Bromance

LEAD CAST: Zanjoe Marudo, Cristine Reyes, Arlene Muhlach, Nikki Valdez, Boom Labrusca, Manuel Chua, Joey Paras, Lassy Marquez DIRECTOR:  Wenn Deramas  PRODUCER:  Star Cinema  GENRE:  Comedy  RUNNING TIME: 110 minutes DISTRIBUTOR:  Star Cinema & Skylight Films  LOCATION:  Philippines

Technical Assessment: 3

Moral Assessment: 3

MTRCB Rating: PG13 

CINEMA Rating: V14

Simula pagkabata ay hindi na tanggap ni Brando (Zanjoe Marudo) na bakla ang kakambal niya na si Brandy (Zanjoe Marudo).  Naging mahirap kay Brando ang pagiging ‘identical twin” nila lalo na kapag siya ang napagkakamalan na binabae o di kaya naman ay pagbintangan sya na nagpapanggap na bakla at makapagsamantala sa mga babae na siyang madalas ay nagiging dahilan upang mapasubo siya sa gulo.  Lumaki siya na sinisisi ang kapatid sa lahat ng di magagandang nangyayari sa kanya maliban sa pagiging daan nito upang makilala niya si Lisa (Christine Reyes). Subalit magkakahiwalay din sila nito dahil sa mabagal na asenso ng buhay ni Brando.  Dahil dito ay magpapasya siyang magsarili at tuluyang lalayo sa pamilya.  Si Brandy (Zanjoe Marudo)  naman ay magsisikap sa pag-aaral at magiging isang matagumpay na “interior designer”.  Lalaki siya na may tampo sa kakambal. Batid ito ng kanilang ina kaya ng malaman niya ang kinaroroonan ni Brando ay papakiusapan niya si Brandy na makipagkasundo siya at yayayain na ang kapatid upang mabuo uli ang pamilya nila. Malalaman nila na nabaon sa utang si Brando at hirap sa negosyong “repair shop” na itinayo nito. Hindi naman bibiguin ni Brandy ang ina.  Pupuntahan at makikipagkasundo siya rito, subalit tatanggihan ni Brando ang alok niya.  Sa gitna ng tagpong ito ay sinamaang-palad na mahahagip ng rumaragasang sasakyan si Brandy at magiging “comatose”.  Pero bago tuluyang mawalan ng ulirat ay makikiusap at magbibilin siya kay Brando na ipagpatuloy nya muna ang mga ginagawa niya sa negosyo at sa pamilya hanggang sa gumaling siya. At magagampanan niya lamang ito kung magpapanggap muna siya na Brandy.  Sa delikadong sitwasyon ni Brandy ay mananaig kay Brando ang pagiging kapatid kaya papayag siya. Pero paano niya ito gagawin gayong maliban sa kanilang hitsura ay magkaiba na ang lahat sa kanila ni Brandy?

Bakla at nagpapanggap na bakla ang mga bida sa pelikulang Bromance, pero hindi tungkol sa kabaklaan ang tema nito.  Kapansin-pansin ang naging trato na ito ng direktor dahil lumutang ang mas seryosong tema ng pamilya at relasyon ng magkapatid.  Mahusay ang direksyon sa paghahatid ng mensahe ng pelikula sa pinaghalong drama at pagpapatawa.  Tama lamang ang mga pag-arte ng mga nagsiganap.  Nakitaan ng pagsisikap si Marudo na ibigay ang hinihingi ng dalawang karakter na ginampanan niya lalo na bilang Brandy. Nakakaaliw ding panoorin ang mga gumanap na batang Brandy. Nakatulong ang suporta na mga totoong bakla sa cast lalo na sa pagpapatawa. Epektibo ang mga “close-up shots” kay Marudo para ilapit ang dalawang karakter sa mga manonood. Maayos ang “editing” at malinis na naihatid ang mga sabay na eksena ng kambal. Akma lamang ang mga inilapat na musika at tunog.

Ang pamilya ay pangunahing sandigan ng isang tao kaya dapat pahalagahan ang pagtanggap sa isa’t isa ng mga kasapi nito. Dito muntik na sumablay ang karakter ni Brando na ginampanan ni Marudo. Sa halip na pang-unawa at pagmamahal ang iniukol niya sa kakambal na binabae ay naging sarado siya sa pagtanggap sa kalagayan nito. Napuno ng hinanakit at panibugho ang puso niya, bagay na nagtulak sa kanya upang lumayo at tumalikod sa pamilya. Naging daan ang ina sa pagkakasundo ng magkapatid. Kaligayahan ng sinumang magulang ang makitang nagkakasundo ang mga anak.  Samantala mga matatapat na kaibigan ang pinakita sa pelikula; nakitaan sila ng malasakit, sakripisyo at suporta sa anumang sitwasyon meron sila.  Bihira ang mga ganitong kaibigan na maituturing na yaman sa bahay.  Sa kabuuan ay tumalakay ng magagandang aral sa buhay ang pelikula katulad ng pagmamahalan sa pamilya, pagpapalago ng sarili upang magtagumpay, pagtanggap sa pagkakamali at pagpapatawad, matapat na pakikipagkaibigan, sakripisyo at pagmamahal. 

