Big Game

DIRECTOR: Jalmari Helander  LEAD CAST: Samuel L. Jackson, Onni Tommila, Ray Stevenson, Victor Garber, Mehmet Kurtulus, Ted Levine, Jorma Tommila, Risto Salmi, Felicity Huffman, Jim Broadbent SCREENWRITER:  Jalmari Helander  PRODUCER:  Will Clarke, Petri Jokiranta, Andy Mayson, Jens Meurer  EDITOR:  Iikka Hesse  MUSICAL DIRECTOR:  Juri Seppä, Miska Seppä  GENRE: Action, Adventure  CINEMATOGRAPHER:  Mika Orasmaa  DISTRIBUTOR: Europa Corp.  LOCATION:  Germany  RUNNING TIME:  110 minutes

TECHNICAL ASSESSMENT:    3.5

MORAL ASSESSMENT:  3.5                      

MTRCB RATING: PG 13

CINEMA RATING: PG 13

Finn Oskari (Onni Tommila) faces what every Finnish boy dreams of on the eve of his 13^th birthday: to prove himself a man by surviving a day and a night in the wilds, catch game, and do his father proud. It doesn’t matter if he can barely bend his bowstring, let alone hunt for deer on his own.  Meanwhile, Moore (Samuel L. Jackson), the President of the United States of America is on his way to a G-8 summit meet when Air Force One is suddenly attacked by missiles. He is promptly ensured safety through the escape pod by Morris (Ray Stevenson), head security officer, before the plane crashes on to the forest floor where Oskari is. The young boy finds the President and drags him along his solitary pursuit only to discover that Moore is being hunted by a psychopath with the help of his trusted security aid.  Will Oskari prove himself and bag the biggest game of all?

Big Game opens with a spectacular and breathtaking sweep of what is supposed to be Finnish mountains and woods (it’s actually Bavaria, Germany). The awesome opening sequence alone makes your movie ticket worth it. There is great chemistry between young Onni Tommila and Samuel L. Jackson who both wear their characters with a delightful and solid performance. The action sequences are well choreographed and the musical score heightens the thrill of the adventure. Some parts are ridiculous but the dialogue has wit and it has lots of fun. Plot holes and the war room scenes leave much to be desired. In spite of its flaws, Big Game is a great package of adventure, humor, and ingenuity that somehow works and manages to inject real inspiration without being preachy.  

Big Game actually parodies current conceptions of what it means to be a man. It presents a bumbling president, a rich psychopath, a corrupt secret agent, an incompetent intelligence team, a well-meaning but unenlightened father, and a male community whose criterion for manhood is survival in the wild and a trophy kill. Instead the film shows man’s greatness in the capacity to forget himself and his pursuits in order to help another human being in need. When he surrenders posturing to getting his hands dirty, and valiantly defies any thought for self-preservation to save another, then he becomes a man.

There’s one poignant scene in the wilds when Oskari weeps not because his father made sure he’d be successful. He realizes that even his own father did not believe in him. He throws caution to the wind, and stands up to the challenge surprising even himself. As always, the temptation is to strive and struggle for power, possessions, prestige and position. Big Game teaches us, without any allusion to God or Jesus, the true measure of a man: “Whoever wishes to become great among you shall be your servant, and whoever wishes to be first among you shall be your slave; just as the Son of Man did not come to be served, but to serve, and to give His life as ransom for many.”

Unfriended

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DIRECTOR:  Leo Gabriadze  LEAD CAST: Shelley Hennig, Moses Storm, Heather Sossaman, Renee Olstead, Will     Peltz, Jacob Wysocki and Courtney Halverson  STORY: Nelson Greaves  PRODUCERS: Mr. Greaves and Timur Bekmambetov  PRODUCTION DESIGN: Heidi Koleto  FILM EDITORS: Parker Laramie and Andrew Wesman COSTUMES: Veronika Belenikina  GENRE: Horror, Fantasy  CINEMATOGRAPHY: Adam Sidman  PRODUCTION COMPANIES: Bazelevs Company, Blumhouse Productions  DISTRIBUTOR: Universal Pictures  LANGUAGE: English  LOCATION:   United States RUNNING TIME:  85 mins.

