Brave

LEAD CAST: (VOICE) Kelly Macdonald, Julie Walters, Billy Connolly, Emma Thompson, Kevin McKidd, Craig Ferguson, Robbie Coltrane, John Ratzenberger  DIRECTOR:  Mark Andrews, Brenda Chapman, Steve Purcell  SCREENWRITER:  Brenda Chapman, Steve Purcell, Brenda Chapman, Mark Andrews, Irene Mecchi  PRODUCER:  Katherine Sarafian, Mark Andrews  EDITOR:  Nicholas C. Smith  MUSICAL DIRECTOR:  Patrick Doyle GENRE:  3-D Computer-Animated, Fantasy, Adventure RUNNING TIME:  93 minutes  DISTRIBUTOR:  Walt Disney Pictures  LOCATION:  Scotland

Technical:   4

Moral:    3.5

CINEMA rating: PG 13

Brave is an animated adventure about a feisty, red-haired Scotland princess, Merida (voiced by Kelly Macdonald), who wants most of all to be free.  Free, that is, from tradition personified by mother Queen Elinor (Emma Thompson) who is trying her queenly motherly best to make a demure future queen of her tomboyish teenage daughter.  Merida does not give a hoot how princesses are supposed to act, behave, or be, and over needlepoint and courtly manners the little redhead actually prefers to pack her bow and arrows to gallop into the forest with her favorite horse Angus.  Merida’s rather un-kingly father King Fergus (Billy Connolly), a hunk of a bear hunter, lets her get away with her brattiness, but Queen Elinor doggedly trains the girl the way she was trained in her youth.

When suitors from neighboring kingdoms arrive to vie for the hand of the reluctant princess, she escapes to the forest and there encounters will-o’-the’wisps, tongues of blue flame traditionally believed to be spirits that lead people to their fate.   They take Merida and Angus down the path to a cabin where lives a gnarled old witch (Julie Walters)  disguised as a woodcarver.  Distraught, Merida asks the witch for a spell that could change her mother’s mind about smothering rules, especially her insistence on marrying her off.  Her mother does change, but not in the way Merida has expected, and in order to reverse the spell, Merida must act fast.  With the help of her much younger brothers—triplets and redheads, too—they race to catch the second sunrise to save their mother.

Pixar is a reliable name when it comes to big, bold, beautiful, and meticulously rendered  animations.  If anything is apparent in the movie’s details and astonishing settings—the lush landscapes, the foliage, the castles—it is the intensive research the makers must have done to perfect this piece.  Even the hair styles of Merida and Queen Elinor have been thoughtfully designed to speak for the character of either person: the heavy, long and neatly braided style of the brunette queen evokes courtliness and propriety, while the unruly, free-flying red curls of the princess incarnate her impetuousness. Critics tend to compare Pixar offerings without giving each a chance to be just itself.  Thus they feel Brave is not as compelling as Wall-E, Up or Toy Story but is definitely better than Cars 2—that stuff.  But each Pixar number has a charm all its own, and in Brave it is in the emotional depth conveyed through the development of Merida’s character, from the rebellious enabler of her mischievous brother-triplets to a… well, you’ll see for yourself.

This first princess movie from Pixar is as formulaic as any Disney princess movie, containing the usual elements (the hero in crisis, the animal friend, superhuman intervention, etc.) except that Brave has no romantic interest to speak of—no frog turning into a prince by a kiss, no prince for the princess to ride off to the sunset with.   At first glance Brave seems to be simply about mommy issues, but a deeper look reveals a more serious message being delivered: that the “happily ever after” is the fruit of one’s courageous attempt to find one’s destiny against all odds.  “You cannot run away from who you are, (a princess)” Queen Elinor tells Merida.  As the story unfolds, the statement rings true but for the viewer comes to mean that Merida cannot run away from being Merida in order to become a princess—she has to be who she is.

CINEMA cautions parents that Brave has certain scenes which may scare very young children (below 7-years-old).  With proper guidance especially on the issue of obedience to parents and rebelliousness, older ones and pre-teens may benefit from its message.

Just one summer

Cast:  Elmo Magalona, Julie Anne San Jose, Joel Torre, Alice Dixon, Cherry Pie Picache, Gloria Romero, Buboy Garovillo  Director: Mac Alejandre  Screenwriters:  Oman Sales, Emman Dela Cruz, Kei Fausto  Producer: GMA Films  Location: Philippines  Genre: Drama  Running Time: 105 minutes

Technical Assessment: 3.5

Moral Assessment:  2.5

CINEMA Rating:  For mature viewers age 14 and above

Lumaki si Nyel (Elmo Magalona) na puno ng hinanakit at galit sa ama na si Dan (Joel Torre) dahil mas pinili nito na manirahan at asikasuhin ang kabuhayan sa probinsya  kaysa makapiling sila ng ina na si Irene (Alice). Subalit ng kinailangan niya ang pirma ng pagpayag ng ama para makapag-aral sya sa ibang bansa ay napilitan si Nyel na puntahan ang ama sa probinsya kung saan matutuklasan niya na may iba na itong kinakasama. Magiliw at maasikaso naman kay Nyel ang bagong kasama ng ama na si Julie (Cherry Pie Picache) subalit katulad ng inaasahan ay na kay Irene na tunay nyang ina ang simpatiya ni Nyel kaya kahit papaano ay damay si Julie sa malamig at masungit na pakikitungo ni ni Nyel sa ama. Samantala, manggagawa sa gatasan ni Dan ang pamilya ni Beto (Julie Anne San Jose).  Sa takot na madismaya ang amang si Berting (Buboy Garovillo) dahil di siya pinalad na maging iskolar ay lumapit si Beto kay Dan upang umutang ng pang matrikula at nakiusap na pagtrabuhan sa gatasan ang pambayad sa halaga ng mauutang nya. Madali naming pumayag si Dan sa kondisyon na ang trabahong ibinigay sa kanya ay subaybayan at kaibiganin ang nagbabakasyong anak na si Nyel upang kahit papaano ay magustuhan nito ang buhay sa bukid.  Hindi naging madali kay Beto ang trabaho dahil nga isang lalaki na puno ng galit at isyu sa pamilya si Nyel ay nakatikim din sya ng kasungitan nito pero dahil trabaho ay pinagtiisan nya ang lahat. Hanggang saan hahantong ang isyu sa pamilya ni Nyel at ang sitwasyon nina Nyel at Beto?

