isaac, Scott Glenn, Vicky Lambert; DIRECTOR: Zack Snyder; WRITER: Zack Snyder; GENRE: Action/Adventure, SciFi/Fantasy, Suspense/Thriller; RUNNING TIME: 120 min.

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

SYNOPSIS: "Sucker Punch" is an epic action fantasy that takes us into the vivid imagination of a young girl whose dream world provides the ultimate escape from her darker reality. Unrestrained by the boundaries of time and place, she is free to go where her mind takes her, and her incredible adventures blur the lines between what's real and what is imaginary. The IMAX release has been digitally re-mastered into the image and sound quality of The IMAX Experience with proprietary IMAX DMR (Digital Re-mastering) technology.

The Lincoln Lawyer

CAST: Matthew McConaughey, Marisa Tomei, John Leguizamo,Ryan Phillippe, Michaela Conlin, William H. Macy, Margarita Levieva, Katherine Moennig, Michael Paré, Michael Peña; DIRECTOR: Brad Furman; WRITER: Michael Connelly, John Romano; GENRE: Drama; RUNNING TIME: 119 min.

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

Criminal Lawyer Mickey Haller (Matthew Mclonaughney) is the defense counsel of Louis Roulet (Ryan Philippe), a son of a rich family in Los Angeles who is charged of assaulting a woman prostitute. Haller asks his friend, a private invetigator Frank Levin (William Macy) to help him in the investigation for the merit of the case. As a lawyer, Haller expects Louis to cooperate primarily by confessing the whole truth to enable him to better prepare for his defense argument. Whilst Louis admits he was at the scene with the woman, he consistently denies doing the crime. The problem is Louis cannot tell everything because his narration includes that he passed out when someone attacked him from behind disabling him to recall what happened next. As the case progresses, Haller starts to doubt the credibility of his client because of more discoveries in the investigation of Levin. Unfortunately, even before Haller arrives at the conclusion, circumstances already claim the life of his friend Levin. Haller is convinced that Louis is the real culprit but as a lawyer his job is to defend his client. Realizing the deceiving attributes of Louis, Haller knows his former wife Maggie Mcpherson (Marissa Tomel) and 7-year old daughter can be the next target after his friend Frank.

“Lincoln Lawyer” offers the usual investigative story. However, it unusually focuses on the struggles of a lawyer about the truth, ethics of law profession and personal concerns instead of the crime. The director does a good job in the treatment of unconventional theme of a simple investigative crime story. It builds up interest as film progresses towards climax and conclusion. The acting particularly that of Mclonaughney and Philippe are commendable. The lines are well-delivered and so are the facial expressions. The frequent close-up shots of faces and items (i.e crime evidences, car plate number, hand gestures, sex scenes) encourages the viewers to look through the details and gets closer to the characters of the film. Other than the use of close-up camera angle, there is not much to say about the cinematography. The settings are also limited. Somehow, the viewers may wonder why discussion over sensitive matters of the case is done at public places like park. And why a lawyer like Haller seems to be holding "office" inside his car. But the lights and sounds are good compliments of the film.

Every profession has corresponding ethics to observe and doing so gives dignity to the work. In the case of law profession especially when at the side of defense it is the duty of a lawyer to prove the innocence of the client. The film "Lincoln Lawyer" shows how a lawyer struggles to succeed
in defending a guilty person. But he also makes sure that he is not off the hook and chain of future similar crimes by the same persion should stop. At the end of the day crime should pay and justice must be served. For the most part, the film speaks about dignity at work, concerns for friends, and respect and caring for love ones. But the film also has the tendency to be insensitive on woman prostitutes and the media person who received money out of bribery.

Justin Bieber: Never Say Never

CAST: Justin Bieber, Miley Cyrus, Jaden Smith, Shawn Stockman, Wanya Morris, Nathan Morris; DIRECTOR: Jon Chu; GENRE: Documentary, Musical; RUNNING TIME: 105 min.

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

Never Say Never traces the career of teen idol Justin Bieber from the time his mother Pattie Mallette posted home videos of Justin singing pop songs to YouTube for family members to see—to the moment the 16-year-old performed at the world famous Madison Square Garden in New York. Through juxtaposition of family video clips and professional performances, both starring Bieber, a story emerges about an ordinary but musically precocious boy from a small Canadian town 150 kilometers west of Toronto. He was cute as a baby, and is still cute now as a as a singing sensation.

If Never Say Never were crafted like a usual fictional movie or literary work, its climax would be when the singer contracts an infected throat, threatening his scheduled performances, and its denouement would be when he gets over the sore throat and finally sends his fans screaming during the show that was reportedly sold out in 22 minutes.

So, is Never Say Never, directed by Jon Chu, a documentary, a bio-flick, a concert movie, or a publicist’s opus? A little of each, perhaps, having been crafted together out of the devotion of Bieber’s family, the adoration of his fans, the enthusiasm of his coaches and the enterprise of his managers.

We see videos of the toddler Justin displaying his drum-tapping genius on any surface he can get his hands on. We discover he’s a lefty when he’s shown as a little boy strumming a guitar. We hear his husky-for-his-age voice as he busks at a downtown sidewalk. And we view snapshots of this wide-eyed baby as though leafing through a family friend’s photo album.

When the camera is not on Bieber, it’s focused on his mother and grandparents being interviewed, his childhood playmates, his voice coach “Mama Jan”, his bodyguard Ryan Good, his manager Scooter Braun, and even (as in a cameo role) his estranged father who shows up at a performance.