Star Trek into Darkness

LEAD CAST:  Chris Pine, Zachary Quinto, Zoe Saldana, Benedict Cumberbatch, Karl Urban, John Cho, Alice Eve, Bruce Greenwood, Simon Pegg, Peter Weller, Anton Yelchin DIRECTOR: J.J. Abrams  SCREENWRITER:  Roberto Orci, Alex Kurtzman, Damon Lindelof  PRODUCER:  J.J. Abrams, Bryan Burk, Damon Lindelof, Alex Kurtsman, Roberto Orci   EDITOR:  Maryann Brandon, Mary Jo Markey  MUSICAL DIRECTOR:  Michael Giacchino  GENRE:  Action, Adventure, Science Fiction  CINEMATOGRAPHER:  Daniel Mindel RUNNING TIME:  133 minutes  DISTRIBUTOR:  Paramount Pictures

LOCATION:  US

Technical assessment:  3.5

Moral assessment:  3

MTRCB Rating:  PG13

CINEMA Rating:  V14

It is 2259 and Captain James Kirk (Chris Pine) and his crew are on a mission to observe Planet Nibiru but find that they have to save this pre-warp society from volcanic eruption. The life of First Officer Spock (Zachary Quinto) is endangered and Kirk disobeys the United Federation of Planets’ Prime Directive in order to save him. Called back to earth, Kirk loses his seat as commander of the USS Enterprise, which goes back to Admiral Christopher Pike (Bruce Greenwood), and parts with Spock. At the same time, Starfleet agent John Harrison (Benedict Cumberbatch) bombs an installation in London and declares war. After an attack on the Starfleet Headquarters in San Francisco, Admiral Marcus (Peter Weller), Pike's superior, reinstates Kirk to capture Harrison, and bring him to justice. Though USS Enterprise is a spaceship for exploration, not war, its crew is thrust into a mission of life and death. Will it survive Harrison’s one-man-army, the threat and inevitable tensions among its ranks?

Star Trek into Darkness follows JJ Abrams first Star Trek (2009) with aplomb. Trekkers (or Trekkies) will find much to like and remember of the Star Trek franchise. But even if you are not a fan, there is a lot going for this 12^th installment. The cinematography and production design transports you to another universe, with some CGIs so convincing you’d want to take cover from your seat. The action is almost non-stop with clever narrative twists; dialogue is engaging and fun (that is, if you get the in-jokes) and the musical score heightens the excitement. The shiny lens flares in some scenes do not work, nor do the obvious plot holes. Trek loyalists would also say it is more an action/adventure movie than sci-fi. But regardless, what shines here are the characters who play the role that match their predecessors, and eventually making it their own. Quinto shines as the Vulcan Spock and Cumberbatch portrays the fully optimized human with such depth and ambiguity.

“The needs of the many outweigh the needs of the few.” These words uttered and exemplified at the beginning of Star Trek into Darkness follow Gene Roddenberry’s Trek and its principles. One of its major themes is what place, if any, feelings have in guiding actions. Are personal loyalty and the safety of others above military regulation? Another theme is leadership. What makes a true leader? Star Trek into Darkness shows a flawed leader who listens to his guts and his team. Obedience is not only towards the superior but also to one’s inner voice that comes from God. Friendship and teamwork is indispensable in any enterprise, be it a fight against a common enemy or working on a project. An enemy can also take different forms. Befriending the enemy does not always mean surrender; it can lead to a win-win solution. 

It is the emotional bonds between the Enterprise crew, their family dynamics, and how they come to each other’s help which set this film apart.  Because of the intense and frequent violence and emotional stress, some vulgar language, and a brief scene implying sex, CINEMA rates this film A14.

The big wedding

LEAD CAST:  Robert De NIro, Diane Keaton, Ben Barnes, Katherine Heigl, Amanda Seyfried, Topher Grace, Susan Sarandon, Robin Williams DIRECTOR:  Justin Zackham  SCREENWRITER:  Justin Zackham  PRODUCER:  Anthony Katagas, Clay Pedorin, Richard Salvatore, Harry J. Ufland, Justin Zackham  EDITOR:  Jon Corn  MUSICAL DIRECTOR:  Nathan Barr  GENRE:  Comedy  CINEMATOGRAPHER:  Jonathan Brown  DISTRIBUTOR:  Lionsgate RUNNING TIME:  89 minutes LOCATION:  US

Technical assessment:  3

Moral assessment:  2

MTRCB rating: R 13
CINEMA rating: V 18

The long divorced couple Don and Ellie (Robert de Niro and Diane Keaton) get together with their grown-up children for the wedding of their adopted son Alejandro (Ben Barnes) to Missy (Amanda Seyfried).  Alejandro has kept the divorce a secret from his biological mother, Madonna, a pious Colombian (Patricia Rae) who has not visited him in the United States since his adoption.  Now Madonna is coming for the wedding.  Don and Ellie pretend to be a loving married couple, which means Don’s partner Bebe (Susan Sarandon) has to be eased out of the picture. This results in more or less 80 minutes of awkward situations and certain realizations for everyone concerned.