Technical Assessment: 3.5

Moral Assessment: 2.5

CINEMA Rating: R18

            Blaire (Shelley Hennig) and her friends are chatting on Skype when they all start to receive messages from an inactive account of a common friend, Laura Barns, who had committed suicide a year ago after her humiliating video was posted on the Internet. They think at first that they are being hacked. But things start to get violent and they are all forced to admit their dirty little secrets leading towards the truth as to why Laura killed herself. Now they know and are convinced that they are all in trouble. Will they be able to escape the ghost of their past?

            The film makes full use of the latest communication technology to give a new look and perspective to a rather worn-out horror premise. The film succeeds in this aspect as it was able to keep the audiences glued on their seats. The film’s highlights that mostly happen on the computer screen are able to capture audience’s interest. Unfriended uses realism as a technique and is very effective at delivering such, which is a challenge given the film’s rather unrealistic premise. The characters are all effective at being both unlikeable and pathetic—making them appear as real human beings, flawed, weak, committing mistakes without being intentionally evil. Plot wise, the film has little to offer but presentation wise, it is able to deliver.

            Unfriended is a statement on the irresponsible use of social media. The film clearly states that although the media is powerful in shaping perception and influencing beliefs, the humans who use it still remain supreme. It is the users who create content who should be held liable for whatever outcome media content may bring. In the case of Unfriended—that centers on the suicide of Laura Barns—it is not the media that killed her, but the irresponsible people behind the video uploading. Hers is another case of cyberbullying and the horrors that go with it.  Although the film goes overboard in making the victim so vindictive, it may have been done intentionally to create a greater impact on its message—and there goes the irony as a communication media: the film makes a critique of another  medium, the internet, thereby contradicting itself by being as dangerous for audiences to watch.  Clearly computers are used here by evil forces making revenge possible, and how!  This is the reason why CINEMA deems the film as appropriate only to audiences age 18 and above. There is so much cursing, sex, drugs, and violence in the film, although done in context, that may not be suitable to young audience’s impressionable minds.

Your place or mine

--> Direction: Joel Lamangan; Cast: Andi Eigenmann, Bret Jackson, Jovic Monsod, Andre Paras; Screenplay:Keiko Aquino; Story: Turning Japanese; Editing:Joel Lamangan; Producer:; Music:Emerzon Texon; Location: Metro Manila; Genre: Romantic-Comedy; Distributor: Viva Films; Running Time: 95 minutes

Technical assessment: 1.5

Moral assessment: 2 
MTRCB rating: R 13

CINEMA rating: V18

            Pagkatapos makipaghiwalay sa nobyo, maglalasing si Haley (Andi Eigenmann) para lunurin ang sama ng loob. Pero mauuwi sa pakikipagniig sa di kilalang lalake at pagmamadaling umuwi at kalimutan ang nangyari kinabukasan. Pagkalipas ng ilang araw ay malalaman niyang ang lalaking iyon, na si Rusell (Bret Jackson) ay siya ring pinili ng kanyang mga magulang upang pakasalan niya. Pangsumandali ay mahuhulog ang loob niya kay Rusell hanggang matuklasan niya na sinadya pala ng lalake na magkatagpo sila. Tatakbo si Haley sa kanyang kababatang si Seth (Andre Paras) na may lihim din palang pagtingin sa dalaga.

