You're my boss

DIRECTOR: Antoinette Jadaone  LEAD CAST: Toni Gonzaga, Coco Martin WRITER, SCREENWRITER: Antoinette Jadaone  EXECUTIVE PRODUCERS: Malou N. Santos, Charo Santos-Concio  CAMERA AND ELECTRICAL DEPARMENT: Oli Lapera Jr. GENRE: Comedy, Romance  PRODUCTION COMPANIES: ABS-CBN Film Productions, Star Cinema Productions  DISTRIBUTORS: Star Cinema Productions (2015) (Philippines)  LOCATION: Philippines  LANGUAGE: English/Pilipino            RUNNING TIME: 116 mins.

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA Rating: PG 13 

Si Georgina (Toni Gonzaga) ay may mataas na posisyon sa marketing department ng isang maliit na airline company. Nang magpaalam para magbakasyon ang kanyang boss (Freddie Webb), inihabilin siya nito kay Pong (Coco Martin), bilang kanyang assistant. Hindi magkasundo sina Pong at Georgina sa umpisa. Masungit at modern si Georgina. Kimi at simple naman si Pong. May isang importanteng deal ang kumpanya ni Georgina na kailangan niyang maisara at ito rin ang magsasalba sa kahihiyan na naidulot niya sa kumpanya minsang magwala siya sa harap ng mga pasahero ng eroplano at maging viral ang video nito. Ngunit tumangging makipag-usap sa kanya ang mga Hapones na investor dahil ang gusto nitong kaharap ay ang boss ni Georgina. Kaya nang magkaroon ng pagkakataon, ipinakilala niya si Pong bilang kanyang boss. Dito magsisimula ang masalimuot na relasyon nina Pong at Georgina. Magkaigihan kaya sila o lalo pang tumindi ang kanilang pag-aaway?

Ang You’re My Boss ay isang pelikulang sinadyang gawin para sa mga artista nito. Sadyang ibinagay sa dalawang bida ang mga karakter nila. May pagka-predictable ang pelikula dahil dito ngunit di naman maiaalis na may kuwento pa rin itong gustong sabihin. Kung tutuusin ay hindi kapani-paniwala ang pinaka-buod ng pelikula. Pawang mahirap paniwalaan na magiging ganun kadali ang mga biglaang pagbabalat-kayo ng bida na maging boss buhat sa pagiging ordinaryong assistant lamang. Pawang mahirap paniwalaan at lalong mahirap panindigan ang ganitong uri ng kasinungalingan. Sa maraming eksena, tila kakatwa ang nagiging kinakalabasan nito. Marahil sadyang hindi bagay ang dalawang bida mula pa sa simula. Sa kabila nito, maayos naman ang daloy ng kuwento dahil naka-sentro ito sa dalawang bida. Maayos din ang mga kuha ng camera at sadyang malaki ang naitulong ng magandang tanawin ng Batanes sa ikakaganda ng pelikula. Pero pawang may kulang sa kabuuang dating ng pelikula. May timplang hinahanap ang mga manood—marahil ito ang kilig na mahirap makuha mula sa dalawang bidang pilit na ibinabagay. O marahil dahil nakakahon pa rin ang pelikula sa isang nakakabagot na pormula ng romantic-comedy.

Marami namang mapupulot sa pelikulang You’re My Boss. Naka-sentro dito ang patungkol sa katotohanan. Nagsimula ang pelikula sa paninindigan sa isang kasinungalingan at pagbabalat-kayo. Sa mundong ito at sa panahong ito ng pagbabalat-kayo, tila mailap ang katotohanan. Sa kabila ng ginawang pagkukunwari ng dalawang bida, nagawa pa rin naman nilang maging tapat sa bandang huli, hindi lamang sa kanilang kumpanya ngunit higit-lalo sa nararamdaman nila sa isa’t-isa. Nariyan din ang pagpapahalaga sa pamilya. Galing ang dalawang pangunahing tauhan sa magkaibang uri ng pamilya at dito makikita na parehas nilang pinahahalagahan ito dahil sa kanilang pinagdaan sa kani-kaniyang pamilya. Makikita rin sa pelikula ang kahalagahan ng pakikipag-kapwa tao, ng matutong bumangon mula sa kamalian, at ng pagtanggap ng pagkakamali ng may pagpapakumbaba. Sa bandang huli, isang bagay pa rin ang pinakamahalaga sa lahat—iyan ang pag-ibig na walang kinikilalang yaman o antas sa lipunan. Lahat ay nagiging pantay-pantay sa larangan ng pag-ibig.