May mga sablay ang daloy ng kuwento ng pelikulang “Just One Summer”. Hindi malinaw kung bakit tila wala man lamang naging komunikasyon ang mag-anak sa isa’t isa sa mahabang panahon ng paghihiwalay, at kung bakit tila nagulat pa na may iba ng kasama ang ama. Hindi rin nakitaan ng lalim ang nabuong espesyal na pagtitinginan ng mga karakter nina Beto at Nyel at di masyadong nakapaghatid ng kilig ang tambalan ng dalawa. Mas lumutang ang kwentong pamilya sa pelikula kaysa kwento ng pag-ibig ng dalawang kabataan na siyang sinasaad sa promosyon ng pelikula. Kung  love story ang aabangan ng isang manonood ay mabibigo dito.  Nakasentro sa karakter ni Nyel ang kwento bilang anak. Nakatulong ang suporta ng mga batikang actor sa pelikula upang makapagpahayag ng emosyon sa mga eksena at may potensyal naman ang mga baguhan lalo na si Magalona. Maganda ang kuha ng camera lalo na ang mga eksena ng tanawin sa bukid at sa gatasan. Nakapaglarawan ang pelikula ng kaalaman tungkol sa proseso ng pagpipiga ng gatas mula sa dibdib ng mga gatasang baka. Maganda ang disenyo ng produksyon kahit na sa loob at labas ng mga bahay ng mayaman at mahirap kaya madaling nakapaglaro ang mga kuha ng camera. Akma lamang ang ilaw at inilapat na tunog sa mga eksena bagamat halos di nakarinig ng ingay mula sa mga baka. Maingat ang pagkakalapat ng musika lalo na ang theme song kahit ilang beses na ginamit sa mga lumang pelikula. Sa kabuuan ay maayos ang teknikal na aspeto ng palabas.

Napakalapit sa puso ng mga Filipino ang tema ng pamilya lalo na kung nagpapakita ng pagmamahalan, pagkakaisa at pagkakasundo. Taliwas ito sa ipinakita sa mas mahabang parte ng pelikula. Nakakabahala ang kawalan-respeto ng anak sa ama at sa marangal na trabaho sa bukid. At hindi katanggap-tanggap na maging pisikal ang ang anak sa pananakit sa magulang katulad ng pinakita sa pelikula. Subalit mas nakababahala ang pagiging komportable ng ama sa bukid sa piling ng ibang babae sa kabila ng pagkakaroon ng lehitimong asawa at anak na dapat ay naging pangunahing responsibilidad niya bilang padre de pamilya.  Malinaw na hindi nagbigayan at sa halip ay pinairal ang pride kaya tuluyang nawasak ang pamilya na syang labis na nakaapekto sa pagkatao ng kanilang anak. Samantalang imahe ng matatag, composed at mahinahon na mga babae sa gitna ng sigalot ng pamilya ang ipinakita sa pelikula. Bagamat kapwa nabigla ay wala ang madalas na eksena ng sigawan, sumbatan at sabutan sa pagitan ng legal na asawa at kabit. Subalit kahit gaano kahinahon o kabuti ang pagdadala ng isang babae sa sitwasyon niya bilang kabit ay imoral na gawain pa rin maituturing ang pagpatol sa isang may-asawa hanggat hindi pa legal na hiwalay.

Napakahalaga ng papel ng magulang sa paggabay sa anak lalo na sa pakikipagrelasyon at paghahanda sa hinaharap. Ang pag-ibig sa murang gulang ay dapat bukas sa paggabay ng magulang para maging maayos at magsilbing inspirasyon sa pagtupad ng mga pangarap. 

Maselan ang mga ipakitang paksa ng wasak na pamilya, pakikiapid at epekto ng mga ito sa pag-uugali ng anak kaya kailangan na may taglay na sapat na kaisipan at pang-unawa ang manonood ng pelikulang ito.

Step Up Revolution

LEAD CAST: Kathryn McCormick, Ryan Guzman, Adam Sevani, Misha Gabriel, Peter Gallagher  DIRECTOR: Scott Speer  SCREENWRITER:  Jenny Mayer  PRODUCER:  Jon M. Chu  EDITOR:  Ben Howdeshell, Steve Ngo  MUSICAL DIRECTOR:  Aaron Zigman  GENRE:  Musical, Drama  CINEMATOGRAPHER:  Karsten Gopinath  RUNNING TIME:  99 minutes  DISTRIBUTOR: Summit Entertainment, Touchstone Pictures  LOCATION:  United States

Technical:   4

Moral:   3

CINEMA rating:  V 14

A newcomer in Miami, Emily Anderson (Kathryn McCormick), aspires to become a professional dancer.  At a bar she meets Sean (Ryan Guzman), a young man who flashes his six-pack abs and leads a dance crew in elaborate, cutting-edge flash mobs.  Because Emily is an exceptional dancer as that first meeting reveals, Sean manages to get her in their crew, called the MOB.  The MOB is currently campaigning to win a YouTube contest for a major sponsorship opportunity to the tune of $100,000, but a rich businessman threatens to destroy the MOB's historic beach front neighborhood in the name of “development.”  The process will surely displace thousands of residents, many of them having lived there all their lives.  If the deal pushes through, where will the MOB crew go?  What will happen to their hopes of winning the contest?  Guess what, the rich businessman is Emily’s father.  Now Emily must collaborate with Sean and the MOB to turn their performance art into protest art and risk losing their dreams to fight for what they believe to be a greater cause.