There are tour-bus antics spliced in, glimpses of backstage goings on, clips of Bieber adeptly styling his now world-famous hair, off-stage moments of hugging and horseplay with family and friends, vocalization sessions, rehearsals, team prayers, encounters with fans and other scenes apparently calculated to project a more endearing guy-next-door image for “Bieber Beliebers.”

The outcome is not quite a movie, strictly speaking; instead it’s more like a victory parade winding through but three years of an internet-launched career. Bieber is a winner, and this movie is a celebration of his triumph over ordinariness. Also participating in this parade are young stars Miley Cyrus and Jaden Smith singing and dancing with Bieber in the highlights of the 86-show arena tour. Watching Never Say Never is like seeing the best of 86 Bieber shows for the price of a movie ticket.
As a film, Never Say Never is entertaining—even inspiring, in fact, particularly for his target audience of preteens, young tweeners (age 10-15) and 3rd millennium teenyboppers—but it does not break ground. Nonetheless, it is expected to rake in more millions as it has already reportedly exceeded the earnings of Michael Jackson’s This Is It in two months.

Watching Never Say Never, you might wonder what it is about this blond mophead that sends girls shrieking and weeping and gasping “Omigod!” at his appearance? Nothing like that seen since the Beatles, but the British mopheads were four in all. Bieber’s music is… well, it’s for his target audience, not for music afficionados; and his dance routine won’t take your breath away. It’s a relief, however, that aside from a bit of fireworks, director Chu is careful not to overshadow Bieber’s music with mise-en-scene or smother the boy’s considerable talent with theatrics.

So what’s so hot about Justin Bieber? Why do girls go ga-ga over him, doing silly things like brandishing placards that say “Marry me!” and “I’ll be his wife”? We can only guess: his boyish features and behavior which project innocence could be one reason; another is his passion for his music which suggests he has no time for hanky-panky and which challenges them all the more. There is also a playful air about him that syncs perfectly with his non-threatening physique: Bieber is 5’4” tall, weighs 108 lbs, wear XS shirts, size 27 pants and size 7 shoes—rather petite for a 17-year old Caucasian male, the more to invite cuddling and babying from adoring females.

He’s the squeaky-clean boy next door, obedient to elders, respectful to everyone, honestly cares for fans and entertains them without having to…uh…stroke his crotch.

This could owe to the fact that he has been raised by a mother who speaks about God as though He were part of the family, and grandparents whose nurturing presence has more than made up for the absence of his own father since he was an infant. The Christian home environment is duplicated in his workplace where prayer and offering of self and actions to God is de rigueur before each performance. All the signs say Bieber is a good boy.

But is Justin Bieber really as pure as the driven snow as Never Say Never would have audiences believe? Grandmothers who in yesteryears swooned over Elvis Presley, grandfathers who coveted Frank Sinatra’s voice, parents who grew up with The Carpenters may not be able to resonate with Bieber’s Eenie Meenie or Baby but they surely see Bieber’s menu as a healthy alternative to what other teen stars are dishing out to their children and grandchildren.

How long Bieber will reign supreme, or stay relatively uncorrupted, nobody knows. He is fortunate to have been born in the cyber era when it’s so easy for anyone with even a modicum of talent to be discovered and catapulted to fame at the click of a mouse. But fortune is a two sided coin. The problem is not getting to the top, but staying on top, and not just at the top of the sales charts, but on top of the traps waiting to ensnare one who tastes fame and fortune too much too soon.

The influences around Bieber are an interesting, combustible mix. In the first circle there is his mother and his grandparents forming a protective mantle of love around him; next there are his business partners, his growing, strengthening second family who will inevitably have a say on his future. Among them is Bieber’s idol and mentor, Usher, under whose label Bieber sings and who is known for his songs that exalt raw sex. Add to these influences the sway of his fans some of whom blatantly worship him like a god.

Will Justin Bieber eventually retire as a small town gospel singer or will he be packaged as a Junior Usher until the next YouTube sensation comes along? Will his star burn out before he’s 21 or will he walk with head held high until he finds his inner hero? That’s the beauty of Never Say Never—as long as you view it as a mere part of a process, a transition from boyhood to manhood, the metamorphosis of a human being—you’re free to write your own ending to it.

Rango

CAST: Johnny Depp, Isla Fisher, Abigail Breslin, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, Timothy Olyphant, Ned Beatty, Stephen Root; DIRECTOR: Gore Verbinski; WRITERS: John Logan, Gore Verbinski, James Byrkit; GENRE: Animation, Action/Adventure; RUNNING TIME: 107 min.

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

A road accident throws a caged pet chameleon off its master’s car, leaving the dazed creature alone to fend for himself in the Mojave desert. Yes it’s a male. As he is later to name himself, Rango (Johnny Depp) loves to spin tales of his own greatness as he craves social interaction. Life can be lonely for a domesticated lizard, after all, and he needs to survive in this treeless jungle he’s thrust in. If Rango could have his way, he would be an actor, and so Fate lets him blend into the scenery. He finds himself in a town called “Dirt”, populated by desert animals badly needing a bath and a hero. With luck on his side—and the chameleon’s natural gift of taking on the color of its environment—Rango causes the death of the dreaded predatory bird, then he is hailed as Dirt’s sheriff.