Run all night

DIRECTOR: Jaume Collet-Serra  LEAD CAST:  Liam Neeson, Joel Kinnaman, Ed Harris, Genesis Rodriguez, Vincent D’Onoprio, Common  SCREENWRITER:  Brad Ingelsby  PRODUCERS:  Roy Lee, Michael Tadross, Brooklyn Weaver  EDITOR:  Craig Mckay  MUSICAL DIRECTOR:  Junkie XL GENRE:  Crime, Drama, Mystery Thriller  CINEMATOGRAPHER: Martin Luhe  DISTRIBUTOR:  Warner Bros. Pictures  LOCATION:  United States RUNNING TIME: 114 minutes

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA rating: V 14

            Brooklyn mobster and hit-man Jimmy Conlon (Liam Neeson) and his underworld boss Shawn Mcguire (Ed Harris) are long time best friends. Shawn’s son Danny (Boyd Holbrook) double-crosses some drug dealers and kills them.  Jimmy’s estranged son Mike (Joel Kinnaman) witnesses the crime. Danny hunts down Mike, catches him at home, and when about to shoot him is shot dead instead—by Jimmy himself. Jimmy confesses to Shawn that he has killed Danny to save Mike’s life. Burning with vengeance, Shawn deploys his gang and expert assassin (Common) to kill Jimmy and Mike.  Father and son run all night for their lives and those of Mike’s family.

            Run All Night is heavily charged with dramatic plotlines that delve deep into the very core of the main characters’ motivations. Much of the revelations are done through expository dialogue but the actors’ strength of delivery and proven caliber deliver those verbose sequences with compelling ease. The story is plotty but not complicated and the audience could easily follow the journey of the characters. However, the heavy plot could sometimes turn away the story from its main focus. The film shines through in the scenes where there is minimal action. In fact, the action sequences seem to be out of place sometimes and the inclusion of an expert assassin feels a little off. But then, the impeccable acting and characterization of principal actors pull everything off and make the film interesting and enjoyable to watch.

            There are plenty of interesting relationships at play in the film and it is very interesting to dissect the values that cut-through in this crime-drama feature.  It starts off with the valued friendship between Jimmy and Shawn. Their loyalty to one another is time-tested, although the foundation of their friendship (which is primarily crime) is another story. Their friendship ended when Jimmy chose to save his son over Shawn’s. And there, the conflict arises. One major realization audiences can ponder on is the significance of the foundation of friendship. Jimmy and Shawn are best friends and partners in crime.  From the beginning, the friendship is tainted because it is founded on something evil. Friendship is good but crime is evil. The friendship does not make crime any less evil. Here it is clearly seen that evil is evil—and it recognizes no friendship. Jimmy is a broken person and seems to have suffered the consequences of his actions, the heaviest of which is his estranged relationship with his son. When he found opportunity and purpose to be a father to his son, it is quite too late. But then, love reigns in all situations—the actions of Jimmy may be evil but he is not.  Jimmy is still capable of loving.  He is a sinner yet as the Church has always been telling the people—hate the sin, not the sinner. Jimmy found purpose in life and that is to make amends with his son. His son could not accept him at first. But Jimmy demonstrated unconditional love so his son eventually melted. If time could not heal the wounds, love will. Jimmy’s actions towards the end of his life brought him redemption. But then, it does not make his previous actions right, but his sincere contrition and remorse clearly show that it is never too late for somebody to change ways, and to change heart.  Jimmy may have been trapped in a world he never really desired—and this is clearly seen in the film as he tries as far as possible to prevent his son from pulling even a single trigger—such consistency depicted in the story make the film moral despite and in spite of the heaviness of crime being tackled in the movie.

Insurgent

--> DIRECTOR: Robert Schwentke  LEAD CAST:  Shailene Woodley, Ansel Elgort, Theo James, Kate Winslet  SCREENWRITER: Brian Duffield, Akiva Goldsman, Mark Bomback based on Veronica Roth’s novel  PRODUCER:  Neil Burger, Lucy Fisher, David Hoberman, Todd Lieberman, Pouya Shahbazian, Barry H. Waldman, Douglas Wick, John Wildermuth  EDITOR: Stuart Levy, Nancy Richardson  MUSICAL DIRECTOR:  Joseph Trapanese  GENRE: Adventure, Sci-Fi, Thriller  CINEMATOGRAPHER:  Florian Ballhaus     DISTRIBUTOR:  Summit Entertainment  LOCATION:  USA RUNNING TIME: 119 minutes