One goes to this type of movie presumably for the dances.  While there is a well-meaning story it is almost a second thought, as though the makers decided, “Oh, wow, we ‘ve got a winning combination here—toned bodies with superb moves, rousing music, fantastic choreography—let’s write a story to go with it.”  It appears that Step Up Revolution was born that way.  In case you want to see the movie, follow the story to its predictable ending, but close an eye to the acting.  Close-ups are especially telling of the actors’ lack of emotive power.  Don’t bother to question, either, the financial capacity of the MOB to produce such costly props and costumes, vintage cars, etc; they are all there for effect.  Sensitive viewers might be bothered by the impunity with which the movie allows the MOB to damage public and property just so they could perform with maximum impact, wow audiences, and gather You Tube hits. So, parents, it’s your choice: if you go to watch it, just tap your foot to the music, wish you were young again, and warn your kids never to try those acrobatic moves at home.

The Healing

LEAD CAST:  Vilma Santos, Kim Chu, Pokwang, Janice de Belen, Robert Arevalo, Mark Gil, Martin del Rosario, Allan Paulle, Cris Villanueva, Daria Ramirez, Ces Quesada, Ynez Veneracion, Simon Ibarra, Abby Bautista, Joel Torre, Chinggoy Alonso, Mon Confiado, Carmi Martin DIRECTOR:  Chito S. Rono  PRODUCER: Charo Santos  GENRE: Horror, Drama  DISTRIBUTOR:  Star Cinema  LOCATION:  Philippines

Technical:   3.5

Moral:    2

CINEMA rating:  V 14  (For viewers aged 14 and above)

Napagaling ng faith healer na si Manang Elsa (Daria Ramirez) ang stroke victim na si Odong (Robert Arevalo), ama ni Seth (Vilma Santos).  Dahil kumalat ang balita na ang baldadong si Odong ay nakabangon at nangangapit-bahay na kinabukasan, ang ilang mga kaibigan ni Seth ay magsisilapit sa kanya para magpasama din kay Elsa nang malunasan ang kani-kaniyang mga sakit.  Kabilang dito sila Chona (Ces Quesada), Alma (Pokwang), Kakay (Abby Bautista), Greta (Ynez Veneracion), at iba pa.  Bantulot na sasamahan ni Seth ang grupong may iba’t ibang sakit sa tirahan ni Elsa, at dito matatagpuan nila ang ilang may sakit na naghihintay sa labas pagkat hiniharang sila ng kapatid nito (Joel Torre).  Pagod na raw si Elsa at hindi na kayang manggamutan.  Ngunit dudungaw si Elsa mula sa kuwarto sa itaas, pakikinggan ang nagsusumamong si Seth, at patutuluyin ang pulutong.

Babalik sila sa kanilang kapitbahayan ng umaasang magsisigaling lahat.  Sa simula, tila lalala pa ang mga sakit ng mga kasama ni Elsa, ngunit kinabukasan, isa isa silang magsisigaling, at magsasaya.  Papasok ang hiwaga sa buhay ng magkakaibigan nang matatagpuang bangkay si Chona, kinitil ang sariling buhay at nakabulagta sa kalye.  Susundan ito ng di maipaliwanag na mga karahasang sangkot ang mga pasyenteng gumaling.  Mapupuna nila na iisa ang takbo ng mga pangyayari: ang unang napagaling ay unang mamamatay, at isa-isang susunod ang iba—ngunit mababaliw muna ito at maghahasik ng kadiliman sa kanilang paligid bago tuluyang magpakamatay.  Ngunit… bakit buhay pa si Odong na ama ni Seth, at sa katunayan ay nagmumurang-kamatis pa?  Di ba’t siya ang unang sinamahan ni Seth at napagaling ni Elsa?

Napakakinis ng pagkaka-dirihe ni Chito Rono sa The Healing.  Totoong hindi hinabi ang pelikula para lamang manggulat at manakot sa mga manonood, pagkat maliwanag na may kuwento itong isinasalaysay.  Maihahambing na rin sa mga pelikulang imported at nakahihigit ang kalidad ang pagkakagamit ng CGI (computer generated images) sa The Healing, bagama’t wala itong bagong naidagdag sa genre.  Sa katunayan, ang mga ipinakita dito ay “lumang tugtugin” na, halimbawa, ang paggamit ng uwak upang magpahiwatig ng nakaambang kapahamakan.  Nakakasawa din ang paulit-ulit na gimmick na ginamit kapag nababaliw na ang mga pasyente—kikilos nang kakaiba; magdidilim ang mukha; manglalaki, tila luluwa, at magpapaikot-ikot ang mata.  Kapag nasa punto nang iyon, tiyak, papatay na siya, at papatayin din ang sarili.  Nawawala tuloy ang “gulat”, nagiging predictable.

Subalit ang kakulangang ito ay mapupunuan na napakahusay na pagganap ng mga artista.  “Nahatak” nito ang grading teknikal ng The Healing sa aming mga mata.  Maaalala na ang The Healing ay itinuturing na ring pagdiriwang ng 50 taon sa pelikula ni Vilma Santos, na ngayon ay iginagalang na sa larangan ng politika.  May palagay kaming naging inspirasyon si Santos ng mga kasamahan niyang gumanap, kayat kahit na ang mga bagitong matatawag ay nagpakitang gilas sa kani-kaniyang mga papel.  Ipinakita rin ni Janice de Belen (Cita, ina ni Kakay) na hindi pa rin kumukupas ang galing niyang gumanap, at kahit na ang komikerang si Pokwang ay nagpamalas na rin ng husay sa pagda-drama.