Rango is a delightful western with cartooned desert creatures as lead characters. The main element in this animated western is the mysterious stranger turned savior and protector of the terrified townsfolk in an outpost in the middle of nowhere. This movie actually pays homage to classics (such as High Noon and Blazing Saddles) is appealing to adults especially those who love westerns, spaghetti or authentic. However, it could be boring or scary to young children who will certainly miss the innuendoes and allusions to Hollywood cowboy heroes. Depp pairs up anew with Gore Verbinski who directed him in three of the Pirates of the Caribbean series; their team up works, not only because Depp, known for his madhatter roles, suits the crazy lizard’s character to a T, but also because the director has the versatility to handle both action and animation with finesse. Add to that the vividness of the animation drawings and you have a virtually striking opus that gives viewing pleasure minus the cumbersome platic 3D glasses.

Families will enjoy this tale of the accidental hero. What the kids will enjoy, let them enjoy; what they won’t understand, they will not miss. But adults of all ages will have something refreshing to pick up from the movie.

Limitless

CAST: Bradley Cooper, Robert De Niro, Anna Friel, Johnny Whitworth; DIRECTOR: Neil Burger; SCREENPLAY: Leslie Dixon; CINEMATOGRAPHY: Jo Willems; EDITOR: Naomi Geraghty; MUSIC: Paul Leonard Morgan and Nico Muhly; PRODUCERS: Leslie Dixon, Scott Kroopf, and Ryan Kavanaugh; EXECUTIVE PRODUDER: Tucker Tooley; PRODUCTION DESIGNER: Patrizia Von Brandenstein; GENRE: Action thriller; RUNNING TIME: 105 minutes

Technical Assessment: 4
Moral Assessment: 2
CINEMA Rating: Audience Age 18 and above

Struggling writer Eddie Morra (Bradley Cooper) is at a low point of his life --- career, relationship and finances, when he accidentally meets his former brother-in-law Vernon ((Johnny Whitworth) while walking in the street. Realizing his present state during a brief catch up, Vernon offers Morra a mind-stimulating pill called NZT that allows him to access 100 percent brain intelligence function and enables him to step up in his life. Cynical at the beginning, but on discovery of immediate amazing effect on his first try, he knows what to do next. He asks Vernon to give him more pills. But before Morra gets his share, Vernon is murdered. Morra manages to find a bag of pills. As expected, he suddenly gains back the lost glory as a writer, his girlfriend, and the liberty to enjoy the benefits of overflowing knowledge. His services become in demand in the business community where he had the opportunity to work with a business wallstreet tycoon Carl Van Loon (Robert De Niro).

The film "Limitless" has an interesting plot to start with. However, as the story builds up, it somehow struggles to sustain the interesting momentum. The scenes become predictable and has the tendency to prolong unnecessarily. The chasing scenes, for example, are not clearly established whether there is paranoia, real life and death situation, or just obsessions to the pills. For any reason, why death scenes have to be very violent. The director may also have overestimated the use of voice over for this film, because often the narration causes destruction. It already has a good casting coup that fits the requirements of the characters in the film. Acting wise, both Cooper and De Niro did well in their respective roles. If not of the good special effects, the film can be dragging at some points. Lighting is good and it helps in establishing emotions as required by the scenes. The cinematography is well complimented by special effects. Overall, the film goes with good technical qualities.

The film shows that accessing 100 percent utilization of brain function can bring amazing effects to the person, the economy and society in general. The problem is, the film disregards the natural process for it and instead promotes cheating and so called "instant" culture. It is simply drug addiction that is harmful to the body. The film shows how it makes people greed for instant success, money, fame, and power. The main technology is the human mind that people can use to bring out their full potentials with due respects to natural process. But the film ends with an alarming conclusion that it is okay to continue with an experimental drug for as long as it is taken "responsibly" with a right dosage and for a good purpose. The film also shows that sex is an easy trade off for a service of 'smart' person. The death scenes are too violent and absurd (such as sipping human blood). The film requires a mature audience who can understand the whole saga of this wonder drug and the accompanying circumstances.

World Invasion: Battle Los Angeles

CAST: Aaron Eckhart, Ramon Rodriguez, Bridget Moynahan, Michelle Rodriguez, Ne-Yo, Michael Peña, Ramon Rodriguez, Will Rothhaar, Cory Hardrict, Jim Parrack, Gino Anthony Pesi; DIRECTOR: Jonathan Liebesman; SCREENWRITER: Christopher Bertolini; MUSICAL DIRECTOR: Bryan Tyler; GENRE: War/Action/Fiction; LOCATION: USA; RUNNING TIME: 116 min.

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: Audience Age 18 and above

SYNOPSIS: For years, there have been documented cases of UFO sightings around the world – Buenos Aires, Seoul, France, Germany,... China. But in 2011, what were once just sightings will become a terrifying reality when Earth is attacked by unknown forces. As people everywhere watch the world's great cities fall, Los Angeles becomes the last stand for mankind in a battle no one expected. It's up to a Marine staff sergeant and his new platoon to draw a line in the sand as they take on an enemy unlike any they've ever encountered before.

Mars Needs Moms

CAST: Seth Green, Dan Folgi, Joan Cusack, Elisabeth Harnois, Mindy Sterling, Julene Renee, Ryan Ochoa, Jacquie Barnbrook, Matthew Wolf, Raymond Ochoa; DIRECTOR: Simon Wells; SCREENWRITER: Simon Wells, Wendy Wells, Berkeley Breathed; PRODUCER: Robert Zemeckis, Steven J. Boyd; GENRE: Action & Adventure, Animation, Science Fiction & Fantasy, Comedy; DISTRIBUTOR: Walt Disney Pictures; RUNNING TIME: 88 min.