Typical romantic comedy created more for laughs than for logic. The Big Wedding actors did their part well as far as the plot demands, and no one’s complaining so far about the cinematography, dialogue, sound and lighting, script, editing, the works.  So long as the audience is entertained, and entertain this movie does—what with those big names in the cast.  

Rom-com wedding movies from Hollywood provide the moviegoer ample leverage for comic relief from the resolution of knotty circumstances and the revelation of characters’ quirks.  They are usually a well-meaning bunch whose primary purpose is to make the audience laugh, although sometimes, as in the case of The Big Wedding, the laugh is on the Catholic religion.  Catholics who know their religion would recognize the false Catholicism and the outmoded catechesis shown in this movie, and would probably forgive it the ignorance it so blatantly displays.  People, however—whether non-Catholics or Catholics with inadequate catechism—will surely be misguided and misled by the faux Catholicism The Big Wedding picks on.  Example: Robin Williams who in his role is 99 percent buffoon and 1 percent priest (thanks to the Roman collar he is wearing), warns the engaged couple that premarital sex and use of birth control will land them in hell.  The overall message is “it’s okay to be confused as long as you are not inhibited”. Mature adults and enlightened Catholics can take The Big Wedding with a grain of salt, after all, you don’t learn catechism from such movies.  Nonetheless, the film maker should have diverted some of the casting budget to a reputable researcher so they could have portrayed Catholic traditions accurately. It is just insulting for a Catholic to watch how irreverently they made fun of confession, chastity, marriage and priesthood.

Even in a liberated culture, the presentation of sex is too casual. For the movie, the act is merely comparable to having a few drinks together and can take place anytime, anyhow and with any one – between divorced couples who are in another relationship, between live-in partners who are unsure if they are willing to commit their lives to each other, between a man and a woman meeting for the first and only time.  The movie presents devout Catholics who believe in the permanence of marriage as bigots.  While the initiative of the parents to help reunite their daughter to her husband/boyfriend is commendable it is not enough to make the movie morally acceptable. In spite of its good intentions, the movie also has issues with (male) virginity and aberrant sex acts, and treats homosexuality and adultery frivolously.

The movie should be restricted to adult viewers. If you have spare cash enough for one movie this week, better reserve it for the likes of Epic or Gatsby. 

Identity thief

Cast: Jason Bateman, Melissa McCarthy; Director: Seth Gordon; Screenplay:  Craig Mazin; Editor:  Peter Teschner Music: Christopher Lennertz; Cinematography: Javier Aguirresarobe;  Producer: Scott Stuber, Jason Bateman, Pamela Abdy ;  Distributor: Universal Studios; Running Time: 111 minutes; Genre: Crime, Comedy; Location: USA

Technical Assessment: 3

Moral Assessment: 2.5

CINEMA Rating: V18 for viewers 18 years old and above

MTRCB Rating:  R16

Sandy Patterson (Jason Bateman) finally gets his big break when he is offered top management position in a financial corporation which his co-workers just built. However, his name gets associated with outlandish spending and illegal transactions—his identity is stolen.  Diana (Melissa McCarthy) is on a shopping binge using Sandy’s credit card.  Such cases take more than a year to resolve and it would take about the same time before his name is cleared. With his job and family at stake, Sandy decides to track down who stole his identity which leads him to travel all the way to Florida to capture the thief and bring him or her to justice. He gets to catch his identity thief Diana and now he needs to bring her back to Denver, but not without a series of misadventures along the way.

Identity Thief takes off with an interesting premise relevant to the present age of information technology.  There is a lot of genius in the idea of identity theft victim meeting his thief. As the two meet, the audiences are in for a real hilarious treat. The film takes advantage of its talented casts who are perfectly fit for their roles. Bateman and McCarthy succeed as the odd couple in the movie. Their tenacity and depth as actors, although quite underestimated in the film, has made Identity Thief a worthy watch as they are able to mix humor with a certain degree of intelligence. However, the story could’ve focused more on the question of identity rather than stick to the Hollywood slapstick formula. There are still the usual chase sequences with guns and goons, stereotypes and clichés. These aspects are quite a disappointment and shift the film away from its focus. But then again, the film still has elicited plenty of laughs from the audience and maybe, that’s all they need at this present time.

In this time and age when anyone can be someone or somebody, what now is the essence of identity? What makes up real identity and how do we define it?  Such are the relevant questions Identity Thief tries to pose.  The film provides some answers in some lucid moments when it deals deep into the characters’ inner motivations. While Sandy tries to clear up his identity to maintain and keep status quo, Diana on the other side steals it in desperation to evade her real self. Here, the audiences see contrast of two opposite characters, opposite lifestyles, opposite upbringings. Despite the contrasts, the audiences are made to realize what human beings commonly need that cuts across age, gender, nationality, social class and even identity—that is the need to be loved and respected. This is what Sandy gave to Diana in spite of and despite the circumstances of their meeting. Sandy’s innate goodness contagiously affected Diana that somehow made her realize her own goodness as well—that is her real self and not the thief whom she used to believe she was. Such perhaps should be every human being’s sense of identity. The film however tackles an adult theme with moderate to heavy depictions of violence, vulgar language and sex. Thus, CINEMA finds the film appropriate for mature audience only aged 18 and above.