Ang paksa ng pelikula, na napapaloob din sa pamagat nito, ay ang pagpapagaling ng karamdaman sa labas ng kinikilalang siyensiya ng medisina, ngunit ang ubod ng salaysay ay: hanggang saan nakakatulong at nakakabuti ang ganitong uri ng panggagamot?  Kailan dapat gamitin ang kapangyarihang ito, at kailan dapat ihinto?  Inaalam ba ng tao kung saan nagmumula ang kapangyarihang ito?  Kung susukatin ang ibinubunga nito—ang paggaling ngunit pagkabaliw ng mga pasyente—masasabi ba nating nagmumula sa Diyos ang kapangyarihan ni Elsa? 

Isang puna lamang: napakaingay ng mga nanonood na kasabay namin sa Megamall, tila walang pakundangan ang ilan sa damdamin ng ibang manonood.  Puno ang sinehan, at dahil sa ingay nila ay mahirap nang ihiwalay ang kanilang sigaw, daldal at tili sa tunay na sounds ng pelikula.  Unfair ito sa pelikula, pagkat iginagalang nito ang manonood sa pamamagitan ng pagdibdib nito sa kanyang sining, ngunit ginugulo naman ng mga taong walang humpay sa kadadada.  (Marahil, ganoon nila pinapawi ang kanilang takot).  

Nabalitang dalawa ang bersiyon ng The Healing na ipinasa ng MTRCB: ang isa ay PG13 ang rating, at ang isa naman ay R18.  Ang napanood ng CINEMA ay yaong PG 13 kaya’t marami sa mga nanood ay may kasamang mga bata.  Lubhang madugo ang napanood naming bersiyon, bagay na ipinagtaka naming kung ano pa kayang mga karumal-dumal na bahagi ng pelikula ang napapaloob sa R18 version nito.  Dito pa lamang, sa close-up shots ng mga kinikitlan ng buhay at bumubula pang dugo na dumanak mula sa bangkay sa kalye ay napapabiling na kami sa aming mga upuan, ano pa kaya ang magiging epekto sa manonood ng pang-matandang bersiyon?  Sa panukat ng CINEMA, labis na marahas, madugo, at maaaring makalito sa murang isipan ng mga bata ang The Healing.

The Dictator

LEAD CAST: Sacha Baron Cohen, Jason Mantzouka, Ben Kingsley, Anna Farris  DIRECTOR:  Larry Charles  SCREENWRITER:  Sacha Baron Cohen,  et al  PRODUCER:  Sacha Baron Cohen  et al  EDITOR:  Greg Hayden, Eric Kissack  GENRE: Comedy  CINEMATOGRAPHER:  Laurence Sher  RUNNING TIME:   83 minutes  DISTRIBUTOR: Paramount Pictures  LOCATION:  USA

Technical:   3

Moral:   2

CINEMA Rating:  R 18 (For adults aged 18 and above)

Admiral General Aladeen (Sacha Baron Cohen) is a self-centered, childish bigot dictator of Wadiya, an oil-rich country somewhere in North Africa. He does not believe in any cause save for himself and has no problem executing people for any or no apparent reason. Unfortunately, there is nothing between his ears, so as expected, most of his decisions are sloppy and equally idiotic. In an attempt to thwart the United Nations Security Council intervention because of his refusal to sell oil to the world, Aladeen is forced to address the council in New York. That evening, Aladeen is kidnapped and is replaced by his treacherous uncle Tamir (Ben Kingsley) with a mentally-challenged decoy so he can manipulate the democratization of Wadiya for his personal gain. Aladeen escapes his kidnapper but not before his signature beard is shaved off making him unrecognizable. He chances upon Little Wadiya, a place where all the people he previously asked to be executed are thrown as refugees. There he teams up with his former chief of nuclear weapons program who agrees to help him stop Tamir’s plans so both of them can go back to their lives in Wadiya. In the process, Aladeen has to accept a job as a clerk in a store owned by a socio-environment activist named Zoey (Anna Faris). In between the planning of his comeback and trying to help Zoey imporove her business, Aladeen discovers new things and feelings that may change his way of life.

Sacha Baron Cohen constantly aims to be a comical satirist in the characters he portrays.  The Dictator has its charm plot-wise and could have offered fresh narrative only it is way too low-minded to go beyond a snicker with an eye brow raised. Like the other Cohen starrers, the movie blurs between documentary and feature which provides a comedic surrealism. The script, now professionally written, is between witty and insensitive. Although the narrative is tight and strong, the comedic sidelights at times border on absurdity. Of course, the acting ensemble is solid with Sir Ben Kingsley and the very lovely Anna Faris in the cast. No question about Cohen’s enigmatic performance no matter how sexist or vulgar he is on screen.  On the technical side, The Dictator fares well, andin parts even better than average.  The cinematography and editing works keep up with the “mockumentary” signature style of Cohen and director Larry Charles. Although one might miss the ambush interviews and interactions with real famous people, the duo is somewhat able to make it work.  But this is a been-there-done-that technique that hasn’t really changed or improved much since Borat. Over-all, The Dictator is good but not great which classifies it into a movie you would not care to miss.

There is a very thin barrier between a witty satire and one that is plain offensive.  At times, the line is so blurred that the scenes do get the audience laughing yet feeling foolish and guilty. The Dictator delivers its jokes head on but the jokes are cruel and would definitely upset a lot of sensitivities.  Does it have a redeeming value at the end?  Not really because even if Aladeen gave in to love and tried to reform Wadiya, you can still see how certain habits and damaging philosophies would remain.  Masking them as comedy is even more tragic because impressionable audiences might not always be able to distinguish a joke from an insult.