Technical Assessment: 4
Moral Assessment: 4
CINEMA Rating: Audience Age 13 and below with parental guidance

SYNOPSIS: Take out the trash; eat your broccoli -- who needs moms, anyway? Nine-year-old Milo finds out just how much he needs... his mom when she's nabbed by Martians who plan to steal her mom-ness for their own young. "Mars Needs Moms" showcases Milo's quest to save his mom -- a wild adventure that involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader. With the help of a tech-savvy, underground earthman named Gribble and a rebel Martian girl called Ki, Milo just might find his way back to his mom -- in more ways than one.

Red Riding Hood

CAST: Amanda Seyfried, Gary Oldman, Billy Burke, Lukas Haas,Shiloh Fernandez, Michael Shanks, Julie Christie, Virginia Madsen, Max Irons, Darren Shahlavi; DIRECTOR: Catherine Hardwicke; GENRE: Drama; RUNNING TIME: 100 min.

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: Viewers 14 and above

Valerie (Amanda Seyfried) is in love with the brooding but passionate Peter (Shiloh Fernandez) but her parents want her to marry nice village boy Henry instead to help the family financially. Neither man is bad looking, and Valerie who likes Henry but is more attracted to Peter, agrees to elope with Peter. But their situation gets more complicated when Valerie’s sister is killed by a werewolf that strikes every full moon night. This terrifies the whole village: why would the werewolf kill a human being despite the village’s monthly animal sacrifice to keep the creature satisfied? So they call in famous werewolf hunter Father Solomon (Gary Oldman) who arrives in the village with a retinue of black bodyguards and a huge metal elephant. Soon, during another full moon attack, Valerie discovers she has a connection with the killer wolf but she keeps the discovery a secret. Father Solomon tells the villagers the werewolf takes human form by day, thus it could be one of them. Valerie suspects the werewolf could be someone she loves or who loves her.

Any screen character portrayed by Seyfried seems to automatically elicit sympathy from the audience, thanks to her wide-eyed look that lends her face childlike innocence. The trailer of Red Riding Hood apparently implies evil lurking behind those can’t-do-anything-bad eyes, but the movie would soon belie that sneaking suspicion. Obviously she’s not the werewolf but you nonetheless hang on to find out what ultimately happens. That, dear viewer, shows you how a bias for certain actors gets you hooked on the story despite the presence of some elements you would otherwise consider ridiculous or irrelevant. Here, they are the metal elephant that turns out to be torture chamber for suspected werewolves and witches, and the color of Valerie’s hood which contributes nothing to the story but which makes a great frame against a snow-covered landscape. The title itself makes you wonder, why “red riding hood” when Valerie never rides; doesn’t she only walk to her grandmother’s cottage and run away from the wolf? Some film critics would rip Red Riding Hood apart on account of its bearing vestiges of Twilight—this thing about werewolves, virginal heroines falling for bad boys yet spared from wolf attacks, but whatever, it’s an engaging story from beginning to end.

Of course, it’s a sin to kill a human being. But when a werewolf kills, it is not quite human, so is the act of killing then outside the scope of human morality? Aah, that’s a gray area in red riding hood country! How could CINEMA pass judgment on a werewolf’s trespasses, or is it worth the bother at all? We cannot do that without spoilers, so you might as well see for yourself why we’re giving it a 2.5 score in the moral arena. This teaser might help you, though: Why did the carnivorous werewolf who used to be satisfied by the villagers’ animal sacrifices kill a woman but did not eat her? a) the werewolf was scared away by the woman’s screaming; b) the werewolf was allergic to the fabric of the woman’s dress; c) the werewolf wasn’t hungry. Enjoy the ride.

The Adjustment Bureau

CAST: Emily Blunt, Matt Damon, Anthony Mackie, Terence Stamp,John Slattery, Daniel Dae Kim, Shohreh Aghdashloo, Michael Kelly, Liam Ferguson, Anthony Ruivivar; DIRECTOR: George Nolfi; WRITERS: George Nolfi and Philip K. Dick; GENRE: Romance, SciFi/Fantasy; RUNNING TIME: 106 min.


Technical Assessment: 3
Moral Assessment: 2.5
CINEMA rating: For viewers 18 and up

BRIEF SYNOPSIS: If the movie seems a hybrid of Matrix and Sleepless in Seattle, it’s because it strives to deal intelligently and entertainingly about fate, choice, free will, predestination, topics that elsewhere would require doctorate degrees to understand. On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris meets beautiful contemporary ballet dancer Elise Sellas. But just as he realizes he's falling for her, mysterious men conspire to keep the two apart. A metaphysical puzzle for mature minds; it could also be mistaken for a romantic sci-fi.

The Eagle

CAST: Channing Tatum, Jamie Bell, Donald Sutherland, Dakin Matthews; DIRECTOR: Kevin Macdonald; SCREENWRITER: Jeremy Brock; PRODUCER: Duncan Kenworthy; EDITOR: MUSICAL DIRECTOR: Atli Orvarsson; CINEMATOGRAPHER: Anthony Dod Mantle; GENRE: Drama, Action, Adventure; DISTRIBUTOR: Focus Features; LOCATION: Scotland; RUNNING TIME: 114 minutes


Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: Audience Age 14 and above

BRIEF FILM SYNOPSIS: In 2nd-Century Britain, two men - master and slave - venture beyond the edge of the known world on a dangerous and obsessive quest that will push them beyond the boundaries of loyalty and betrayal, friendship and hatred, deceit and heroism. Screenplay adapted Rosemary Sutcliff's classic novel The Eagle of the Ninth.