The bride and the lover

Cast:   Lovi Poe, Jennilyn Mercado, Paulo Avelino  Director: Joel Lamangan  Genre:  Sex, Drama-Comedy  Location: Philippines

Technical Assessment:  3

Moral Assessment: 2

CINEMA Rating:  V18

MTRCB Rating:  R-13

Umatras sa bonggang kasalan ang ‘bride’ na si Vivian (Lovi Poe) kasabay ng pagbubunyag niya ng iskandalo na kinasangkutan ng “groom” na si Philip (Paulo Avelino) at matalik na kaibigan na si Sheila (Jennilyn). Sa gitna ng sakit at kahihiyan ay hiwa-hiwalay na magbabyahe ang tatlo upang pansamantalang takasan ang sitwasyon at iiwanan sa kanilang pamilya at mga kaibigan ang pagharap sa publiko. Sa kanilang pagbabalik ay sisikapin nila na magpatuloy sa kani-kaniyang buhay ang tatlo. Maantala naman ng konti ang pagpapatuloy ni Philip dahil kinailangan niyang magpagaling ng  kanyang napilay na paa. Magpiprisinta si Sheila na alagaan si Philip at upang mabigyan na rin ng pagkakataon ang sarili na maipadama ng lubusan ang damdamin niya rito. Sa panahon ng pagpapagaling ni Philip sa piling ni Sheila ay tuluyan silang magsasama. Samantala nagulat ang lahat sa pagbabalik ni Vivian. Lubusang magbabago ang pagkatao nito—sa pananaw at pisikal na anyo. Mula sa simple ay magiging moderno at liberal sa pananalita at kilos na malayung-malayo sa dating Vivian na tumalikod sa kasal. Buong tapang niyang pananagutan ang mataas na posisyon sa kumpanya na pag-aari ng pamilya kasunod ng pagreretiro ng kanyang ama. Kasabay ng mga pangyayaring ito sa buhay ni Vivian ay kusa siyang makikipagbati kay Sheila sa pamamagitan ng pagtataguyod bilang sponsor sa magazine kung saan editor-in-chief ang matalik na kaibigan. Labis itong ikakatuwa ni Sheila sa kabila ng kundisyon ni Vivian na panatilihing lihim kay Philip ang pagbabati nila.  Sa parehong kundisyon na maglihim naman kay Sheila ay nakipagkasundo din si Vivian kay Philip. Sa kanilang pagbabati ay magpapahayag ng mga totoong damdamin at panghihinayang sa naputol na relasyon. Kasabay nito ay ang pagbibigay laya sa nararamdaman na pananabik sa isa’t isa. Hanggang saan naman kaya hahantong ang mga plano ni Vivian at ang pakikipagsabwatan nina Sheila at Philip na maglihiman tungkol sa nagbalik na ugnayan nila kay Vivian.

            Gasgas na kwento ng pag-aagawan sa lalaki ang pelikulang “The Bride and the Lover” na nilagyan ng magkahalong drama at pagpapatawa. Mahusay ang pag-arte ng mga nagsiganap lalo na si Poe at mga suportang artista.  Komportable sa mga eksena ng pagtatalik sina Poe, Mercado at Avelino. Gayundin ang nakakalibang na palitan ng mga linya lalo na ang voice over nina Poe at Mercado habang nagpapambuno bago matapos ang pelikula. Mainam ang ginawang motibasyon ng director sa pagpapalabas ng emosyon na hinihingi ng eksena. Naging maingat ang kuha ng camera sa madalas na mga maseselang eksena ng pagtatalik. Subalit kapuna-puna na may kahabaan ang mga eksenang sex na di naman kailangan. Maganda ang disenyo ng produksyon. Nakalilibang ang pagpapakita ng detalye ng mga okasyon tulad ng kasalan, mga tampok na parte at pag-aayos ng marangyang bahay, at mga tagpo sa mundo ng korporasyon. Tama lamang ang ginamit na ilaw at paglalapat ng tunog at musika. Nakatulong ito sa mga transisyon ng seryosong drama at patawa. Sa kabuuan ay kinakitaan ng pagsisikap ang produksyon na ayusin ang ibang teknikal na aspeto ng pelikula.