The Dark Knight Rises

LEAD CAST:  Bob Kane, Christine Caine, Gary Oldman, Anne Hathaway, Tom Hardy, Marion Cotillard, Joseph Gordon-Levitt, Morgan Freeman  DIRECTOR: Christopher Nolan  SCREENWRITER:   Christopher Nolan & Jonathan Nolan  PRODUCER:  Charles Roven, Emma Thomas  EDITOR:  Lee Smith  MUSICAL DIRECTOR :  Hans Zimmer  GENRE:  Action & Adventure, Drama  CINEMATOGRAPHER:  Wally Pfister  RUNNING TIME:   165 minutes  DISTRIBUTOR:  Warner Bros. Pictures   LOCATION:  USA, Europe

Techical:          4

Moral:            2.5

CEINEMA rating:  V 14  (For viewers aged 14 and above)

Gotham City eight years ago was convinced that their favorite bat was a murderer who had killed among others the city's idealistic district attorney, Harvey Dent.  The truth is that Dent went crazy from grief and rage; thus, mad and sad, he tore through Gotham’s streets on a killing spree, putting down crime lords without sparing cops in the process, and actually almost murdered Commissioner Gordon’s little boy.  To shield the reputation of Dent (who had spent his life as a crime-buster) so that Gotham could go on believing, Gordon and Batman agreed: Batman would take the fall for the murders, while Dent would be given a hero’s burial.

All those years Bruce Wayne (Christian Bale), the city’s wealthiest billionaire and of course the real person behind the Batman character, went into reclusive retirement.  Those dark years spawned a new breed of villains in the city’s sewers under the evil hold of the sinister Bane (Tom Hardy), who is planning to lead an insurrection of underground warriors to annihilate Gotham destroy the Dark Knight.   Aware of the threat posed by the terrorist Bane, Wayne’s loyal butler Alfred Pennyworth (Michael Caine) tries to persuade his billionaire master to don the cape once more.  Hospitalized, Commissioner Gordon (Gary Oldman) also pleads with Batman to return to action,  placing his trust in an idealistic, young protégé, Officer John Blake (Joseph Gordon-Levitt).  When Wayne Enterprises helmed by CEO/inventor Lucius Fox (Morgan Freeman) becomes the target of a hostile takeover, wealthy philanthropist Miranda Tate (Marion Cotillard) becomes an influential ally.

Bruce Wayne would rather just be a recluse, until his curiosity is piqued when he discovers a cat burglar disguised as a waitress, Selina Kyle (Anne Hathaway), rifling through his safe, and is in fact already wearing his late mother’s prized pearl necklace.   As the plot unravels, you’d never guess what surprises it holds in the end.

Ice Age: Continental Drift

LEAD CAST:  (Voice only) Ray Romano, John Leguizamo, Denis Leary, Queen Latifah, Seann William Scott, Josh Peck, Keke Palmer, Chris Wedge, Peter Dinklage, Jennifer Lopez, Drake, Nicki Minaj, Heather Morris DIRECTOR: Steve Martino & Mike Thurmeier SCREENWRITER:  Micheal Berg, Jason Fuchs, Mike Reiss PRODUCER:  John C. Donkin, Lori Forte  EDITOR:  James Palumbo MUSICAL DIRECTOR:  John Powell  GENRE: 3-D Computer Animated & Comedy  CINEMATOGRAPHER:  Renato Falcao  RUNNING TIME: 94 minutes  DISTRIBUTOR: 20^th Century Fox  LOCATION:  USA

Technical:  3.5

Moral:   3.5

CINEMA rating:  PG 13 (For viewers aged 13 and below with Parental Guidance)

It’s a decade since we were first introduced to the everlasting nut-seeking Scrat (or even before because we got to like him—feel sorry for him—in several promos and trailers).  Ice Age was released in 2002. The second film (and a game) in 2006.  The third in 2009.  Then a television short in 2011.  And, here we are again.  Ice Age has become part of family movie culture and of cinema animation.

And, Scrat is at it again.  But, glad to say, he has more screen time than before.  He gets to reappear throughout the film.  And, at the end.  his nut-avarice seems to be the cause of Atlantis sinking beneath the Atlantic Ocean, a piece of the mythology that we never realized before!

However, we are also soon introduced to a motley collection of prehistoric animals who have become friends—to littlies and oldies alike.  They get to do some typical action so we are back in familiar territory with familiar characters.  And the voices that we are know are back again (with shots of the voice talent to be seen in the final credits).  Ray Romano is the ever-sturdy mammoth leader, Manny.  Diego the sabre-toothed tiger is Denis Leary.  John Leguizamo and Sid the Sloth are as ditsy as ever.  And, there are some new voices.  Peter Dinklage is most welcome as the ape pirate chief, Captain Gutt; Jennifer Lopez as a female sabre-toothed tiger in his crew; Wanda Sykes as Sid’s potty grandmother. Even Patrick Stewart turns up at the end as Ariscratle, showing Scrat around Atlantis.  There are lots of American and British talent as the animals and the pirates.

The story is a variation on what we have seen before.  But, that doesn’t matter much because the formula was a good one.  There are the usual dangers of the Ice Age, glaciers splitting, mountains crumbling—though we are shown just how Australia and Africa were the result of all these rumblings.  And, then a trek.

When Manny, Diego, Sid and Granny are separated from the rest of the herd, adrift on an iceberg, Manny is determined to find his wife and daughter (with whom he has been having teenage problems about going out and getting home late) and lead his little band home.  The menace this time is the pirate gang, a scraggly lot except for a very fat seal, but enough to cause lots of mayhem and set up battles and escapes.  Formula, but very agreeable.