            Tamang-tama ang linya ni Haley, “This is one big sick joke”. Mas babagay nga kung ito ang ginawang pamagat ng pelikula para simula pa lamang ay handa na ang isip at kalooban ng mga manunuod. Unang-una, tila isinulat ito ng isang bagitong walang alam sa buhay at nagpupumilit bigyan ng lalim ang one-night stand;  walang alam din sa paghahanap ng tunay na pag-ibig, relasyon, kasal, at pagiging magulang. Pilit at hilaw ang kwento at lalong malabnaw ang pagbubuo sa katauhan ng bawat isa. Sa paningin, maganda ang pelikula dahil tadtad ito ng magagarbong gamit, lugar at disenyo. Pero dahil sa babaw ng kwento ay nagiging panakip butas ito para malibang ang manunuod kahit papaano. Lalo namang masakit sa ulo ang pagganap ng mga pangunahing tauhan. (Nakapagtataka at anak pa nina Mark Gil at Jackylyn Jose si Eigenmann).  Sana ay ginastusan sila ng acting workshop para nagkaroon naman ng lalim at buhay ang kanilang pagganap, para naman nadala kahit kaunti ang pelikula. Maayos ang ibang aspetong teknikal at pamproduksyon, pero dahil walang kwenta ang mismong kwento at ang pagganap ng mga artista ay wala rin itong silbi sa kabuuan.

            Isinusulong ng pelikula ang nakakasanayang gawi ng kabataan sa panahon ngayon: pakikipagtalik bago kasal; laro-laro muna at saka na lang magseryoso. Kahit na ang pinakapundasyon ng kwento ay ang paghahanap ng tunay na pag-ibig, inanod naman ito ng mababaw na pananaw sa relasyon, kasal at pakikipagtalik. Hindi nakabubuti na ang one night stand ay pinilit na itapat sa tunay at wagas na pag-ibig pagkat maaring isipin ng mga bata na pagbibigay katwiran ito sa kanilang kapusukan. Hungkag ang kahulugan ng tunay na pag-ibig sa kwento—sa isang iglap ay payag na si babae na pakasalan si lalake dahil posible namang niyang mahalin ito balang araw; sa isang iglap ay naniwala si lalake na naglalandi ang nobya dahil me kausap itong ibang lalake; sa isang iglap ay iba na ang napagkasunduang pakakasalan at sa gitna ng paglalakad sa altar ay biglang magpapalit ng kapareha…Dagdag pa ay ang masamang imahen ng isang babae na ipinakikita ng pelikula. Walang kakayahan si Haley na magdesisyon o ipaglaban ang sarili. Una, sa kanyang mga magulang na pumilit sa kanyang magpakasal sa lalakeng hindi naman niya kilala; ikalawa, sa asawa na pumilit sa kanya na magsilbi, magbuntis at umintindi sa kanyang bawat kapritso ng damdamin. Ang masakit ay natatapos ang pelikula na masaya at naging buo ang pagkatao ni Haley gawa ng desisyon ng ibang tao para sa kanya.

Kid Kulafu

DIRECTOR: Paul Soriano  LEAD CAST: Robert Villar, Alessandra de Rossi, Cesar Montano  SCREENWRITER: Froi Medina  PRODUCER:  Marie Pineda  EDITOR: Mark Victor  GENRE: drama [biographical]  CINEMATOGRAPHER:  Odysse Flores  DISTRIBUTOR: Star Cinema  LOCATION:  Southern Philippines  RUNNING TIME:  70 mins.

Technical assessment: 3.3

Moral assessment:  3.5

CINEMA rating: V14

       “Before Manny Pacquiao, there was Kid Kulafu”—ito ang mensaheng nasa mga poster ng pelikulang Kid Kulafu.  Inilalahad ng Kid Kulafu ang dinanas na paghihirap ng “Pambansang Kamao” na si Manny Pacquiao—ang mga pagsubok at pasakit na bumalot sa kanyang buhay, kasama ng amang manhid at ng inang matatakutin bagama’t deboto.  Sa kabila ng lahat, hindi naglaho ang pangarap ng batang Emmanuel na umangat sa buhay at iahon ang kanyang pamilya mula sa kahirapang dinaranas.  Nang matuklasan ng batang Pacquiao na siya ay may kaibang kakayahan sa suntukan, ginamit niya ito bilang hagdanan upang marating ang pangarap nang buo ang loob at walang walang lingon-lingon, kahit na sa harap ng malalaking balakid.