            Nakababahala ang mga isyung moral na tinalakay sa pelikula.  Ang seremonya ng kasal na sagrado at seryosong yugto sa buhay ng isang tao ay hindi iginalang. Kaydali itong talikuran, hilingin, iskandaluhin, muling talikuran na parang walang leksyon na natutunan. Pinakita sa pelikula na kung paano paglaruan ang mga damdamin. Parang mga walang isip na nakikipag-sex dahil gustong bigyang laya ang nararamdaman may pag-ibig man o wala. Kaswal lang ang paggamit ng droga o 'ecstasy' kahit alam nila ang dulot nito sa kanila na pwede silang mawala sa sarili. Sa kabila ng iskandalo ay parang balewala lang na magsama nang walang kasal ang mga kasangkot at di man lang kinumusta ang taong nasaktan nila.  Pawang mga propesyonal ang mga tauhan sa kuwento pero di ginamit ang mga isip para maging responsable sa mga kilos nila at itaas ang dignidad.  Kung yayakapin ng isang tao ang pagbabago, mainam na tungo ito sa pagtutuwid at lalong pagbibigay dignidad sa sarili, pero sa kaso ng tauhan ni Vivian sa pelikula ay naging matatag nga siya sa pagharap sa buhay pero naging mapaghiganti, mapaglaro at higit sa lahat naging parang bayarang babae na nakikipag-sex sa sinumang matipuhan niya.  Naging napakahirap ang magpatawad sa mga nagkamali at halos mabalewala na ang paghingi ng tawad. Sa bandang huli ay mananaig ng tatag ng pagkakaibigan subalit saglit lamang ito at tila kailangan lang tapusin ang istorya sa ganitong tagpo. Ang mas mahabang bahagi ng pelikula ay nagpapakita ng kaswal na pakikipagtalik, droga, paglalaro ng damdamin, paglilihim, paghihiganti gamit ang negosyo, at may agaw-eksena pang pagnanasa ng bakla sa kapwa lalaki. May maliit na eksena ng pagbibigay payo ng magulang pero di naman sinusunod ng mga anak.  Kung may aral man na inihahain ang pelikula ito ay hinog na isipan lamang ang makakakita. 

Vamps

LEAD CAST:  Alicia Silverstone, Krysten Ritter, Sigourney Weaver, Dan Stevens, Wallace   SCREENWRITER:  Amy Heckerling  PRODUCER:  Lauren Versel, Molly Hassell, Stuart Cornfeld, Maria Teresa Arida, Adam Brightman  EDITOR:  Debra Chiate  MUSICAL DIRECTOR:  David Kitay  GENRE:  Comedy, Romance, Horror RUNNING TIME:  92 minutes  CINEMATOGRAPHER:  Tim Suhrstedt  DISTRIBUTOR:   Anchor Bay Films  LOCATION:  US

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating:  V14

MTRCB rating:  R 13

The success of Twilight and other vampire films reveals our fascination with the undead and there is no sign of it stopping. The latest is simply called Vamps starring Alicia Silverstone (Goody) and Krysten Ritter (Stacy) as modern-day vampires in New York City. Goody and Stacy prefer to call themselves ELFs (Eternal Life Form) instead of vampires and have sworn off human blood with their ELF help group “Sanguines Anonymous” who survive on the blood of animals, particularly rodents.  The BFFs “are addicted to the night life, clubbing, and always looking for the next thrill, all the while keeping their big secret. But even with lifetimes of dating experience behind them, the duo realizes they still have a lot to learn about love.” Stacy falls in love with Joey (Dan Stevens), the son of a vampire hunter, Dr. Van Helsing (Wallace Shawn), and Goody runs into the man of her dreams, Danny (Richard Lewis), from the 60s. “With their destinies at stake, the girls are faced with a difficult choice; give up their eternal youth for a chance at love, or continue to live their uncomplicated fabulously single lives forever.”

Vamps reunites Alicia Silverstone with director Amy Heckerling both of Clueless fame and boasts of a finely assembled cast. You realize from the outset that this is not your usual vampire story of horror and drama. Neither is it just a chick flick or rom com movie. While most vampire movies main focus is on humans, Heckerling succeeds in presenting vampires as creatures who have supernatural powers and yet need to face the challenges of the 21^st century. There are funny and charming moments, and the film explores current issues like aging, keeping up with the times and trends, loneliness and dependence on technology. Through Goody, she chides us for using Facebook, Twitter, SMS and texting instead of talking to each other, but says it in a tone that shows the film is out of touch as the 19^th century vampire.

Though vampires remain eternally young, Vamps succumbs to the cult of youth and beauty. Goody hides her real age to Stacy to keep their friendship, and she also wants to appear young and attractive forever, revealing woman’s fear of old age. Heckerling tries to make it Vamps in the City (cute and charming) but doesn’t quite succeed, despite the lead actors and supporting cast. It sometimes appears as a TV sitcom with cheap sets and uninspired lines. In trying to appeal both to teenagers and Cher’s contemporaries in Clueless, Heckerling’s recent opus ends up an adequate but forgettable movie.

The violence here is mostly comical and there are some sexual references and strong language, plus some intimate scenes. Hence CINEMA gives this movie an V14 rating.