And the formula seems to work for young audiences as well as older audiences.  To think that the young  audience which enjoyed Ice Age is now entering the teens!  I hope they enjoy this one and don’t look down on the little brothers and sisters who will be laughing and excited. By Peter Malone

Abraham Lincoln, Vampire Hunter

Cast: Benjamin Walker, Dominic Cooper, Anthony Mackie, Mary Elizabeth Winstead, Rufus Sewell, Marton Csokas Direction: Timur Bekmambetov Story and Screenplay: Seth Grahame-Smith; Cinematography: Caleb Deschanel Editing: William Hoy Music: Henry Jackman Producers: Timur Bekmambetov, Tim Burton, Jim Lemley; Genre: Action, Sci-Fi; Running Time: 136 minutes Location: Old Americas; Distributor: 20^th Century Fox

Technical:       3.5

Moral:            3.5

CINEMA Rating:     V 14 (For viewers aged 14 and above)

From the visionary collaboration of writer Seth Grahame-Smith at direction of Timur Bekmambetov, the  novel  with the same title was transformed into a silver screen adaptation of one of America’s greatest leaders.  In the film, the young Abraham Lincoln was both a witness to the sufferings of the African slaves and the death of his gentle mother in the hands of Jack Barts (Marton Csokas), his parent’s employer and one of the cruel slave owners.  Although this incident affected the young Abraham, he was held by a promise to his father that he will not retaliate.  But after nine years, Abraham (Benjamin Walker), now an orphan, considers himself free of that promise and makes it his lifetime commitment to seek revenge for his mother’s murder.  Unknown to him, Barts is one of the many vampires slowly overtaking society.  He chances upon the murderer and attacks him, but he is utterly surprised when he realizes that even bullets lodged in his eyes could not kill Barts.  When Abraham is overpowered and is about to kill him, Henry Sturgess (Dominic Cooper), a guy Abraham met in a bar, intervenes and saves his life.  Abraham wakes up and discovers the truth about vampires.  He pleads Henry to teach him how to defeat the monsters and in turn agrees to be Henry’s protégé and do the vampire hunting for him.  Together, Henry and Abraham defeat the most notorious monsters in the new Americas until the latter discovers the truth about his mentor he almost could not handle.

Eventually, Abraham realizes a deeper struggle he has to fight and decides to lay down his ax and use the power of words and ideas to free slaves, save the people and unite his nation causing the vampires to retaliate by killing his only son. Again, Abraham, now President of the United States must fight but his fight is ignited not by vengeance but by the desire to free the world of evil and horror.

One cannot deny the brilliance of the work on screen as real life events in history are tightly woven in the imagination of Smith.  The narrative is strong and clear and each succeeding scene progressively heightens drama and excitement, not to mention several quotable quotes from the protagonist.  Visually, the movie is stunning: high action, superb cinematography and unbelievable computer-generated effects all coming together in the 3Dformat.  The production design and artistic direction is a work of genius.  Henry Jackman’s scoring is another element that easily stands out… not overpowering, not melodramatic but just perfectly in synch with each scene’s emotional requirement. Abraham LincolnVampire Hunter will be one of the movies you just need to watch.

As a movie, Abraham Lincoln easily stands out as a favorite but does it deliver enough positive messages amidst the gruesome violent action sequences. It does, but not for the young audiences. Some of the more salient messages include the effect of parental care and idealism on the child’s development.  Because Abraham’s parents showed love, respect and concern for others, the same values remained inculcated in Abraham as an adult and as one of the most powerful man in the Americas.

Revenge seemed like a dominant theme at first as Abraham carried with him the pain of his mother’s murder.  This may have fueled his valiance but through Henry’s mentorship, he realizes that there is more to it than just getting even.  Justice for one’s self is always superseded by justice for the majority.  As Abraham got to live his vampire hunting career, his motivation transformed from his mother’s death to a nation’s survival.  Eventually, this led him into a deeper issue—one that is real in our world as well—emancipation of slaves. On the one hand, you can say that his foes and battles are in fact symbols of his desire to unite a nation that respects all men as equal.  At this point, not even the death of his only son occasions another  vendetta to push him to wipe out vampires, only his desire to show that all men are  equal—regardless of race or color.

Even the scene where Henry offers immortality to Abraham so they can continue their mission against the vampires leaves us with a valuable lesson on being a person. Abraham replies that there are more things that last longer than immortality like living as a legend who has chosen to do good and protect the welfare of  men for the common good.

Amazing Spiderman

Cast: Andrew Garfield, Emma Stone, Rhys Ifans, Sally Field, Martin Sheen, Denis Leary; Direction: Marc Webb; Story: James Vanderbilt Based on Stan Lee and Steve Ditco; Screenplay: James Vanderbuilt, Alvin Sargent, Steve Kloves; Cinematography: JohnSchwartzman; Editing: Allan Edward Bell, Pietro Scalia;  Music: James Horner; Producers:Avi Arad, Laura Zisin, Matt Tolmach; Genre: Action, Sci-Fi,  Drama; Running Time: 136 minutes; Location: New York, USA; Distributor: Columbia Pictures

Technical:     4

Moral:          3.5

CINEMA Rating:  V14 (For viewers aged 14 and above)

Peter Parker (Andrew Garfield) is an awkward ostracized student at Midtown Science High School who still feels the pain of being abandoned by his parents when he was a little boy.  Constantly bullied and ignored, he finds solace in the attempts of friendship by his classmate Gwen Stacey (Emma Stone) and the loving care of his surrogate parents Uncle Ben (Martin Sheen) and Aunt May (Sally Field). He attempts to find the truth about his past when he discovers a briefcase his father left behind.  The search leads him to Oscorp Industries where his father used to work with Dr. Curtis Connors (Ryan Ifans).  As he tries to piece together clues he found with the present work of  Dr. Connors, he is accidentally bitten by a spider which instantly gives him strength, reflexes and agility.  Peter frequents Dr. Connors to learn more about his transformation and his father.  Unfortunately, his obsession coupled with hormones, identity crisis and teenage angst constantly leaves him at odds with Uncle Ben.  In one of their arguments, Uncle Ben is shot by a mugger who Peter has allowed to escape.  In his guilt, he uses his superpowers to hunt down the killer and take it upon himself to rid New York of criminals as a mask vigilante called Spiderman.  Capt. Stacey sees otherwise and gives a standing order to the NYPD to arrest him.  But when Dr. Connors transforms into a rampaging giant Lizard, Spiderman learns the true meaning of doing good and Capt. Stacey understands what Spiderman really stands for.

