Felix Manalo

DIRECTOR: Joel Lamangan LEAD CAST: Dennis Trillo, Bela Padilla  STORY and SCREENPLAY: Bienvenido Santiago MUSICAL DIRECTOR: Von de Guzman CINEMATOGRAPHER: Rody Lacap  FILM EDITOR: John Wong  GENRE:  Biography   DISTRIBUTOR:  Viva Films (2015)  PRODUCERS:  Vincent del Rosario, Veronique del Rosario Corpus  PRODUCTION COMPANY: Viva Films  LOCATION: Philippines  LANGUAGE: Tagalog, English  RUNNING TIME:  2 hrs. 55 mins.

Technical assessment: 2.5

Moral assessment:  2.5

MTRCB rating:  GP

CINEMA rating:  V14  

Magbubukas ang pelikula sa araw ng kapanganakan ni Felix Manalo, Mayo 10, 1886, sa isang pamilyang saradong Katoliko.  Ipapakita nito ang mga mahahalagang yugto sa buhay ni “Peles” (Dennis Trillo) mula sa pagkabata hanggang sa pagtatatag ng Iglesia ni Kristo  at kanyang kamatayan noong 1963, at magwawakas ito sa paghirang sa kanyang anak na si Erano bilang bagong pinuno ng itinatag niyang simbahan.

May balitang ang Felix Manalo ay kalahati lamang sa haba ng orihinal na pelikula—anim na oras. Marahil ay ninais ng mga producers ng pelikula na itampok nito ang talambuhay ni Manalo at ipapanood sa mga kasapi ng Iglesia sa kanyang kabuuan, ngunit iniklian ito para sa publiko pagka’t ang karaniwang “moviegoer” ay walang tiyagang upuan ang mga pelikulang hahaba pa ng dalawang oras.  Dito nagmumula ang mga kakulangan ng pelikula.

Tiyak na “nosebleed” ang editor sa pagbubuo ng Felix Manalo.  Ang resulta?  “Major surgery”, ika nga.  Kung ang Felix Manalo ay isang tao, inoperahan ito: iniklian ang bituka, tinapyasan ang baga, binawasan ang utak, tinaniman ng “pacemaker”, at inalisan ng apdo.  Bagama’t natuhog nito ang mga makahulugang bahagi ng kanyang buhay, hindi nito sinisid ang lalim ng pagkatao ni Manalo; sa halip, naging isang paglalahad ito ng simbahang INK, kung paano ito umusbong, naitatag, lumago, at lumalago.  Kung gayon, maaaring hindi ito tangkilikin ng mga manonood na gustong maaliw sa sinehan; kung ikaw nga’y nagbabayad para malibang, bakit panonoorin mo pa ang Felix Manalo?  Kung siryoso ka naman at gusto mong higit pang alamin ang tungkol sa INK, may Google naman para sa higit na malayang pananaliksik.

Hindi kataka-takang naging 150-milyong piso ang budget ng Felix Manalo: bukod sa maraming tanyag ng artista at 7,000 ekstrang ginamit dito, kitang-kita na pinaggugulan din ng salapi at panahon ang kanyang production sets, costumes, atbp., kaya lamang, halatang bago ang mga ito—mukhang hindi pa natitirahan ang mga bahay kubo, wala pang libag ang mga kawayang bakod, kasasabit pa lamang ng mga kurtina, malutong pa ang uniporme ng mga sundalo, etsetera, etsetera, etsetera.  Hindi maitatanggi na ang “nagdala” ng talambuhay na ito ay si Trillo, na marubdob na ginampanan ang papel ng yumaong Manalo, katulad ng kapani-paniwala niyang pagganap bilang isang bakla sa teleseryeng “My Husband’s Lover”.