Technical Assessment:  3 

Moral Assessment:  2.5

MTRCB rating:  PG  13 

CINEMA rating:  V14 

In the dystopian society of post-war Chicago, society is divided into five factions according to their most dominant personality trait and are tasked to uphold a specific quality: Dauntless for bravery, Erudite for knowledge, Candor for truth, Amity for peace and Abnegation for selflessness. Those who belong to more than one faction are called Divergents and are considered a threat to human existence. Tris Prior (Woodley), former Abnegation and trained in Dauntless was discovered to be a divergent in the previous movie while ambitious Erudite leader Jeanine Matthews (Winslet) spearheaded the attack on the entire Abnegation faction in order to gain control of the system. Insurgent begins where Divergent ends. We see the surviving Abnegation and Dauntless members hiding in Amity and Candor as Jeanine hunts down remaining Divergents in order to unlock a box that supposedly contains data from the city's founders and eventually end the Divergent problem. Meanwhile, Tris, Four (James) and the remaining Dauntless seek refuge with the Factionless whose leader, Evelyn Eaton (Watts), is also Four's mother who wishes to join forces and overthrow Jeanine and the entire faction system.

One needs to be familiar with the series to be able to appreciate the film. But even with its literary counterpart to provide the needed depth and texture, it is difficult to sympathize with them as they barely transcend the cardboard like characters. The sets and production design are able to give layers in the characters more than the performances and dialogues. The storyline is a little more cohesive but still fails to deliver a convincing argument about the faction system and the divergent and why and how it works. As an action film, the movie delivers breathtaking chase scenes and dazzling visual effects. But scrap all of these off the plate, you are left with a very thin plot that forces audience to believe the protagonist has valid issues to overcome and the antagonist is a real threat to the world. Even the concept of simulation, serums and making a single choice to define one's person is a little weak (both in the film and in the novel). On the technical side, the production design and scoring successfully interprets Roth’s idea of faction system and action events.

Does the greater good justify trampling over the rights and humanity of the few? We have heard this line from leaders who sought to rationalize their violence and cruelty. And we always hear this as an excuse for the so many inconveniences we suffer everyday.  Jeanine Matthews' defends her decision to slaughter an entire faction or force a group to kill each other or jump to their death for in order to ensure that society remains intact. So did one dictator when he had opposition leaders rounded up and incarcerated. So did Caiaphas when he insisted on having Pilate crucify Jesus.  But whose good are they really referring to? We have to examine our choices. It one thing to exercise tough love in order to serve a greater purpose but that purpose should always have as an end result love, respect and selflessness.  

Further, the exercise of one virtue does not mean neglecting all others—bravery does not mean violence and aversion to peace, truth does not mean tactlessness and being inconsiderate. While virtues are non-negotiables, they do not exist in black and white. That is why human beings are virtuous because it takes discernment and conscience as well. The film successfully underlines that Divergents (those with two or more dominant traits/virtues) are the instruments for society to survive and humanity to flourish. 

Cinderella

DIRECTOR: Kenneth Branagh  LEAD CAST: Lily James, Cate Blanchett, Richard Madden, Helena Bonham Carter, Holliday Grainger SCREENWRITER: Aline Brosh McKenna  PRODUCER: Tim Lewis & Barry Waldman  EDITOR: Martin Walsh  MUSICAL DIRECTOR:  Patrick Doyle  GENRE: Fantasy/romance  CINEMATOGRAPHER:  Haris Zambarloukos   DISTRIBUTOR: RKO Pictures  LOCATION: UK RUNNING TIME:  105 minutes

Technical assessment:  4

Moral assessment:  4

CINEMA rating:  GP

            Ella (Lily James) enjoys a short-lived childhood in a comfortable home in an estate, with loving, devoted parents.  As a very young girl, Ella is introduced by her mother to a magical world that makes the impossible possible, for instance, conversing with mice, geese and lizards in the family estate.  Everything seems endless perfection until illness strikes Ella’s mother suddenly, then death follows.  Before the fateful moment, however, her mother leaves Ella not jewels, not wealth, but two golden nuggets of advice: “Have courage, be kind.”   As Ella blooms into womanhood, her father remarries and takes Lady Tremaine (Cate Blanchett) for his wife.  The wicked stepmother moves in along with her two daughters Drisella (Sophie McShera) and Anastasia (Holliday Grainger), whose cruelty Ella repays with kindness, even to animals and strangers.  Magic becomes reality when the apprentice Kit (Richard Madden) and Ella’s Fairy Godmother (Helena Bon Carter) come into her life.