Senior Year

CAST: Che Ramos, LJ Moreno, RJ Ledesma, Ina Feleo, Arnold Reyes, Dimples Romana, Ramon Bautista, Aaron Balana, Celina Peñaflorida, Rossanne de Boda, Eric Marquez, Sheila Bulanhagui, Francez Bunda, Daniel Medrana, Nikita Conwi, Mary Lojo, Daniel Lumain; SCREENPLAY & DIRECTOR: Jerrold Tarog; LOCATION: Manila; GENRE: Drama
RUNNING TIME:100 minutes

Technical Assessment: 3
Moral Assessment: 4
CINEMA Rating: Audience Age 14 and above

Class Reunion sa hinaharap ng high school batch 2010 ng St. Frederick School. Inaalala ng class valedictorian na si Henry (RJ Ledesma) ang mga nangyari noong huling taon sa high school ng batch niya habang nag-iipon siya ng lakas at dahilan upang tumuloy at magpakita sa reunion. Dito magsisimulang manumbalik ang isang makulay na taon at iba’t-ibang kuwento ng kanyang mga batchmates. Nariyan ang hirap na dinanas niya sa pagbuo ng kanyang graduation speech habang tinitikis ang lihim niyang pagtingin kay Sofia. Kasabay nito ay ilang pagaalinlangan ng kanyang mga kaibigan sa kanilang buhay sa kasalukuyan at hinaharap habang nalalapit ang kanilang pinakahihintay na graduation.

Mahusay ang pagkakagawa ng pelikula at buo ang pagkakalahad ng kuwento ng Senior Year. Kahit pa maraming tauhan at kuwentong uminog sa iisang kalugaran, nagawa pa rin ng direktor na habiin ang ang lahat ng elemento sa isang makabuluhang kabuuan. Sino ba naman ang hindi nakakaalala sa kanyang high school life? Sobrang aliw ang pelikula sa pagbibigay-buhay sa mga tipikal na kuwento at tauhan sa high school. Sa pagkakataong ito, mga tunay na estudyante at hindi artista ang mga nagsiganap at lumabas na sobrang tototo ang pelikula. Parang pinapanood ng mga manonood ang kani-kanilang buhay noong sila ay nasa mataas na paaralan. Ang ilang tauhan naman ay pawang mga nakasalamuha mo nga noong ika’y dumaraan sa parehas na panahon. Ang resulta’y isang nakakaaliw na pelikula na pumupukaw sa isip at damdamin dahil parang hindi pelikula ang napapanood kundi ang totoong buhay. Buhay high school.

Tulad sa totoong buhay, maraming ibinato at inihaing nararapat pag-isipan sa pelikulang Senior Year. Ito nga ba ang panahon kung saan ang mga kabataan ay naghahanap ng kahulugan sa kawalang-kahulugan ng lahat ng kanilang pinagdadaanan? Dahil dito’y naging kahanga-hanga ang papel ng mga guro sa mga mag-aaral dahil nagsisilbi silang inspirasyon sa mga ito upang maging mabubuting mamamayan na maghahatid ng pagbabago sa lipunan. Sa kabilang banda rin ay marami ding dapat ipagpasalamat ang mga guro sa kanilang mga estudyante na nagtuturo din sa kanila ng maraming bagay ng higit sa kanilang nalalaman. Ang buhay high school nga naman ay isang matinding pagtawid – pagtawid mula sa pagkabata tungo sa pagtanda, pagtawid mula sa nakaraan tungo sa pagharap sa kinabukasan. Nariyan pa ang ilang kalituhan ukol sa pag-ibig, pamilya, pagkakaibigan at maging sa moral. Hindi naghusga ang pelikula at hindi rin ito nagsermon ngunit nag-iwan ito ng maraming malalim na konsepto na nararapat bigyang pansin kaakibat ang matinding pagsubok sa bawat isa na gawing makabuluhan ang pagkabata upang maging maliwanag ang kinabukasan pagtanda. Hindi nawawala ang pananalig sa Diyos, sa kapwa, sa sarili at sa mga institusyon na katulad ng paaralan. Gaano man katindi, kakulay, kapait ang buhay high school, ang isa’y makakapulot pa rin ng aral mula dito gaano man kaliit, dala pa rin ito habambuhay. Makabubuting kasama ng mga magulang ang kanilang mga anak sa panonood ng pelikulang ito hindi lamang para gabayan ngunit para mas higit pa nilang malaman ang mga saloobin ng mga kabataan ngayon.

I Am Number Four

CAST: Alex Pettyfer, Timothy Olyphant, Teresa Palmer, Dianna Agron, Callan McAuliffe, Kevin Durand; DIRECTOR: D.J. Caruso; WRITERS: Alfred Gough, Miles Millar, Marti Noxon; GENRE: Action/Adventure, Suspense/Thriller; RUNNING TIME: 104 min.

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: For viewers aged 14 and up.

John (Alex Pettyfer) is Number Four, an alien disguising himself on earth as “John Smith” to elude annihilation by the Mogadorians. Looking like a handsome ordinary American teenager he easily blends in with the rest of the high school crowd. Everybody takes his being a jet ski whiz as a simple athletic gift until one day, at the beach, when out from his leg emanates a strange light as he writhes in pain. It’s the third scar branded into his leg, and it means his Mogadorian pursuers have succeeded in killing Number Three. He has a protector posing as his father in the person of fellow Mogadorian Henri (Timothy Olyphant) who thinks it is time to move out to a safer hiding place, but John would not leave his girlfriend Sarah (Dianna Agron) behind. Meanwhile the Mogadorians are closing in and a confrontation becomes inevitable, revealing the presence on earth of a couple of John’s allies, one of whom is the Number Six (Teresa Palmer).