Sa mabilisan at nakakalitong paglukso ng kuwento sa pagitan ng mga eksena sa buhay ni Manalo, maraming bagay sa kanyang pagkatao at sa mga pangyayari ang napawalang halaga.  Kapalit nito ay ang mga detalyadong tagpong nagpapakita ng pagrerehistro ng INK, ang pagtanggap ng gobyerno rito bilang isang lehitimong relihiyon, ang pagpapakita ng mga napakaraming retrato ng kanilang mga sambahan at kasapi mula noon hanggang ngayon pati na sa ibang bansa.  Ipinagtataka tuloy ng karaniwang manonood: “Ano bang talaga ang pakay ng pelikula—ipakilala si Manalo o ang kanyang iglesya?” Tila nanunudyo naman ang pagkakataon nang ilabas ang “pakita” o trailer ng Felix Manalo habang umaalingasaw pa ang krisis ng INK gawa ng pagkakatiwalag sa iglesya ng mismong ina at kapatid ng ikatlong pinuno nito, si Eduardo Manalo—isang pangyayaring nag-iwan ng lamat sa mata ng madla na dating nag-akalang matibay ang pagkakaisa ng INK.  Ang iskandalong ito ang naging sanhi ng protesta ng libo-libong kasapi ng INK laban kay Justice Secretary Leila de Lima sa EDSA, na ikinayamot naman ng mga motoristang naipit nang ilang araw sa trapik na idinulot nito.  Hindi masisisi ang mga manonood kung pagtatakhan nila ang “timing” ng Felix Manalo.  Ngunit ano man ang inyong isipin, hindi “naghahanap ng away” ang Felix Manalo.  Iniwasan nitong lumabas na nanghahamon sa ibang relihiyon habang isinasalarawan nito ang paghahanap sa katotohanan ng isang disenteng taong ang palayaw ay “Peles”.

Ano ang aral na maiuuwi ng mga manonood ng Felix Manalo?  Hind saklaw ng CINEMA ang sumangayon o sumalungat sa turo ng anumang relihiyong itinatampok sa anumang pelikula, ngunit bilang pangkalahatang aral, mawiwika ng CINEMA na kung sa paghahanap ninyo ng katotohanan ay nanaisin ninyong pag-aralan ang turo at Banal na Kasulatan ng isang relihiyon, huwag ninyo itong gawing mag-isa at makontento sa sarili ninyong pang-unawa.  Ang nagmamahal sa katotohanan ay hindi nag-aatubiling magpakumbaba at humingi ng liwanag mula sa tamang authority, sa mga bihasa na kinikilalang may kaalaman, kapangyarihan, karanasan,  karapatan, at tungkuling magpaliwanag nito.

Etiquette for Mistresses

DIRECTOR: Chito Roño  LEAD CAST: Kris Aquino, Claudine Barretto, Kim Chiu, Iza Calzado  SCREENWRITER: Julie Yap Daza  PRODUCER:  Charo Santos-Concio  MUSICAL DIRECTOR:  Carmina Cuya  GENRE: Romance/Drama  CINEMATOGRAPHER:  Neil Daza    DISTRIBUTOR: Star Cinema  LOCATION:  Philippines RUNNING TIME: 120 minutes

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating:  V18

MTRCB rating: R13 

Matalik na magkakaibigan sila Georgia (Kris Aquino), Stella (Iza Calzado), Chloe (Claudine Barretto), at Charley (Cheena Crab).  Lahat sila’y mga tinatawag na “kabit” bagama’t hindi ganoon ang turing nila sa sarili nila pagka’t may sinasabi naman sila, matalino, at pawang matagumpay sa kani-kaniyang karera.  Hihilingin ng “partner” ni Georgia na si Rob (Freddie Webb) na pagbigyan ang kaibigan nitong si Frank (Zoren Legaspi) na “turuan” at sanaying maging pino ang batang-batang kabit niya na si Ina (Kim Chiu).  Hindi sasang-ayon si Stella, isang abugada, sa mungkahing iyon, ngunit itutuloy pa rin ni Georgia ang pagiging “mentor” kay Ina.  Sa pagsulong ng kani-kaniyang mga buhay lulutang nang isa-isa ang mga alituntunin na dapat ay matutuhan ni Ina bilang isang “kept woman”, mga tumpak na pag-iisip at pagkilos na dapat diumano’y maituro sa dalaga upang siya’y lumigaya, magpaligaya sa kanyang lalaki, at maging malayo sa iskandalo.  Ituturing na ng apat na bunsong kapatid si Ina, subali’t sasalungatin ang mga turo ni Georgia ng mapusok na si Chloe na walang pakundangang iginigiit ang kanyang mga kagustuhan sa lalaki niya.