       Sa simula pa lamang ng pelikula ay mababakas na ang kakaibang kalidad ng Kid Kulafu—mahusay ang potograpiya, ginagawang kapanapanabik ang istorya.  At bagama’t may mga “mabibigat” na eksena (tulad ng paglalabanan ng military at rebelde), ang mga ito ay “pinaraan” lamang at hindi pinalawig upang manipulahin ang damdamin ng manunuod.

       Kahanga-hanga ang pagganap ng mga artista, lalo na nila Alessandra de Rossi na bigay-todo ang pagsasalarawan kay Dionisia, at Buboy Villar na sadyang pumailalim sa pagsasanay bilang boksingero at nagbigay-buhay sa batang Pacquiao na hindi nakilala ng publiko.  Ang matalinong paggamit din ng mga simbulo ay nakatulong sa makinis at malalim na pagbubuo ng salaysay.

       May ilang mga kritikong iginigiit na hindi isang lehitimong pelikula ang Kid Kulafu kungdi isang advertisement, isang anunsiyo, at ang ibinebenta nitong produkto ay ang “pambansang kamao” na hindi na naman kailangang ibenta diumano pagkat “mabili” na ito.  Maaari ngang walang isang “cinematic plot” na matuturingan ang Kid Kulafu ngunit kung isasa-alang-alang natin ang layunin ng pelikula, tama ang ginawang hagod at habi ng direktor (Paul Soriano).  Pagkat naging pakay ng “biopic” na Kid Kulafu na ituon ng manunood ang kanilang pansin sa papel na ginampanan ng tadhana sa buhay ni Emmanuel Pacquiao, hindi ito umasa sa isang tradisyonal na sangkap tulad ng “plot” upang mabuo—sa halip, tinuhog nito nang buong husay ang ilang mga pangyayari, karanasan, at eksena sa buhay ng Pilipinong idolo upang palitawin na ang paglalakbay ni Pacquiao tungo sa rurok ng tagumpay ay iginuhit ng tadhana.

     Tiyak na may ilan ding mahahalagang pangyayari sa buhay ni Pacquiao ang nalaktawan sa ginawang pagtatagni-tagni ni Soriano sa Kid Kulafu, at ang pagtatapos ng pelikula sa pagtatagumpay ni Pacquiao bilang boksingero, ngunit dapat alamin ng manunood na hindi isang dokumentaryo ang Kid Kulafu; bagkus, ito ay isang salaysay sa nais magbahagi ng pag-asa at inspirasyon sa mga makakapanood nito, lalo na’t kung sila ay nasa abang kalagayang tulad ng kampeyon noong kanyang kabataan.  

       Hindi maikakaila na may mga magagandang “values” na lumutang sa Kid Kulafu, tulad ng pagiging masunuring anak (ni Manny), kababaang-loob, pagmamahal sa pamilya, matatag na pagtitiwala sa Panginoon, disiplina upang matamo ang tagumpay.

Home

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DIRECTOR: Tim Johnson  LEAD CAST:  Rihanna. Jim Parsons, Jennifer Lopez, Steve Martin SCREENWRITER:  Tom J. Astle, Matt Ember  PRODUCER:  Chris Jenkins, Suzanne Buirgy  EDITOR:  Jessica Ambinder-Rojas, Alexander Berner  MUSICAL DIRECTOR:  Lorne Barfe  GENRE:  Animation, Adventure, Comedy, Family, Fantasy, Sci-Fi  DISTRIBUTOR:  20^th Century Fox  LOCATION:  United States RUNNING TIME: 94 minutes