I am Number Four looked promising in the trailer but the real thing seems like a patchwork quilt whose most colorful elements are facsimiles of box office hits. A love between an earthling and Someone Who’s Not From Here? Doesn’t Twilight have that? Battles fought in the air? Plenty of that in Harry Potter! A cute puppy morphing into a monster? Well, don’t flashy cars go clank-clackety-clank to become giant metal murderers in … was it Transformers and/or Hulk? A sexy chick kicking ass with nary a drop of sweat? Remember Michelle Pfeiffer, Zhang Zi Yi, Michelle Liu, La Jolie and others who’ve done superwoman stuff? And what about ugly, menacing aliens? Ho-hum. But that’s not the most disappointing. The patch up job would have been tolerable if there had been a good plot to sew it up decently. But as it is, it seems like I Am Number Four has been produced to sell—only that, to sell, targeting 12-15 year olds who get high on escapist fantasy-cum-forbidden-love formula movies.

Because there’s no coherent story really testing the moral strength of the protagonists, all the violence and destruction seems mere debris floating in the air, defying gravity and direction, thereby remaining weightless and worthless as indicators of sound judgment. The lack of a story explains the lack of meaningful dialogue advancing the story. The Olyphant character almost provides a semblance of depth to his nearly-human thinking but it gets buried beneath the raucous computer-generated action. This patchwork movie leaves many holes uncovered, is fraying at the edges, and in its overload of borrowed colors loses its identity.

Faster

CAST: Dwayne Johnson, Billy Bob Thornton, Carla Gugino, Moon Bloodgood, Maggie Grace, Tom Berenger, Micaela Johnson, Jennifer Carpenter, Adewale Akinnuoye-Agbaje, Courtney Gains; DIRECTOR: George Tillman, Jr.; SCREENWRITER: Joe Gayton & Tony Gayton; PRODUCER: Martin Shafer, Tony Gayton, Liz Glotzer; EDITOR: Dirk Westervelt; MUSICAL DIRECTOR: Clint Mansell; CINEMATOGRAPHER: Michael Grady; GENRE: Action/Adventure; LOCATION: US; RUNNING TIME: 95 minutes

Technical Assessment: 2.5
Moral Assessment: 1
CINEMA Rating: Audience Age 18 and above.

BRIEF SYNOPSIS: After 10 years in prison, Driver has a singular focus - to avenge the murder of his brother during the botched bank robbery that led to his imprisonment. Now a free man with a deadly to-do list in hand, he's finally on his mission. It's a do or die race to the list's finish as the mystery surrounding his brother's murder deepens, and new details emerge along the way hinting that Driver's list may be incomplete.

Who's That Girl?

CAST: Anne Curtis, Luis Manzano, Eugene Domingo, Dina Bonnevie; DIRECTOR: Wenn Deramas; PRODUCER/ DISTRIBUTOR: Viva Films ; GENRE: Romantic Comedy; LOCATION: Manila; RUNNING TIME:120 minutes;

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

Humaling na humaling si Elizabeth Pedrosa (Anne Curtis) sa campus figure na si John Eduque (Luis Manzano) mula nung sila’y na sa kolehiyo pa. Yun nga lang, palihim ang paghanga ni Elizabeth kay John at pawang nasa pedestal kung ituring niya ito. Kinimkim ito ni Elizabeth hanggang sa sila’y magkalayo na ng landas at magkaroon ng kani-kaniyang buhay pagkatapos ng kolehiyo. Ngunit magbabago ang takbo ng lahat nang mabasa ni Elizabeth ang pangalan ni John sa obitwaryo. Pupunta siya sa burol at gagawa ng malaking eksena para lang malaman na ang namatay ay hindi si John kundi ang ama nito na kanyang kapangalan. Dala ng matinding hiya ay hindi na makakapagpaliwanag pa si Elizabeth at kakaripas na lang ng takbo. Mabibigla ang lahat sa burol at kanilang aakalain na nagkaroon ng ibang babae ang ama ni John na labis na ikagagalit ng ina niyang si Belinda (Eugene Domingo). Ipapahanap at tutugisin ni Belinda si Elizabeth habang si John ay ganun din ang gagawin. Yun nga lang, sa pagkikita at pagkakakilala nina John kay Elizabeth ay unti-unting mahuhulog ang loob nila sa isa’t-isa.

Naghatid ng matinding aliw ang Who’s That Girl sa mga manonood nito sa kabuuan. Pinakamatingkad na yaman ng pelikula ang talento ng mga nagsiganap lalo na si Domingo na wala pa ring kupas sa pagpapatawa. Mahuhusay din ang mga pangunahing tauhan na sina Curtis at Manzano yun nga lang, parang nagkulang pa sa hagod ang kanilang tambalan upang maging tunay na nakakakilig. Maganda ang naging simula ng kuwento at naging matindi ang interes ng manonood sa takbo nito. Talaga namang hagalpakan lahat sa kakatawa sa tuwing hihirit ang kakatwang karakter ni Domingo. Yun nga lang, parang nakakasawa na rin ang iba paglaon. Hindi pa rin napigilan ang pelikulang ito na gaya ng inaasahan sa isang pelikulang gawa ni Deramas, marami pa ring eksenang pawang pilit na isinisingit ang pagpapapatalastas ng mga produkto. Naging matahimik naman sa pagkakataong ito ang mga product placements pero pawang nahahalata pa rin ng maraming manonood. Nakakaapekto pa rin ito ng malaki sa daloy ng pelikula sa kabuuan.