Spiders

Lead cast: William Hope, Christa Campbell, Patrick Muldoon, Sydney Sweeney; Direction: Tibor Takas; Screenplay: Joseph Farragia, Tibor Takas, Boaz Davidson; Running Time: 89 minutes; Location: New York; Genre: Sci-fi/thriller

Technical Assessment:  2.5

Moral Assessment:   3

CINEMA Rating:  V14

MTRCB Rating:  PG13

In a usual busy day in New York, a piece of Russian spacecraft crashes into the subway tunnel putting into halt the rush hour operations.  Transit supervisor Jason Cole (Patrick Muldoon) and his team work to put the train back on track until one of the transit employees mysteriously dies supposedly of electrocution. As Cole investigates further, the government teams up with a Russian scientist to recover the queen spider egg that came with the spacecraft. Apparently, the Russians developed a military weapon by cultivating mutant indestructible spiders that grow up to 60 feet long. Overnight, the spiders mutate and become giant creatures destroying the city while the US military unleash a deadly virus story to cover up their intentions of gaining control of the queen spider. While all of these are happening Jason and his estranged wife Rachel (Christa Campbell) fight their way to rescue their 12 year old daughter and rekindle their love for each other.                                                                                         

There are many things wrong with this movie. First, it starts off interestingly until the real plot unfolds and everything falls apart because audiences discover the very thin plot jammed between very poor performances. The storyline is too cliché and predictable. The protagonists are irritating with Muldoon's cardboard acting and Campbell's constant wailing. While the improved and modern effects give the movie a sense of realism and the surprisingly well-crafted scoring make viewers believe the film is engrossing, it still falls short of being entertaining after the first 10 minutes. Sadly, it tries to add drama and empathy to the father-daughter and husband-wife relationships but these are delivered too poorly to be appreciated.

The biggest saving grace of Spiders is its efforts to show how the worst of situations bring out the best in people. Jason and Rachel's love for their daughter and of each other taught them to set aside their professional and personal conflicts and work together to survive. There is a very subtle hint of keeping the marriage intact and valuing the family above everything. If only the movie was better presented then these messages could have had the desired impact. However, several scenes that are too violent, gory and unsuitable for very young children will be better remembered than the underlying message. Hence, CINEMA thinks Spiders is for older bored young adults.

Oblivion

Cast: Tom Cruise, Olga Kurylenko, Andrea Riseborough, Morgan Freeman, Nikolaj Coster-Waldau, Melissa Leo  Director: Joseph Kosinski  Screenplay: Joseph Kosinski and Karl Gajdusek and Michael Arndt  Cinematography: Claudio Miranda  Music:  Anthony Gonzalez, M.8.3  U. S. Distributor:  Universal Pictures  Genre: Science fiction/action  Running Length:  126 minutes

Technical assessment:  3.5

Moral assessment:  2.5

CINEMA rating:   V  18

MTRCB rating:  PG 13

It is Year 2077.   Sixty years ago, evil invaders called “Scavengers” destroyed the moon and attempted to capture Earth.   Mankind fought off the aggressors but Earth was left uninhabitable due to the moon’s fragmentation and worldwide combat.  Now humans are still being evacuated to Titan, one of Saturn’s moons, and they await their turn to depart while on board a spacecraft that hovers just above Earth’s atmosphere.   Trained technician Jack (Tom Cruise) and a navigator, Victoria (Andrea Riseborough) have been dispatched to supervise the operations of the machines that continue to harvest what is left of Earth’s natural resources, particularly the water from its oceans, for use of the people living on Titan.  Jack and Victoria are professionally and romantically linked, but Jack is disturbed by the image of a beautiful woman recurring in his dreams.  The couple’s idyllic partnership is given an unexpected twist when the beautiful woman in Jack’s dreams turns up to be a real person, Julia (Olga Kurylenko), whom Jack finds in a hypersleep chamber crash-landing from an unknown spaceship.

Sweeping vistas of outer space, fabulous machines and dwellings that could only exist in one’s fantasies seem to be the strongest attractions of Oblivion.  Through this impeccably created eye candy the viewer’s mind is teased into suspending disbelief to get carried away by the plot.  But, alas, the plot lacks the viscosity to sustain the viewer’s interest, much less to mesmerize him into embracing Oblivion as a probability in the not-so-distant future.   Oblivion’s ambitious story telling, evocative of Cloud Atlas though not as grand, is supported by the strong presence of Morgan Freeman as Beech, the chief of the guerilla freedom fighters.  Freeman, as usual, delivers, and Cruise seems to sincerely believe in his character; that’s just about the nicest thing to be said about the acting.  Other technical aspects are as “okay” as “okay” goes.

Oblivion attempts to delve into the question of identity (the relationship between physical and spiritual identities in particular) but abandons the question to pose some more—much like a toddler who, growing impatient with a toy, distracts himself with other toys.  Pursuing this analogy, Oblivion strikes the viewer as something like building a spaceship with Lego blocks.  Good sci-fi is coherent and logical despite a bold hypothesis; it connects its elements until they all click into place, revealing the creation, albeit a Lego spaceship, as a masterpiece.  Oblivion does not “click.”