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        The Cinderella motif has had a long history that reportedly begins with a tale from Egypt in the first century BC.  Indeed, even older than Christ, the Cinderella theme has undergone various adaptations, forms, and interpretations, the “modern” one being the fairy tale by French writer Charles Perrault, published in 1697.  Since then Cinderellas have come and gone—on film, in plays, operas, and ballets, inspiring pop music, children’s bedtime stories and even coloring books.  Thus it was with a sigh of weariness that CINEMA met this 2015 version: “What? Another Cinderella?”  No—it is not “another” Cinderella.  Even in casting and CGI alone, this version tops it all.

            The power of fairy tales lies in how well they sweep the audience off their feet—to believe in magic and in never-never lands that promise happy ever-afters, to offer escape from ordinary life and hope for better times.  This Cinderella accomplishes all that—but does so without taking advantage of the viewer’s gullibility or justifying their romantic notions.  This Cinderella extols virtues from beginning to end—justice, forgiveness, patience, faith in man’s goodness, love, purity, and yes, courage and kindness.  “Have courage, be kind” is mentioned no less than five times on separate occasions, by different characters, nailing in a lesson with a velvet-covered hammer.  It makes clear distinctions between right and wrong, good and evil, vice and virtue.  The good guys are admirable and lovable; the bad guys are pathetic and must be forgiven.  In the end, it’s not just Cinderella and her prince who live happily ever after, but the citizens of their kingdom.  Can a movie get any more Christian than that?

 

Crazy Beautiful You

-->DIRECTOR: Mae Czarina Cruz  LEAD CAST:  Daniel Padilla, Kathryn Bernardo, Lorna Tolentino, Gabby Concepcion, Inigo Dominic Pascual, Dante Ponce  SCREENWRITER: Maan Dimaculangan, Jancy E. Nicolas, Bianca B. Bernardino, Carmi Raymundo, Rory B. Quintos  PRODUCER:  John Leo D. Garcia, Carmi Raymundo, Malou N. Santos, Charo Santos-Concio  EDITOR: Marya Ignacio  MUSICAL DIRECTOR:  Jesse Lucas  GENRE: Drama, Romance, Comedy  CINEMATOGRAPHER:  Moises Lee, Dan Villegas   DISTRIBUTOR:  Star Cinema Productions  LOCATION:  Capas, Tarlac and Metro Manila RUNNING TIME:   90 minutes

Technical assessment:  3.5     Moral assessment:  4

MTRCB rating:  PG13    CINEMA rating:  V13

            Isang “pasaway”  si Jackie (Kathryn Bernardo) na lumaking malayo sa inang nasa Amerika (Lorna Tolentino), walang dulot kungdi sakit ng ulo sa amang nasa Pilipinas (Dante Ponce), at walang ibang gusto sa buhay kungdi ang masunod ang layaw niya.  Bagama’t hiwalay ang kaniyang mga magulang (Lorna Tolentino at Dante Ponce), at kahit na dalaga na si Jackie ay sige pa rin sa pag-aagawan ang mga ito sa anak.  Gusto ni Jackie na makapag-aral sa New York, at hihimukin siya ng inang doktora na kung sasama lamang siya hanggang sa matapos ang isang medical mission sa isang malayong probinsiya , ay matutupad ang hiling niya.  Tatanggapin ni Jackie ang alok ng ina, at dito—sa kabilang ibayo ng bundok kung saan walang koryente at cellphone signal—mararanasan niya ang makisalamuha sa mga ita, ang matulog sa kawayang sahig ng kubo, at ang maunsiyami ang kahit anong gustuhin niya.  Dito rin niya matatagpuan si Kiko.  Ano ang magiging papel ni Kiko sa buhay ni Jackie?

            Sa biglang tingin, bantulot kaming panoorin ang Crazy, beautiful you sa pag-aakalang kabilang ito sa mga dalawa-isang-perang pelikula na ampaw ang kuwento pero puno naman ng kilig at pagbebenta ng produkto.  Lalo na pumasok na kami sa sinehan—puno ng tao mula ibaba hanggang itaas.  Pagkatapos ng palabas, napaghinuha naming kakaiba ito, at nakatutuwa ding isipin na kahit hindi ito karaniwang “masarap” sa panglasa ng karamihan ng mga Pilipinong manonood, ay marami pa ring tumatangkilik dito.  Malaman ang kuwento, kapupulutan ng maraming aral at temang mapag-uusapan ng buong pamilya.  Mahusay ang pagganap ng mga artista lalo na ni Padilla na nagpapakitang kaya niyang gampanan ang isang karakter na may kahinugan ng isip at damdamin.  Minsan nga lamang ay sobrang haba sa ilang madramang eksena (puwede namang “higpitan” nang kaunti ang dialogue nang walang nababawas na halaga sa kuwento), at kulang naman sa “build up” ang ilan, tulad ng prosesong mauuwi sa pagpapatawad ng mga tauhan sa isa’t isa—para tuloy minadali.  Pero mapapatawad na rin ang ganoong mga teknikal na pagkukulang dahil nasasapawan ito ng ibang mga maaayos na detalya at ng kabuluhan ng buong kuwento.