Patungkol ang Who’s That Girl sa kung paanong maraming nagkakasira sa maling akala at kung paanong ang pagkakasirang ito ay maari namang maayos ng pagmamahalan. Yun nga lang, tila may mga bagay na sadyang pag nasira na ay mahirap nang ayusin pa. Tulad na lamang ng maraming bagay na nagawa ng galit ni Belinda dahil sa kanyang maling akala. Pinagsisihan naman niya ito sa bandang huli at naliwanagan din siya sa kahalagahan ng tunay na pag-ibig. Yun nga lang, maraming bagay sa pelikula ang nagkulang sa hagod at pagbibigay ng tamang kahulugan lalo na sa konsepto ng pag-ibig. Hindi gaanong malinaw kung ano ang nagtulak kina Elizabeth at John upang mahalin ang isa’t-isa. Ang kay Elizabeth ay malinaw na pagkahumaling pero tinatawag niya itong pag-ibig. Kay John naman ay pawang pagnanasa pero tinawag din nila itong pag-ibig. Nakababaha lang na magdulot ng maling impresyon at konsepto ang pelikula, lalo na sa mga kabataan, kung ano nga ba talaga ang tunay at wagas na pag-ibig. Ipinakita na sana ito sa pagmamahalan nina Belinda at John Sr. ngunit nasira din naman kalaunan. Malabo tuloy ang mensahe ng pelikula sa kabuuan. Sa gitna ng mga aliw at halakhak ay tila naman yata walang laman ang pelikula. Nariyan pa ang mangilan-ngilang paghuhubad ng ilang tauhan na nasa konteksto naman ngunit kinakailangan pa ring gabayan ang mga batang manonood.

Black Swan

CAST: Natalie Portman, Mila Kunis, Winona Ryder, Sebastian Stan, Vincent Cassel, Janet Montgomery, Barbara Hershey,Christopher Gartin, Toby Hemingway, Kristina Anapau; DIRECTOR: Darren Aronofsky; WRITER: Andres Heinz, Mark Heyman, John McLaughlin; GENRE: Drama, Suspense/Thriller; RUNNING TIME: 110 min.

Technical Assessment: 4
Moral Assessment: 1.5
CINEMA Rating: For viewers 18 and above.

A ballerina with the New York Ballet Company, Nina Sayers (Natalie Portman) gets her dream role as Queen Swan when the impresario Thomas Leroy (Vincent Cassel) thinks Beth (Wynona Rider) has become too old for the role. As Swan Lake’s lead dancer, however, NIna has to inhabit two roles—the good White Swan and the evil Black Swan. The problem is while Nina has her technique honed to perfection, she lacks the passion to fill the Black Swan part. At 28 she is still treated by her mother Erica (Barbara Hershey) as though she were 20 years younger, sleeping in a bedroom all pink and fluffy and populated by teddy bears and other stuffed toys. Not for a moment dissuaded by Nina’s frigidity, Leroy spurs her on with calculated seduction, teasing her and then tormenting her by flying in the passionate Lily (Mila Kunis) from California to dance the Black Swan part. Partly to fulfill her ideal of perfection and partly to spite her overprotective mother—a retired dancer living her life through her daughter’s career—Nina is inevitably lured to explore her dark side.

Every single actor in Black Swan have all their feathers neatly in place: smooth, credible performance, good line delivery, great rapport all the way. Cassel is as charming as a devil can be. Hershey fits the aging stage mama role to a T. And Portman gives a performance worth a standing ovation. She’s really good at such roles—as in The Other Boleyn Girl—playing flawed characters who are definitely assured of a place in Dante’s Inferno. Director Darren Aronofsky carries you away with his sense of aesthetics; you get so busy gawking at his mesmerizing art that you lose track and don’t question anything till the end when you somehow suspect you’ve been had.

The story is seen from the point of view of an artist—Nina—who instead of losing herself in her art loses her sanity. Thus the thin line between reality and fantasy is blurred, and it’s you who lose yourself in Tchaikovsky’s music (albeit chopped up and overlayed with electronic muck reminiscent of Terminator). And when Nina does what she does at the end of the dance, you wake up and say, “Hey, wait a minute! How can you be so sure this act is not another nightmare or hallucination or one of those fears and fantasies that rattle her in her sleep and lull her to stupor when she’s awake?”

Who the hell cares? The point is, for CINEMA, aesthetics isn’t everything—neither is technique. Black Swan is both eye candy and tricky brainteaser, sure, but where’s the meat? Its only saving grace in terms of ethical content is the devotion Nina has for her craft, her drive towards perfection. But then again, the devotion crosses the boundary to neurosis, and the drive leads to the perfection of self-destruction. Black Swan is not about ballet—in fact it’s unflattering to the ballet industry; it’s more about an obsession dipped in the glitter of high art but which remains lowly nonetheless because the film chooses to overpower the heroine by her semi-conscious acquiescence to evil. Ask yourself: In the misguided pursuit of perfection is it worth sacrificing your soul for your art?