The Amazing Spiderman is not another version of the original Raime-Macguire trilogy but a movie version with more maturity, deeper humanity and bigger beating heart that brought the film a certain reality lacking in previous versions.  The casting and their corresponding performances are exceptional.  Garfield’s take on Parker’s coming of age awkwardness and angst is vivid and genuine.  The chemistry between Peter and Gwen is engaging, to say the least.  As a narrative, there are a few loopholes that could have been tighter but these came so few and far between that audience can easily ignore for the power of the intimate non-Hollywood moments director Marc Webb chose.  Another element that could not be ignored is the precise and inspired scoring of James Horner which punctuates the drama and action of the film.  These, together with the astonishing CGIs and 3D effects, make for a spectacular movie.  It was not a surprise that on opening day the theatre resounded with approving applause from satisfied and moved viewers as the end credits rolled.

As the original Spider film’s immortalized words “with great power comes great responsibility” stuck to our minds, this version tells us two more things.  That everyone has the “moral responsibility—not choice—to do what is good.  This need not be a bloody heroism or an exploit witnessed by many but just everyday acts of kindness including remembering to do a simple chore for someone in need.  One’s moral obligation to do good means not consenting to or keeping quiet in the face of a crime.  It will have its repercussions later on.  Peter ignored the mugger when he easily could have stopped or helped the store owner. In the end, the mugger killed his Uncle.  Although Peter/Spiderman tried to make up by being a vigilante, it did him and the people around him no good until his reasons for helping came from a desire to do what is right instead of trying to give a bad person what he deserves.

This brings us to the second lesson.  Revenge is different from justice and helping a person in need.  When Peter humiliated Flash although we would all agree he had it coming, Uncle Ben was quick to point out that Peter’s actions did not really make him feel a better man. Capt. Stacey reiterated that a man who wears a mask and lurks in the shadows is not the same as a man who wears a badge and keeps law and order.

Overall, The Amazing Spiderman is great movie, one that viewers will remember and talk about and use as reference in the next years.  However, violence and destruction and some themes make it unsuitable for the very young audiences.

Kimmy Dora and the Temple of Kiyeme

Cast Eugene Domingo, Ariel Ureta, Zanjoe Marudo, Dingdong Dantes, Miriam Quiambao Direktor Joyce Bernal  Screenwriter Cris Martinez  Executive Producer  Piolo Pascual  Genre Comedy-horror  Location  Philippines and Korea                  

Technical Assessment 3.5

Moral Assessment  2.5

CINEMA Rating: V14 (For viewers ages 14 and above)

Biglaang bibiyahe ang mag-aamang Go Dong Hei sa Korea sa dalawang dahilan.  Una, upang mamasyal at makapag-bonding, ikalawa ay upang tuparin ang isang kasunduan na ipakasal ang isa sa kambal na Kimmy at Dora sa anak ng isang malaon nang kaibigan ng pamilya, bilang pagbawi sa naging pagkakasala ng kanilang amang si Luisito (Ariel Ureta) sa isang babae sa Korea noong kanyang kabataan. Matigas na tatanggihan ito ni Kimmy bilang isang malaking kabaliwan lalo na sa makabagong panahon.  Ang inosenteng si Dora naman ay hindi pa maiisip ang maaring idulot ng pagsunod sa kagustuhan ng ama. Higit na bibigat ang sitwasyon sa magkapatid dahil halos sabay na matatanggap nila ng alok na pagpapakasal ng kani-kanilang kasintahan na sina Barry (Zanjoe Marudo) kay Kimmy at Johnson (Dingdong Dantes) kay Dora.  Kasabay ng mga biglaang pangyayaring ito sa buhay ng mag-aama ay ang mga kakaibang mararamdaman at makikita nila na gagambala sa magkapatid, pati na sa alagang aso ni Dora, si Mikky.  Sa kalaunan madadawit din sa hiwaga sila Barry, Johnson at Luisito.

Magaling ang pagkakatahi ng istorya ng Kimmy Dora and the Temple of Kiyeme.  Mahusay ang naisip ng produksyon na makalikha ng bagong kuwento samantalang nanatili ang orihinal na konsepto ng naunang Kimmy Dora, Kakambal sa Kiyeme.  Magaling ang takbo ng istorya, ang disenyo ng produksyon, ang special effects ng paglitaw at paglaho ng multo, at ng walang sablay na editing lalo na sa mga eksena ng dalawang karakter ni Domingo.  Samantala mas naging interesante sana ang cinematography kung nakapagpakita pa ng mas maraming lugar at kultura ng Korea sa pamamasyal ng mag-aama.

Napakahusay ng pagkakaganap ni Domingo ng dalawang tauhan sa pelikula, ang magkakambal na Kimmy at Dora.  Nakatulong sa pagpapaganda ng aspetong teknikal ng pelikula ang epektibong pagpapatawa ng iba pang mga artista at ang pagsisikap ng direktor na buuhin ang isang seryosong kwento na dinamitan ng pagpapatawa at katatakutan. Tanging kapintasan lamang nito sa aspetong teknikal ay ang mga pinahabang eksena ng pakikibaka sa multo na maaaring makabagot o makasuya dahil sa paulit-ulit nitong pakuwela at special effects. 

Napapanahon ang pagpapalabas ng Kimi Dora and the Temple of Kiyeme sa Father's Day sapagkat muling ipinakita ang kahanga-hangang pagdadala ng isang ama (at pagganap ni Ureta) ng kanyang tungkulin sa kakaibang sitwasyon ng kanyang dalawang anak.  Mas magiliw at makalinga sa anak na may mabagal na pag-iisip at buong kumpyansa naman sa matalino at maaasahang anak kasabay ng di nagsasawang paalala na magpasensya sa kakulangan ng kapatid.