            Ang katangi-tanging ganda ng pelikula ay ang pagmulat nito ng paningin ng manonood na ang mundo ay hindi lamang ang sarili, ang pamilya, mga kaibigan at mga gusto mo lamang na isali sa mundo mo.  Naiiba sa karamihan ang Crazy, beautiful you—una, hindi ito karaniwang “pakilig” lamang; ikalawa, lahat ng mga tauhan dito ay nagpapakabait sa kabila ng mga pagsubok ng buhay; ikatlo, pinahahalagahan ng pelikula ang transformation ng isang tao, ang pamumukadkad ng kanyang higit na nakabubuting pagkatao; ikaapat, pinatutunayan nito na ang pagdamay ng isang tao sa mga kapos sa buhay ay nagiging ugat ng paghilom ng mga sugat ng kanyang nakaraan; ikalima, isinasaad dito naang  daan tungo sa tunay na pag-ibig at kaligayahan ay nabubuksan kapag natututuhan na ng isang tao ang magmahal ng wagas sa kaniyang kapwa-tao.

Kingsman: The Secret Service

DIRECTOR: Matthew Vaughn  LEAD CAST: Colin Firth, Samuel Jackson, Michael Caine, Taron Egerton, Sofia Boutella, Sophie Cookson, Mark Strong   SCREENWRITER:  Jane Goldman, Matthew Vaughn based on comic book series by Mark Millar and Dave Gibbons  PRODUCER:  Adam Bohling, David Reid, Matthew Vaughn  EDITOR:  Eddie Hamilton, Jon Harris, Conrad Buff IV  MUSICAL DIRECTOR:  Henry Jackman, Matthew Margeson  GENRE: Action, Comedy, Adventure  CINEMATOGRAPHER:  George Richmond  DISTRIBUTOR: 20th Century Fox  LOCATION:  United Kingdom, United States  RUNNING TIME:  129 minutes

Technical assessment:  3

Moral assessment:  2.5

MTRCB rating:  R16

CINEMA rating:  V16

            If you're prepared to adapt and learn, you can transform.  Kingsman: The Secret Service is based on the comic book series of the same title by Mark Millar and Dave Gibbons.  It is about Gallahad/Harry Hart (Colin Firth) recruiting a streetwise young man Gary 'Eggsy' Unwin (Taron Egerton) to replace his father Lancelot who died 17 years ago saving Hart’s life. Eggsy is in prison for resisting police and car theft. Gallahad gets him out and enlists him to be a Kingsman—which is a kind of independent secret service not connected to any government. In short, it is a company of spies—of gentlemen spies, although class is no requirement. While Eggsy undergoes intense training, a serious plot of controlling population to save the environment is being hatched by telecom giant Richmond Valentine (Samuel Jackson). Gallahad takes on the mission but things turn for the worse. Eggsy has to team up with Merlin (Mark Strong) and Roxy (Sophie Cookson), the recently accepted Lancelot when big boss Arthur (Michael Caine), ala M of Bond fame, proves untrustworthy. Will they succeed in saving the world?

            Kingsman is a parody of 1970s spy thrillers, particularly Agent 007. Looks like Firth would say at any moment: “The name is Bond, James Bond.” It is peppered with references to other spies and boasts of high-caliber actors who shine brilliantly. Firth is a pleasant surprise as a debonair action star, impeccably dressed, well-mannered but quick and deadly. Samuel Jackson with a lisp essays the eccentric villain convincingly, with his graceful knife-legged side kick Gazelle (Sofia Boutella). Newcomer Taron Egerton holds his ground in the scenes with these thespians including Michael Caine. State-of-the-art gadgets are not lacking and the irreverent, tongue-in-cheek humor makes you chuckle at some scenes, bringing back memories of spy thrillers you’ve enjoyed. But others leave a bad feeling at the mayhem and brutality of extended violence. The action scenes are skilfully choreographed but there is too much gore, even glee, at the massacre in a fundamentalist church. Not to mention colorful exploding heads to the tune of Elgar’s Pomp and Circumstance.