Makakatayong mag-isa ang pelikulang Etiquette for Mistresses kahit hindi ihambing sa orihinal na nobela ni Jullie Yap-Daza na pinaghanguan nito.  Sa kalakhang bahagi ng pelikula, makatotohanan ang pagsasalarawan nito ng mga hirap-at-sarap ng pagiging isang “Number 2” ng mga lalaking nakaaangat sa buhay. Nagampanan nang mahusay at may damdamin ng mga pangunahing artista ang kani-kaniyang mga papel, gawa na rin marahil ito ng magaling na pagdidirihe ni Chito Roño.  Sa mga tanging dialogue ay mababakas ang kagustuhang maghatid ng aral ng pelikula sa mga kababaihan, kabit man o hindi.  May mga bahaging biglang nakakabingi ang tunog, at hindi rin gasinong pulido ang editing ng ilang parte.  Nagsimulang “solid” at matatag ang pelikula ngunit sa bandang huli’y “nagkalat” ito, nagsanga-sanga ang kuwento, hanggang sa katapusang “hinog sa kalburo”, ika nga.   

Ang tinatawag na “etiquette” sa pelikula ay kabutihang asal para lamang sa mga nakikiapid na nasa mataas na antas ng lipunan, at ang pakay ng mga babaeng ito ay ang iwasan ang iskandalo upang magtagal ang relasyon sa lalaking may asawa.  Parang sinsasabi nitong “Okey lang maging kabit basta alam mong hindi ikaw ang asawa, at kumilos ka nang naaayon.”  Sa tunay na buhay, maaaring walang matatawag na “etiquette for mistresses” para sa mga taong walang reputasyong iniingatan, mga uring “nangangaliwa” nang hantaran, at mga relasyong nagwawakas sa lagim tulad ng mga nababasa sa mga tabloids—ngunit mataas man o mababa ang lugar nila sa lipunan, pareho lamang silang nakapiit sa bawal na pag-iibigan.

Hindi kinukunsinti ng Etiquette for Mistresses ang pakikiapid, bagkus tinatangka pa nitong ipaalala—matapos nitong silawin ang manunood sa mga karangyaang tinatamasa ng mga kabit—na ito ay isang kamalian na dapat iwasan.  Marahil sa tindi ng kagustuhan nitong iparating ang positibong mensaheng iyon, kasama na rin ang pagnananais na kilitiin pa-more ang movie fans, sumobra naman ito.  Higit sanang kapani-paniwala kung tinuldukan na lang ang kuwento sa matapat at marubdob na desisyon ng mga kabit na talikuran ang baluktot na daan.  Pero hindi ganon ang nangyari—hinabaan pa, pinalabukan pa ng mga pangyayaring minadali at hindi ipinaliwanag, naglaho tuloy ang init ng mensahe, parang lumamig at nanigas na hot pan de sal.    

Bakit hinihimay ng CINEMA ang mga bagay na ito?  Tungkulin nitong magbigay gabay sa balana upang maging mapanuri at mapag-isip ang tao sa panonood ng sine.  Ang pagbabagong buhay ba ay ganoon lamang kasimple at kadali, parang switch ng ilaw, isang kalabit lang ay magliliwanag na?  Paano na ang mga nasugatang damdamin, mga nawasak na pag-aasawahan, mga nagkalamat na tiwala? Ano kaya ang aral na maiuuwi ng mga manunood na buong-tahimik na sumaksi sa sampalan nila Kris at Claudine, pero nagtilian nang walang mayaw nang biglang pumasok sa eksena si Piolo Pascual?  Kumita ng 15-milyong piso ang Etiquette for Mistresses sa unang araw ng labas nito.  Ilan sa mga nanood sa unang araw ang naliwanagan ng pelikula tungkol sa pag-ibig?   