Walang lihim na di nabubunyag lalo na kung may epekto ito sa hinaharap at sa mga mahal sa buhay.  Dapat pag-isipan ng sinumang may pananagutan sa pagtatago ng lihim kung paano ito haharapin sa panahon ng pagbubunyag.  Sa panahon ng pagsubok kung kailan wala nang magawa si Luisito kungdi isakrispisyo ang kaligayahan ng anak bilang kabayaran sa kanyang nakaraang pagkakasala ay mananaig ang pagka-ama nito upang huwag nang ipagkanulo ang anak.  Sa sitwasyon ng magkakambal na madalas makadama ng panibugho si Kimmy kay Dora sa atensyon ng ama, ay lagi namang nabibigyang-diin ang pagpaparaya, pagtanggap at pagmamahal.  Gayundin ipinakita sa pelikula na bawat tao sa anumang kapasidad ay may kakayahan na makatulong katulad ng nagagawa ni Dora sa kabila ng kanyang kalagayan.

Sa sitwasyon ng pagiging amo at empleyado nakababahala ang pagpapakita ng labis na karahasan at pagkamatayog  ni Kimmy sa sekretarya at sa doktor sa pag-aari nilang ospital, bagama’t malinaw ang konteksto na ang masamang ugaling ito ay epekto diumano ng kanyang pagiging dating typhoid patient .  Dahil sa ginagawang basehan ng pagpapatawa ng pelikula ang ganitong asal ni Kimmy, nagmumukha tuloy itong isang “palusot” lamang upang bigyang daan ang husay sa papel na pagtataray ni Domingo.

Sa kabila ng intensiyon ng pelikula na maghatid ng mensaheng kapupulutan ng leksiyon sa buhay, maaaring hindi ito ang “binibili” ng mga manonood na may bitbit pang mga musmos na bata sa sinehan.  Ang hanap nila’y katatawanan, at katatawanan naman ang inihahain ng pelikula, makatuwiran man ito o hindi.

Taliwas sa turo ng Simbahang Katolika ang ipinakikita ng pelikula na labis na kapangyarihan ng isang multo, na sa kanyang paghihiganti ay nagugupo ang sinumang naisin.  Hindi maliwanag sa pelikula kung ang takot bang ito sa multo ay nagmumula sa pagkakaroon ng ibang relihiyon ng mag-aama.  (Sumamba sila sa isang tila Buddhist temple sa Korea, at ang pamagat mismo ng pelikula ay may kaugnayan sa relihiyon: Temple).  Anupaman, sa paniniwala ng mga Kristiyano,  ang mga kaluluwa ng yumao na di matahimik ay dapat ipagdasal—lalo na kung inaakala natin na may mensahe itong ibig iparating—nang sa gayon ay magkaroon ng kapayapaan sa kabilang buhay.   Wala ang ganoong elemento dito, bagama’t may isang maliit na krus na gawa sa sangay ng punong kahoy ang hawak ng isa sa mga tauhan noong nagri-ritual sila upang tawagin ang espiritu ng isang yumao.

May pinanghihinayangan ang CINEMA sa pelikulang Kimmy Dora and the Temple of  Kiyeme.  Sa husay ng teknikal na pagkakagawa nito, naging mabisa sana itong kasangkapan sa pagpapakalat ng higit na makabuluhang mensahe upang maiangat ang kamalayan ng mga manonood na Pilipino.  Sa halip, naging sunud-sunuran pa ito sa kalakaran sa entertainment industry sa paggamit nito ng mga may kapansanan bilang ubod ng katatawanan.

Si Dora (ayon sa Kimmy Dora 1) diumano ay nagkaroon ng autism gawa ng isang aberiya habang siya ay iniluluwal ng ina.  May isang eksena sa swimming pool dito sa Kimmy Dora 2  kung saan hindi iginalang ang kanyang pagiging isip-bata.  Nagmistula siyang palakang nakatihaya at lumulutang sa tubig.  Oo nga’t maaaring nangyayari ito sa tunay na buhay, ngunit sa tunay buhay, hindi natin hinahayaang mahantad nang mahalay ang katawan ng isang isip-bata, lalo na kung ito’y dalaga na; dito, pinupog pa siya ng halik, tuloy lubog sa tubig.  Para lang mapatawa ang manonood?  Huwag naman.  Ang tinawanan ay si Domingo, ngunit kinalimutan nila ang maselang kalagayan ng karakter na si Dora.   Kung napapasaya tayo ng ganitong mga eksena, mayroon tayong dapat suriin sa ating kalooban.  

Napuna din ba ninyo na unano ang isa sa mga tauhang pinagtatawanan, at hindi Tagalog ang kanyang orasyon?   Marami nang mga sinaunang pelikulang Pilipino ang gumamit na ng unano para lamang magpatawa; panahon na siguro upang ipakita naman natin na ang mga unano ay mayroon ding puso, kaluluwa, at kakayahang gumawa ng kagitingan.  Ang katulong sa bahay na kung tumawag sa amo ay “Ma’am Dura” ay hindi rin Tagalog—bakit laging dapat gawing katawa-tawa Bisaya o ang katulong?  Maaaring ito’y isang “maliit na bagay” lamang ngunit sa paglakad ng panahon, ang mga maliliit na bagay na ito ang siyang nagpapatibay sa ating mga prejudice laban sa ating kapwa.        

Ingatan natin ang ating isipan, lalo na ng mga kabataan, hindi lamang laban sa walang humpay na pagmumulto o katatakutan sa mga palabas na ating pinanonood, kundi laban din sa mga kinagisnan nating panglilibak sa mga taong may kapansanan at mga kapos sa buhay, saan mang rehiyon ng Pilipinas sila nanggagaling.  Ituring na ninyo itong hamon ng CINEMA sa Kimmy Dora 3.