            Kingsman mixes comedy, violence and action but proposes certain values as well. And then makes fun of it. Quoting Hemingway, Galahad tells Eggsy that “there is nothing noble in being superior to your fellow man. True nobility is being superior to your former self.” He returns the supreme sacrifice of his father in saving Gallahad’s life by giving Eggsy the chance to bring out the best in himself. He also tells a group of thugs “Manners maketh man.” Then he proceeds to fight with each of them. When one of the trainees dies after the first test of the program, Merlin tells the group that teamwork is paramount. In the next scene Arthur commands the trainee to shoot his dog who is part of the team. The Kingsman is committed to “save the world” at the risk of his life. Gallahad exemplifies this and so do Merlin, Roxy and Eggsy as they work together to stop the planet wide genocide. Despite tech genius Valentine’s program to celebrate a new world safe from global warming, free offers come at a cost they can’t even imagine. Kingsman also falls into the cliché of showing women as merciless and capable villains, or sexual reward for saving the world.

American Sniper

DIRECTOR:  Clint Eastwood  LEAD CAST: Bradley Cooper, Sienna Miller, Luke Grimes, Kyle Gallner, Sam Jaeger, Jake McDorman, and Cory Hardrict  STORY: Chris Kyle  SCREENWRITER: Jason Hall  PRODUCERS: Clint Eastwood, Andrew Lazar, Bradley Cooper, Peter Morgan  PRODUCTION DESIGN:  James J. Murakami, Charisse Cardenas  FILM EDITORS: Joel Cox, Gary D. Roach  MUSIC: Joseph DeBeasi, Clint Eastwood  GENRE: Action, War, Biography  CINEMATOGRAPHER: Tom Stern  PRODUCTION COMPANIES: Mad Chance Productions, 22nd & Indiana Pictures, Malpaso Productions DISTRIBUTOR: Warner Bros. Pictures  LOCATION:   United States RUNNING TIME:  134 mins.           

Technical Assessment: 4

Moral Assessment: 3

CINEMA Rating: for viewers 14 and above

                       

            The film essays the real life of US Navy SEAL Chris Kyle (Bradley Cooper)—from the circumstances that led him to the service to his becoming one of the most lethal snipers not just in the Navy SEAL but in the entire American history. His skill has brought him to tours of duty in Iraq to protect his comrades who are fighting in the war. His pinpoint accuracy not only saves countless lives but also makes him a prime target of insurgents. Despite grave danger, and much to his wife’s dismay, Kyle goes to Iraq four times thinking that he’s doing his country a great service for he believes in the war they are in. But the ravage of war leaves Kyle wounded for the rest of his life. Coming back home, he has to face a different war, a different crusade brought about by his decision to serve his country above himself.

            American Sniper hits the emotions of the audience to the core. The strong characterization of the central subject of the story makes the film both fascinating and compelling. Cooper really fits the role and his performance delivers even the slightest emotional and psychological nuance of the character. Given the complexities of the situation the film depicts, it is able to keep things simple without being simplistic by focusing on the gamut of emotions and psychological torture a soldier has to go through just to defend a war for the sake of his country. The film sticks to realism as far as possible, making the setting and situations distinct and realistic. The story is presented in a linear, chronological fashion, making it easier to follow. This is a good directorial decision since the story itself is complicated enough. However, there was little attention given to the other characters in the story which could have turned into interesting subplots. The political issues of the war are also left on the sidelights which could have been a good anchor for further debate. But then again, American Sniper is a good watch in its entirety with its competent direction, realistic setting, and sincere characterization.             Given Kyle’s clarity of purpose – to protect his comrades in the war, it would  seem easier to dismiss the other moral issues present in American Sniper.  But then again, the visuals of a rather dark and violent world will always be problematic. However, given the insightful workmanship of the film, it is quite clear that Kyle’s own moral dilemma is as problematic as the film’s moral stance. With a story based on the perspective of the Americans, the audience can see clearly whose ideology is at play here. The Moslems in the Middle East are once again put in the worst light that furthers stereotypical image of them being terrorists and extremists. It may really take a while before such semiological issue is reconciled in mainstream cinema.  Good thing, the film is highly focused on the central character’s emotional and psychological struggles, so it is clearly seen that killing, although in the context of war and self-preservation and self-defense, will always be problematic, if not traumatic. In war, one loses oneself in the process—a noble act if done with a noble purpose. Kyle as the central character in American Sniper is deemed a hero for he left himself behind for a purpose greater than himself—a selfless sacrifice. But then, given the political shade of the war he was in, one cannot help but ask whether Kyle’s sacrifice is really worth it or not. Audiences must still be warned of the desensitizing effect of the visuals of violence in the film.   CINEMA finds the film suitable only for viewers 14-years-old and above, given the scenes that contain emotional stress, sex, and violence. 