The film offers enough to appeal to teenagers but because CINEMA believes movies are not just supposed to be eye candy or dubious entertainment, Oblivion is given a V 18 rating.  Due to the nature of the movie’s theme, mature viewers may still winnow something worth a thought from the loosely glued elements.

It takes a man and a woman

LEAD CAST:  John Lloyd Cruz, Sarah Geronimo, Isabelle Daza, Matet de Leon, Joross Gamboa, Guji Lorenzana, Rowell Santiago, Gio Alvarez  DIRECTOR:  Cathy Garcia-Molina  SCREENWRITER:  Carmi Raymundo  PRODUCER:  Charo Santos  GENRE:  Drama, Romance, Comedy RUNNING TIME:  120 minutes  DISTRIBUTOR:   Star Cinema & Viva Films  LOCATION:  Philippines

Technical Assessment: 3.5

Moral Assessment: 3.5

CINEMA rating: V 14

MTRCB rating: G

  

Malaki ang problema ni Miggy Montenegro (John Lloyd Cruz), isang publisher ng kilalang magazine na nanganganib na masakop ng ibang kumpanya kung hindi siya gagawa ng paraan.  Ang tanging solusyon ay hingin ang tulong ni Laida Magtalas (Sarah Geronimo), dati niyang kasintahan na ngayo’y isa nang sophisticated at mahusay na magazine editor sa New York. Maaari ba silang magtrabaho nang magkasama ngayong ang bagong katipan si Miggy na si Belle (Isabelle Diaz) ay makakasama din nila? Magtatagumpay ba silang pagtulungan ang pagsalba sa magazine ng mga Montenegro?

Ibinabalik ng It Takes a Man and a Woman ang tambalang Miggy Montenegro at Laida Magtalas na nagpakilig sa maraming manonood noong 2008 sa pelikulang A Very Special Love at ang kasunod nitong You Changed My Life noong 2009. Parehong box office hits ang naturang dalawang naunang pelikula at mukhang hindi pahuhuli ang final installment.  Pagpapatunay na maganda ang ikot ng kuwento, kapani-paniwala ang pagganap ng mga artista—lalu na ang mga kaibigan at kasama ni Laida sa trabaho na tinaguriang Zoila and friends, Hindi maitatatwa ang chemistry ng dalawang nasa lead roles at dahil mga characters na nakilala na ng mga manonood sa naunang dalawang pelikula, madaling makapasok sa daloy ng kuwento. Kuhang-kuha nila hindi lang ang kiliti ng manonood sa mga nakatutuwang eksena kundi pati na rin ang simpatiya ng mga ito sa mga eksenang magpapatulo ng luha. Mayroon ding mga one-liners na siguradong uulit-ulitin ng mga nakapanood. Maayos din at angkop ang musika, simple ang sinematograpiya, mahusay ang editing at comedic timing. Sayang nga lang at asiwa ang wig ni Laida at may ilang dialogo na hindi maayos ang daloy—parang pilit at masyadong masalita. Maari ding masabing may mga eksena na “corny” subalit ikinasiya naman ito ng ilan.

Ngunit higit sa mga teknikal na aspeto ng pelikula, ipinapakita ng It Takes a Man and a Woman na ang pagpapatawad ay susi sa mabuting samahan hindi lang ng magkasintahan kundi sa pamilya at sa trabaho din. Ito ang tunay na sukatan ng pagmamahalan. Ang dalawang magkasintahan na nagkalayo ay natutong maging mabuti at ganap dahil sa pag-ako sa pagkakamali, paghingi ng kapatawaran, at pagsisikap na magbago.

Kapuri-puri din ang pelikula dahil nagtagumpay itong ipakita ang pagmamahalan ni Miggy at Laida nang hindi ginagamit ang pre-marital sex. Naipakita rin nito ang tunay na sukatan ng tagumpay sa buhay.  Dahil sa tema ng pelikula (na sa titulo pa lang ay halata na) iminumungkahi ng CINEMA ang pelikula para sa mga manonood na may edad 14-taon pataas.

The host

Cast:  Saoirse Ronan, Jake Abel, Max Irons, Chandler Canterbury, Frances Fisher, Diane Kruger, William Hurt; Direction: Andrew Noccol; Story: based from Stephanie Meyer’s novel The Host; Screenplay: Andrew Niccol; Cinematography: Robert Schaefer;  Editing: Thomas J. Nordberg; Music: Antonio Pinto; Producers: Stephanie Meyer, Nick Wechsler, Steve Schwartz, Paula Mae Schwartz; Genre: Sci-Fi Drama; Location: Future time; Distributor: Open Road Films Entertainment Films Distributors / Viva Films; Running Time:125 minutes.