Technical assessment: 3

Moral assessment:  3

CINEMA rating: PG 13

Aliens who called themselves the Boov are looking for a new place to inhabit and to escape their enemies, the Gorgs. They find a new home on earth and invade the planet on command of Captain Smek (voiced by Steve Martin).  Carefree Oh (voiced by Jim Parsons) is overwhelmed by a new home. He works to have a housewarming party but no one of his invitees show up. Out of disappointment, Oh sends out mass invitations which unfortunately reach the Gorgs. The Boovs are alarmed and disown Oh. Realizing what he did,  Oh tries to find ways to make up for his mistake. He meets and becomes friends with a human teenager Tip (voiced by Rihanna),who is looking for her mother Lucy (voiced by Jennifer Lopez). As he helps her find her mother, he discovers many good qualities of humans. But their friendship is put on test when Oh is torn between stopping the enemy in full take over of the planet Earth and the promise to help a human friend.

Home is a combination of sci-fi and animation with an interesting storyline with a struggling plot development. Using color changes to show the changing emotions of the Boovs is quite clever. Humor is constantly injected in the film to the delight of the viewers. Technically, the movie is consistently good with a superb soundtrack which allows the audience to recall the film way after the credits .

The film is about valuing family and friendship. It shows how a mother and a daughter struggled and sacrificed to find each other, inspiring even an alien to do the same. An alien who did not believe in friendship realized the blessings of having friends to enjoy life’s journey  and successes. There is value in recognizing the presence of friends and their contribution to our growth and happiness. This can be best achieved if there is full awareness and acceptance of oneself first. Overall, Home is an entertaining film. But parental guidance may be required by young viewers for some vulgar humor.

Fast and furious 7

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DIRECTOR: James Wan  LEAD CAST:  Vin Diesel, Paul Walker, Dwayne Johnson, Jason Statham, Gary Scott Thompson  SCREENWRITER: Chris Morgan, Gary Scott Thompson  PRODUCER:  Vin Diesel , Michael Fottrell, Adam McCarthy, F. Valentino Morales, Neal H. Moritz, Thomas Tull, Samantha Vincent  EDITOR: Leigh Folsom Boyd, Dylan Highsmith, Kirk M. Morri, Christian Wagner  MUSICAL DIRECTOR:  Brian Tyler  GENRE: Action, Crime, Thriller  CINEMATOGRAPHER:  Stephen F. Windon, Marc Spicer  DISTRIBUTOR:  Columbia Pictures  LOCATION:  USA, United Arab Emirates, Canada, Japan  MTRCB rating:  PG  CINEMA rating:  A14 RUNNING TIME: 124 minutes

Technical assessment: 2.5
Moral assessment : 2 stars
CINEMA rating : V14
Deckard Shaw (Statham) swears vengeance against Dom (Diesel), Hobbs (Johnson) and their team for putting his older brother in a comatose. He chases them one by one and almost kills Dom. Fortunately a Mr. Nobody (Russell) intervenes in time and offers Dom a chance to outsmart Shaw if he and his team will rescue Ramsey (Nathalie Emmanuel) and retrieve her creation—God’s Eye, a program which allows the user to use all cameras worldwide as a spycam.  For the mission, Mr. Nobody reunites Dom’s team, including his girlfriend Letty Ortiz (Rodriguez) whose memory is slightly erased after a car accident in the previous Fast and Furious movie.
One seriously needs to be a Fast and Furious fan to make sense of all the time jumps and characters featured in the past sequels. But taking this franchise as a standalone, the plot is both thoughtlessly thin and fabulously absurd. Really? A group of race car drivers turned spy. Really? A vengeful brother who talks too much before his lethal blow. Really? An unknown financer who has all the money, technology and resources at his fingertips yet turns to a bunch of underground ex-criminals to retrieve something as precious and delicate as a spy program. Setting aside the storyline, the action sequences are exhaustingly overextended. One chase scene allowed us to take a long bathroom break and buy some snacks. Yes, it does achieve that moment of heart pounding thrill but without a solid storyline as its backbone, the film would need several overstretched action scenes to sustain its audience. The production design is superficial and superfluous. It makes everything glossy and clean but disengages the audience as nothing is relatable anymore. Camerawork and scoring scream high budget production but with cardboard performances and flat storyline, technicalities are wasted. The only good thing you can appreciate in the film is the redevelopment of Walker’s character so the succeeding franchise can continue even without him. Overall, Fast and Furious 7 is okay for adrenaline junkies with nothing better to do.
Fast and Furious 7 tries hard to celebrate family as demonstrated by the number of times the characters had lines that mentioned this word. Yet, the actions and decisions of the characters contradict the principle. Family is protecting each other, not teaming up to kill someone else. Family is sacrificing one’s self but do you bring your whole team and endanger them in the process? The sentiment is touching but it feels empty and shallow because of the violence and thrills of the chase and action scenes. Definitely, not a movie for the younger audience.