From Prada to Nada

CAST: Camilla Belle, Alexa Vega, April Bowlby, Kuno Becker, Wilmer Valderrama, Nicholas D'Agosto, Adriana Barraza, Karla Souza, Alexis Ayala; DIRECTOR: Angel Garcia; SCREENWRITER: Luis Alfaro, Craig Fernandez, Fina Torres; PRODUCER: Gigi Pritzker, Linda McDonough, Rossana Arau, Gary Gilbert &Lisa Ellzey, EDITOR: Brad Maclaughlin; MUSICAL DIRECTOR/COMPOSER: Daniel Hubbert, Andrea von Foerster, Sebastian Zuleta, Neitor Pereira; CINEMATOGRAPHER: Hector Ortega; DISTRIBUTOR: Lionsgate; GENRE: Comedy, Romance; LOCATION: USA ; RUNNING TIME: 107 minutes

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: V14

Nora (Camille Belle) and Mary (Alexa) are beautiful, rich, spoiled and pampered. Although their last name is Dominguez, they definitely do not consider themselves Latina and have put no effort to learning their mother’s native tongue. The sisters think they have everything until their father dies and they find themselves penniless and at the mercy of the woman with whom their father had an affair with. The sisters are kicked out of the house and are force to live with their auntie in the poor side of East Los Angeles. At first, they are bemused at the living conditions of the people and look at themselves as a class way above the rest. However, the Latino community is not impressed with the newcomers. Over time, only when the sisters learn to live beyond their designers’ clothes and BMWs and value themselves for the real person inside their hearts and start treating other people as equals do they find true meaning in life.

The movie is a weak spin off on Jane Austen’s “Sense and Sensibility”. Although, there are numerous instances where we find the girls in hilarious situations, the humor fails to deliver a good punch because the storyline is too predictable and the plot takes a long time to make the necessary twist for character redemption. The problem is in the script. The characters are too shallow and empty-headed that by the time they make the transformation, it is a bit too late to be genuine and to elicit sympath. And because the script is flat and the script shallow, you cannot really expect a stellar performance from the lead actors. On the positive side, the movie is cute and adorable production-wise. The movie starts with an interesting and promising premise but fails to deliver a great movie.

There are several good points that the movie emphasizes:

First, we say that material wealth should not be the basis of judging a person. FROM PRADA TO NADA shows this clearly as characters find meaning in life and self-respect not when they were covered with blings, brands and expensive things but when they were stripped of all possessions and began to interact using their hearts.

Second, people are always capable of changing. We can never say that just because a person was born and raised in a certain way, he or she will remain like that for the rest of his or her life. We clearly see how the lead characters made a complete 360 in dealing and respecting people and in discovering their self-worth.

Lastly, success is sometimes handed down the family line, but it is sweeter and more meaningful when it comes hand in hand with perseverance and hard work. People who have invested sweat, talent and determination in their achievements value the fruits and rewards even more.

The movie is not one of the must-see films but for those who would or plan to, there are good lessons to take home afterwards.

Unknown

CAST: Liam Neeson (Dr. Martin Harris), Diane Kruger (Gina), January Jones (Elizabeth Harris), Aidan Quinn (Martin B), Bruno Ganz (Ernst Jurgen), Frank Langella (Rodney Cole); DIRECTOR: Jaume Collet-Serra; SCREENWRITER: Stephen Cornwell, Oliver Butcher; GENRE: Drama, Horror, Mystery & Suspense; DISTRIBUTOR: Warner Bros. Pictures; LOCATION: Berlin, Germany; RUNNING TIME: 115 minutes

Technical Assessment: 3 ½ .
Moral Assessment: 2 ½ .
CINEMA Rating: Audience Age 18 and above

American botanist Martin Harris (Liam Neeson) flies to Berlin with his wife Elizabeth (January Jones) to speak at a biotechnology conference. Checking in at the hotel he misses his briefcase, rushes back to the airport in a cab to retrieve it and gets into an accident that causes brain trauma resulting in partial memory loss. After cab driver Gina (Diane Kruger) bravely saves him from death, the police take him to a hospital where he lies in coma for four days. He awakens, wonders why no one has looked for him, and recalls just enough to escape from the hospital and return to the hotel to find his wife he hopes will establish his identity. He finds her with a stranger (Aidan Quinn) who claims to be the real Martin Harris. Worse she denies knowing him and confirms that her husband Martin Harris is the man with her. It’s a mystery the bewildered Harris would give his all to solve, and he is helped by Gina and her friend Ernst Jurgen, a private investigator (Bruno Ganz) who used to work in the East German secret police.

Based on French writer Didier van Cauwelaert's novel, Unknown may keep you at your seat’s edge rooting for the accident victim—credit that to Neeson’s looks which seem to naturally evoke sympathy. But of course he’s an actor who feels his role to the bone, even if his character be in such an absurd situation as Harris. Good direction by Jaume Collet-Serra pulls together the pieces of this brain-teasing story into clarity, aided by the lead actors’ self-convinced portrayal of their roles. Ganz as the ex-spy, wizened and wise and blessed with a prickly humor by his Stasi past, lends depth—even heroism—to the plot. If it were up to us, Ganz should get a nomination for Best Supporting Actor. Action and violence abound as the audience is led further into the dark, until close to the end of the 115-minute thriller when the unknown becomes known.

Unknown seems to have been made just to puzzle the brain. Older generations would call it “mental calisthenics”, the younger ones would say it’s “mind f—k”. It may entertain many who like to solve riddles but it offers little ethical guidance for those expecting it. Its redemptive factor comes late in the movie when—the mystery having been demystified—a character tries to influence another towards a new life direction. Unknown, however, may arouse one’s curiosity regarding the killer-for-hire industry, to ask questions like: How deeply is a spy indoctrinated to prepare for his or her mission? How does the training impact his self-image? How much of his real self is lost in the process? Does this then still hold him morally culpable for the acts he is paid to commit? Is there another process by which the killer-for-hire is disengaged totally from his role upon the completion of his mission? You see, even movies that critics would judge unworthy may lead to profound thoughts a world in chaos needs today.