Tungkol sa tema nito, mayroon pang nais bigyang-liwanag ang CINEMA—ito’y may kinalaman sa winika at binigyang-diin ng isang babae tungkol sa relasyon nila Stella at Ambet: ito diumano ang “love”.  Love?  Talaga?  Hindi po minamaliit ng CINEMA ang “love” na namagitan sa isang abogadang iniwan ang pananagutan sa korte upang arugain ang isang lalaking nilisan ang kanyang pamilya at piniling pumanaw sa piling ng kabit.  Ang sa kanila’y isang uri ng pag-iibigan, oo, ngunit pag-iibigang mapanira, naghahatid ng dalamhati at poot sa mga kinauukulan.  Ito ba ang ninanais ng Panginoon para sa atin?  Ang pakikiapid, ang pagnanasa o pagsiping sa hindi mo asawa—ano man ang itawag dito, wisikan man ito ng pabango at itubog sa ginto—ay pakikiapid pa rin, isang paglabag sa kalooban ng Panginoon.  May higit pang dakilang pag-ibig ang inilaan ng Lumikha para sa tao, isang pag-ibig na isinasa-alang-alang ang Diyos, walang bahid ng pagka-makasarili, nag-uugat sa katotohanan at nagbubunga ng kabutihan.

Papa Francisco: The Pope Francis Story

Direction: Beda Docampo Feijoo; Cast: Dario Grandinetti, Silvia Abascal, Leticia Bredice, Laur Novoa, Gabriel Gallichio, Alejandro Awada; Based on the Book: Pope Francis: Life and Revolution;  Screenplay: Beda Docampo Feijoo; Cinematography: Kiko de la Rica;  Editing: Cristina Pastor ;  Music: Federico Jusid ; Producers: Pablo Bossi, José Ibañez; Genre: Biographical drams  Location: Argentina/Vatican; Distributor: Pioneer  Films

Technical assessment:  3.5

Moral assessment:  4

NTRCB rating:  G

CINEMA rating: VA (Viewers of all ages)

Released as Papa Francisco: The Pope Francis Story in the Philippines, the film shifts from past and present timelines as Ana (Abascal), agnostic Spanish journalist, reconstructs the highlights of Fr. Bergoglio (Grandinetti) life from his childhood and his seminary life to the time he was Cardinal of Argentina until his election as Pope in the 2013 Conclave. In short and simple anecdotes, we see young Bergoglio’s unwavering desire to be a priest against his  mother’s wishes and childhood crushes, as well as his struggle to fight the injustices of the Dirty Wars. We are presented with his simplicity and humility as well as his endearing compassion for the less fortunate. Through each episode, Fr. Bergoglio imparts words—comforting for the sorrowful, sharp for the corrupt, and inspiring for the faithful. Anna’s story of becoming an unwed mother and finding God is told alongside Fr. Bergoglio’s journey.

There are two thoughts of critic schools for this Pope Francis movie. On the one hand, it is simplistic and devoid of cinematic techniques.  It puts an almost dry collection of tidbits about the Pope, downplaying the more controversial issues. One might find the film unjustly diminishing the enigmatic charisma of the real person the world has loved. On the otherhand, yes it is simplistic but effective enough because for a personality whose life is already an open book to the world, there is no need to delve into the nitty gritty anymore. The selection of events in Fr. Bergoglio’s life serves more to show the foundation for values he holds dear and principles he stands for than to dramatize them. That it is devoid of artistic interpretation and cinematic quality is true but for a man who has opted a life of simplicity and selflessness, the melodramatic treatment of mainstream cinema would not have been appropriate.

Papa Francisco: The Pope Francis Story resonates with inspiration. Forgiveness and compassion over judgement and punishment. Simplicity and humility over pomp and extravagance. Love and brotherhood over self and personal agenda. Even if Pope Francis were not a real person, the movie would have still made an impact in its messages. It presents a man of the cloth ready to defend the voiceless, the desolate, the victims of violence. The film shows us how faith is not practised just in the pulpits but also in the streets and alleyways. Moreover, we see a priest who is not just behind the altar preaching but inside the home loving, caring, sympathizing. Fr. Bergoglio is a friend to everyone and the embodiment of God’s mercy and compassion on earth. And all these have been presented in the simple poignant anecdotes that have been stripped of cinematic drama or hypocritical preaching.