Taken 3

DIRECTOR: Olivier Megaton  LEAD CAST:  Liam Neeson, Forest Whitaker, Maggie Grace, Famke Janssen, Dougray Scott  SCREENWRITER: Luc Besson, Robert Mark Kamen  PRODUCER:  Luc Besson, Michael Mandaville  EDITOR: Audrey Simonaud, Nicolas Trembasiewicz  MUSICAL DIRECTOR:  Nathaniel Méchaly  GENRE:  Action/Thriller  CINEMATOGRAPHER:  Eric Kress  DISTRIBUTOR:  20^th Century Fox  LOCATION:  USA, Spain RUNNING TIME:   109 minutes

Technical assessment:  2.5

Moral assessment:  2.5

MTRCB rating:  PG13

CINEMA rating:  V14

        Liam Neeson returns as ex-government operative Bryan Mills, whose life is shattered when he’s falsely accused of a murder that hits close to home. As he’s pursued by a savvy police inspector (Forest Whitaker), Mills employs his “particular set of skills” to track the real killer and exact his unique brand of justice. (Review to follow)

Wild

--> DIRECTOR: Jean-Marc Vallee   LEAD CAST: Reese Witherspoon, Laura Dern, Thomas Sadoski, Michiel Huisman, Gaby Hoffman   SCREENWRITER:  Nick Hornby based on Cheryl Strayed’s memoir  PRODUCER:  Bruna Papandrea, Bill Pohlad, Reese Witherspoon  EDITOR:  John Mac McMurphy, Martin Pensa  MUSICAL DIRECTOR:  Clint Mansell  GENRE: Biographical Drama  CINEMATOGRAPHER:  Yves Belanger  DISTRIBUTOR: Fox Searchlight Pictures  LOCATION:  United States  RUNNING TIME:  115 minutes 

Technical assessment: 4

Moral assessment:  3

MTRCB rating: R 16

CINEMA rating: V 18

Wild is the story of Cheryl Strayed, based on her best-selling memoir, Wild: From Lost to Found on the Pacific Crest Trail. Reese Witherspoon (of Legally Blonde fame) brings her to life as one who “had diverged, digressed, wandered, and become wild.” Devastated by her mother Bobbi’s (Laura Dern) untimely death due to cancer, Cheryl spirals into self-destructive behavior (read infidelity, carefree sex, drugs, an abortion), and divorces her loving husband Paul (Thomas Sadoski). Coming to her senses, she embarks on the Pacific Crest Trail in order to find, in her own words: “the lost vision of the woman my mom raised me to be.”

       Strayed takes us with her on the 1,100-mile-journey (from the California-Mexico border to Canada) as she struggles to carry a humongous backpack, Monster, faces all types of danger from animals, the changing seasons, the rugged terrain, hunger, and other hikers. Through impressive cinematography Wild does not present a woman-against-nature journey. Instead it shows the terror of a solo woman hiker for 94 days: taking one step after another in the most gruelling trek, facing one’s demons, accepting one’s savage nature and finding one’s place in the wilderness of our complex world. We see an amateur Strayed struggling with her pack, her boots, her lack of food and just about everything, but she never gives up in spite of her fears. Slowly, her past life unravels through well-placed flashbacks. Witherspoon, sans hairdo and makeup, captivates in her gritty performance, thanks to Jean-Marc Vallee’s direction. Laura Dern authors Bobbi’s all-encompassing love and optimism with passion and joie de vivre. The music adds to the adventure, and although there’s more to be desired in the conclusion, the entire movie effectively shows Strayed’s monumental journey.

       Wild is the story of a woman who literally walks out of her life, takes even a new name, and journeys into the unknown, totally unprepared and afraid. It shows how complicated life is for a woman and how she must find a way around it. Confronting the wounds of the past, she understands what it means to be human, to love, to grieve, to struggle, and to forgive. And although she experiences the graciousness and decency of people along the way, aside from a threatening few, what saves Strayed is not money, her parents, someone or something.  With dogged determination she undergoes both a physical and spiritual odyssey replete with sacrifices and pain, and discovers the beauty in the wild places of her life. In Christian terms, Strayed went on a pilgrimage, not so much to an external holy site, but to the wilderness of her soul and listened to her heart. And somehow she finds peace as she reaches “The Bridge of the Gods.”