The longest ride

DIRECTOR: George Tillman Jr.  LEAD CAST: Britt Robertson, Scott Eastwood, Alan Alda, Jack Huston, Oona Chaplin, Melissa Benoist, Lolita Davidovich  SCREENWRITER:  Nicholas Sparks (novel), Craig Bolotin (screenplay)  PRODUCER:  Marty Bowen, H.H. Cooper, Wyck Godfrey, Michele Imperato, Theresa Park, James Paul, Mitchell Smith, Nicholas Sparks, Robert Teitel  EDITOR:  Jason Ballantine  MUSICAL DIRECTOR:  Mark Isham  GENRE: Drama, Romance  CINEMATOGRAPHER:  David Tattersall  DISTRIBUTOR: 20th Century Fox  LOCATION:  North Carolina, United States RUNNING TIME:  139 minutes

TECHNICAL ASSESSMENT:  3.5

MORAL ASSESSMENT:  2.5      

MTRCB RATING: R-13

CINEMA RATING: V 18

Luke Collins (Scott Eastwood) is set to reclaim his title as champion bull rider after last year’s nasty fall. At a rodeo, he meets Sophia Danco (Britt Robertson), an art student ready for an internship in New York City. They spend time getting to know each other but realized they are worlds apart to make the relationship work. He needs to ride a bull to save their ranch while she needs to fulfil her dreams in the big city. In one of their dates, they rescue Ira Levinson (Alan Alda), a 90-year-old man and his box, from a car crash. While in hospital, Ira (portrayed by Jack Huston as a young man) shares memories of his beloved wife Ruth (Oona Chaplin) and their enduring love. Will Luke choose the 8-second bull ride championship or the ‘longest ride called life’ with Sophia?

If you’ve read a Nicholas Sparks’ novel or seen any of the film adaptations, you’d know the formula. Girl meets boy from a different background, they fall in love but there’s a hindrance. You don’t get only one story but two. There’s another, older couple who faced the same dilemma, and through letters this older couples’ story inspire the younger ones. Tragedy strikes, but it doesn’t end there.

The Longest Ride doesn’t veer of course. Be that as it may, the film showcases the talents of its actors. Eastwood shows promise and Robertson essays her role well. It is the young Levinson couple, Oona Chaplin and Jack Huston, who bring their endearing 1940s characters to life. Although the film weaves the two stories together, one can’t help asking why the young Ira had to write Ruth about something she herself just experienced. There are beautiful scenic shots of North Carolina and the bull riding scenes are gripping. The dialogue can be improved and some scenes are just too long – it would have been better if it were less than 120 minutes.

The Longest Ride, like all Nicholas Sparks’ story, is not your typical Hollywood romance. It shows good, old-fashioned chivalry and dedication to duty before self interest. Love is not a one-night-stand that crumbles when faced with difficult situations. “Love requires sacrifice...always.” It is noble and true. It allows the beloved his/her freedom and it endures, no matter what. This is not confined to romantic love alone. The film shows care and concern for one’s parent, neighbor, and friend, even at the cost of one’s life.

The film may garner negative comments from critics for being unrealistic and sappy but it stands firm on its Christian view of love and its four forms: agape, phileo, storge, and eros.

CINEMA gives this film an V18 rating for extended sex scenes/nudity, war and violence.

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.