Interesting tidbits about Papa Francisco, the movie

Last January, Pope Francis, the leader of the world’s 1.2 billion Catholics, visited the country,  and inspired us with his warm, sincere, and jolly persona as he spoke of the gospel and God’s love for the world. 

Keeping the light and love that "Lolo Kiko" left in the Philippines, the movie entitled “Papa Francisco: The Pope Francis Story” further brings the Pope closer to the nation as the movie takes us back to his  younger days in Argentina until the time he was elected as Pope.  The movie, also known in other territories as “Francis: Pray For Me” is based on the book “Pope Francis: Life and Revolution” by Elisabetta Piqué, a close friend of the Pope and a correspondent in Italy and the Vatican for La Nación, Argentina’s main newspaper, since 1999.  

Pique’s book has been hailed in Argentina as the most complete and up-to-date portrait of the pope.  The movie “Papa Francisco: The Pope Francis Story”  brings us far back in Buenos Aires when as a teenager, Pope Francis quietly discovered his religious calling, little did he know that this was the first step that would eventually lead him to the Vatican.  The movie then takes on the perspective of young Spanish journalist Ana (played by Silva Abascal) who met Jorge Mario Bergoglio (Dario Grandinetti taking on the titular role) at the papal conclave of 2005.  It is here that they started a friendship  that would be imbued with the same warmth, good mood and wisdom with which the future Pope will astonish both believers and non-believers. 

It is through Ana’s eyes that the audience will follow the long, hard and touching story of Jorge Bergoglio.  Father Jorge, as he has always wished to be called, used his position as the archbishop of Buenos Aires as a means to challenge the corruption and abuse of the government dictatorship.  Ana was there to see his toughest battles when he gave a voice to those who had none, the victims of prostitution, slavery and drug trafficking within the many shanty towns.  Their story comes full circle at the conclave of 2013 when a Jesuit priest coming from South America is elected on the fifth papal ballot as Pope.  The son of humble Italian immigrants, he chooses Francis as his Papal name partly in honor of his Grandmother for she impressed upon him the biblical values of Saint Francis of Assissi when he was a young boy.  The name Francis perfectly summarizes the life of Father Jorge.  He is a man who placed the Gospel’s message of helping the needy at the heart of his pastoral work.

Award-winning writer-director and actors abound in “Papa Francisco: The Pope Francis Story” -  directed by Beda Docampo Feijoo who won Best Screenplay in the Argentinean Film Critics Association Awards for his work in the movie “El Marido Perfecto” in 1993 with Juan Bautista Stagnaro with acclaimed actors Dario Grandinetti in the titular Pope Francis role who won an International Emmy Award for Best Actor in 2012 and Silvia Abascal who was awarded Best Actress in Toulouse Cinespana and Malaga Spanish Film Festivals.

 Pioneer Films brings local audiences the story of the Pope who fearlessly fought against poverty and corruption amidst overwhelming odds in “Papa Francisco: The Pope Francis Story.”

Heneral Luna

DIRECTOR: Jerrold Tarog  LEAD CAST:  John Arcilla, Mon Confiado, Mylene Dizon, Epi Quizon, Paulo Avelino, Bing Pimentel, Arron Villaflor  SCREENWRITER:  E.A. Rocha, Henry Hunt Francia, Jerrold Tarog  Cinematographer: Pong Ignacio  PRODUCER:  E.A. Rocha  EDITOR:  Jerrold Tarog  MUSICAL DIRECTOR:  Jerrold Tarog  GENRE:  Biopic, historical action   DISTRIBUTOR:  Quantum Films  LOCATION:  Philippines