       Wild is a powerful movie that invites the viewer to honestly look inside his/her own life. We wander, we lose our way, we make mistakes and we suffer, regretting many of the choices we make. The movie shows that the wild places belong to all of us and life’s greatest secret is having the courage to find the best you can be.

That thing called 'tadhana'

--> DIRECTOR: Antoinette Jadaone   LEAD CAST:  Angelica Panganiban, J M de Guzman  SCREENWRITER: Antoinette Jadaone  PRODUCER:  Bianca Balbuena, Dan Villegas, Ronald Arguelles  EDITOR: Benjamin Gonzales Tolentino  MUSICAL DIRECTOR:  Emerzon Texon  GENRE: Romantic Comedy   CINEMATOGRAPHER:  Sasha Palomares  DISTRIBUTOR:  Star Cinema Productions  LOCATION:  Baguio, Sagada  RUNNING TIME: 90 minutes

Technical assessment:  3.5

Moral assessment:  3

MTRCB rating:   PG-13

CINEMA rating:  V14

            Sawi sa pag-ibig si Mace (Angelica Panganiban). Matapos ang walong taong paniniwala niyang “sila na” ng katipan, matutuklasan niya ang pagtataksil nito sa ibang bansa at magpapasya siyang putulin na ang relasyon.  Matatagpuan siya ni Anthony (JM de Guzman) sa departure area na isang airport sa Italy, na namomroblema sa excess luggage niyang pauwi.  Aalukin siya ni Anthony na ilagay na lamang ang sobra niyang dalahin sa maleta nito para wala na siyang bayaran pa.  Hindi mapipigilan ni Mace and paghihimutok at ihihinga kay Anthony ang sinapit ng lovelife niya.  Matiyaga namang makikinig ang binata, na tila naaaliw sa kakuwanan ng dalagang iyakin.  Pagkat pareho naman silang may panahon, at hindi naman nagmamadaling magsiuwi pagdating sa Pilipinas, ipagpapatuloy nila ang paghuhuntahan nila hanggang makaabot sila sa Baguio at Sagada.  Saan hahantong ang kanilang pagsisiwalat ng kani-kaniyang buhay sa isa’t isa?

            Habang pinanonood namin ang That thing called ‘tadhana’, naaalala namin ang pelikulang Before Midnight kung saan ang buong pelikula ay naisulong ng dalawang artista lamang (Ethan Hawke at Julie Delpy) na nagkukuwentuhan, nag-uusap, at nagtatalo habang tumatakbo ang araw.  Ang tagumpay ng ganitong uri ng pelikula ay nakasalalay sa isang interesanteng kuwento, intelihenteng script, at kaiga-igayang pagganap ng mga tauhan.  Meron lahat nito sa That thing called ‘tadhana’.  Hindi nakakabagot bagama’t halos dalawang tao lang ang mapapanood mo sa loob buong haba ng pelikula.  Ibinibigay ni Panganiban ang hinihingi ng karakter niyang si Mace—kayang-kaya niya ito pagka’t hindi naman napakalaking hamon ang gampanan ang papel niya, lalo na’t bihasa na siya sa pagpapatawa sa telebisyon.  Si de Guzman din ay kahanga-hanga sa kanyang pagganap bilang isang “sob brother” ni Mace.  Magaling ang chemistry ng dalawa, at kitang-kita sa mga closeup shots nila ang sinseridad sa paglalahad ng kani-kaniyang tauhan.

            Nakuha ng pelikulang “pasakayin” ang manonood sa mga pangyayaring namamagitan kay Mace at Anthony.  Nakasama rin ang manonood sa paglalakbay, at natuklasan din nila tulad ng dalawang bida ang mga lugar na pinuntahan nito.  Iyon ang pinaka-kaakit-akit sa pelikulang ito: isa siyang kuwento ng pagmamalasakit at pakikisama nang walang bahid ng pagka-makasarili kahit na nga halos ay puro sarili nilang karanasan ang pinag-uusapan nila.  At sa dulo, maliwanag na ang mga pinakamahalagang bagay sa pagkikipag-ugnayan ng isang babae at isang lalaki ay hindi lamang physical attraction o natural na makasariling hangarin.  Higit na mahalaga ang pakikinig, pakikiramay, at pang-unawa sa kapwang nagdadalamhati.