Technical Assessment:  2

Moral Assessment: 3

CINEMA Rating: V14

MTRCB rating: PG 13

In the future, humanity is taken over by extra-terrestials called the Souls. Although they are peaceful and caring, the Souls need to enter into a human body and take over its mind and life. Melanie Stryder (Ronan), one of the remaining uninhabited humans, is captured by the Seeker (Kruger) and infused with the soul named Wanderer in the effort to discover the whereabouts of the last groups of insurgent humans. However, Melanie fights back and struggles to control her mind and body. Wanderer, in the meantime, discovers Melanie’s past, grows sympathetic towards her plight and slowly forms an alliance with her. Together, they escape the attepmt of the Seeker to transfer Wanderer into another body and enter Melanie herself so she can get the information she needs. Melanie and Wanderer flee into the desert and is soon found by her Uncle Jeb (Hurt). They are taken into the insurgent’s hideaway where Melanie is reunited with her boyfriend Jared (Irons) and little brother Jamie (Canterbury). However, the group, save for Uncle Jed,  do not realize Melanie is still alive and almost has her killed believing she is an evil parasite.  Slowly, the humans and Wanderer begin to understand and appreciate each other  and stand side by side for the survival of their own race.

The host’s storyline shows potential with its unique take on alien invasion and Meyer’s subtle spirituality. As an author, she is consistent in her respect for life and dignity of humanity. But the film translation suffers irrevocably either from poor script or from the source material itself. The film falls flat with an unimaginative screenplay, painfully dragging direction and overall monotonous performances from the cast. The love triangle is just dreary. The romantic build, just like the plot development, takes up so much time and patience. But the worse part is how the writer/director chose to show Melanie and Wanderer living together in the same body.  The production design is laughable in its simplistic assumption that aliens and advance technology should only be pristine white or mirror-plated. These scenes hurt the eyes as much as they hurt one’s sanity. The host is easily one of the worst movies adapated into screen.

The film makes one notable premise—peaceful co-existence. Be it outer space creatures and human beings, the normal and the supernatural, or primitive and advance technology, co-existence, according to the film, is possible provided there is respect and love. Meyer presents alien invaders as the SOUL—peaceful, kind, trusting, and overall good natured except that they need a body to live in, while humans are violent, aggressive and selfish. Her premise may lack theological or literary depth but it leads us to ask what it means to be human. Does possessing free will and a body suffice or is humanity something at the core of life where love, respect and sacrifice exist. There is a sense of spirituality in the film as it echoes how we understand lour body and soul. It parallels the struggle most people encounter as they resolve the conflict between human and divine will.  More than trying to save humanity from invaders, the film is a story about the nature of love—for family, friends and life.

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The Croods

CAST: Nicolas Cage, Emma Stone, Ryan Reynolds, Catherine Keener, Cloris Leachman, Clark Duke, Randy Thom DIRECTION, STORY  AND SCREENPLAY: Kirk de Micco, Chris Sanders  PRODUCERS: Kristine Belson and Jane Hartwell MUSIC: Alan Silvestri CINEMATOGRAPHY: Yong Duk Jhun EDITING: Eric Dapkewicz, Darren T. Holmes PRODUCTION DESIGN: Christophe Lautrette  ART DIRECTION: Paul Duncan, Dominique Louis PRODUCTION: Dreamworks Animation  GENRES: Adventure, Comedy, Family  RUNNING TIME: 98 minutes DISTRIBUTOR: 20^th Century Fox
 

Technical assessment:   4

Moral Assessment:  3.5

CINEMA rating:  GP

MTRCB rating:   GP

The Croods are a prehistoric cave-dwelling family composed of parents Grug (voice by Nicholas Cage) and Ugga (voice by Catherine Keener), teen daughter Eep (voice by Emma Stone), Eep’s little brother Thunk (voice by Clarke Duke), baby sister Sandy (voice by Randy Thom) grandmother Gran (voice by Cloris Leachman).  Their only rule to live by is: Don’t try anything new.  Anything new is bad—to be feared, and so dad Grug’s perennial word of caution is “Never not be afraid” because “fear keeps us alive.”  When an earthquake occurs and their world of rock begins to crumble, the Croods are forced to desert their cave.  They wander into a strange new world, and meet Guy (voice of Ryan Reynolds), a resourceful orphan of Eep’s age. 

In vivid 3D, The Croods has been the most natural, wholesome, and memorable family film that has happened since Up, offering entertainment with a heart and an uplifting break from revenge themes, gory horror and terror in our cinemas as well as the news.  It strikes a happy medium between outright fantasy (out-of-this-world creatures) and next-door reality (Neanderthal family management so like ours?).  But of course, nothing is impossible with animation, and in The Croods it is put to very effective use in highlighting emotional responses supposedly of humans clad in animal skins but which might as well be our own in the 21^st century.

Obviously caught up in the Croods’ adventure, viewers of all ages on the day CINEMA watched The Croods couldn’t stop reacting to it—cheering, laughing, shrieking, clucking with glee—which only goes to prove its tremendous appeal to a general audience.  And why not?  The Croods are like anyone’s family that has its share of fights (and even jabs at mothers-in-law) but is united in moments that challenge their survival.  And there are no villains to speak of here; the only baddies to confront are those within oneself—inflexibility and resistance to change, unwillingness to accept new ideas, the habit of wanting to be always in control, etc.  The Croods shows that even in animation, catharsis is possible, as each character evolves in the family’s journey into a new way of living.