Technical assessment: 4

Moral assessment: 3

CINEMA rating: V14

Bagama’t nasa Pilipinas na ang mga Amerikano noon, hindi pa rin malimi ng bagitong gobyerno ng Pilipinas ang tunay na motibo ng mga Kano.  Si Heneral Antonio Luna (John Arcilla), ang namumuno ng puwersa militar ng Pilipinas at tagapayo ng Pangulong Emilio Aguinaldo (Mon Confiado), ay walang tiwala sa mga Amerikano.  Sa ganang kanya, dapat unahan ang mga Amerikano, tirahin na ang mga ito bago pa lumawak at humigpit ang kapit nito sa bansa—ngunit hindi sasang-ayon sa kanyang pananaw ang ilang miyembro ng kabinete, lalo na yaong mga interesadong makipagnegosyo sa mga Amerikano.  Mangyayari ang nakikinita ni Heneral Luna—digmaan sa pagitan ng mga Philipino at mga puting dayuhan.  Maninindigan si Luna sa gitna ng gulo at sa kabila ng pagiging pasaway ng ilang tauhan sa militar.

Kahanga-hanga ang pagpili ng mga nagsiganap sa Heneral Luna, hindi lamang dahil sa matalino at taos-pusong pagganap ng mga ito kungdi pati na rin sa kanilang mga anyo.  Sapagka’t kamukhang-kamukha ng mga pangunahing aktor ang mga tauhang kanilang ginagampanan, lumalabas na buhay at makatotohanan ang pelikula.  (Ano kaya ang naging resulta kung ang napiling Luna ay si Richard Gomez, Aguinaldo ay si John Lloyd Cruz, at Mabini ay si Alden Richard?  Baka naman naging masayang zarzuela ito.)  Salamat sa direksiyon ni Jerrold Tarog, kapani-paniwala din ang mga eksena ng paglalabanan; nakadagdag din sa  pagka-makatotohanan ng Heneral Luna ang pagkakaroon ng tila mga tunay na “kano.”  Wala nang pupunahing pagkukulang ang CINEMA sa ibang  technical aspects ng Heneral Luna, bawa’t aspeto ay may kanya-kanyang ambag sa maayos na kabuuan ng pelikula.

Kadalasan, kapag ang isang pelikula ay tungkol sa kasaysayan—sa ibang bansa man o dito sa Pilipinas—sinisikap nitong maging mapitagan.  Ang mga “bida” ay ipinakikita bilang mga bayani—magigiting, halos hindi mo makikitaan ng mga kahinaan ng karaniwang tao.  At ang mga pangyayaring isinasalarawan ay pawang mahahalaga sa buhay ng bida at sa pagsulong ng kasaysayan.  Kahit na nga maaaring magbigay-inspirasyon ang kanilang kuwento, minsan ay nakapangliliit din naman ito, lalu na’t kung iisipin natin ang tila lampas-tao nang tapang, giting, at kadakilaan ng bayani.  Dito naiiba ang Heneral Luna.  Ang Antonio Luna ni Arcilla at Tarog ay pinaghalong kagitingan at kabaliwan, kaya taong-tao.  Sa digmaan, walang takot; bilang anak ng Inang Bayan, iaalay ang buhay; kasama ng mga kawal, nambubulyaw, nambabatok, nagmumura, humahalakhak; sa piling ng sinisintang babae, naglalaho ang bangis.  (Hindi mapigilan ng CINEMA ang magtaka: uso na ba ang “P…… i….” noong panahong iyon?  Hindi ba’t sa wikang Kastila pa ang pagmumura, tulad ng “Hijo de p….”?  Naitatanong lang po).

Sa kabila ng mumunting daplis ng pelikula, nagtagumpay ang maningning na pagdidirihe ni Tarog na isalarawan ang dalawang mukha ng kasaysayan: katawa-tawang komedya at walang kapararakang trahedya.  Maraming ipinupunlang katanungan ang Heneral Luna sa isip ng manunood:  Sino bang talaga ang nagpapatay kay Heneral Luna?  Gaano katapat ang pelikula sa katotohanan sa likod ng mga pangyayari sa kasaysayan?  Bakit nasabi ni Heneral Luna na ang ating pinakamasahol na kaaway ay hindi ang mga banyaga kungdi ang ating sarili?  Di kaya ang hamon ni Heneral Luna sa mga namumuno noon—“Bayan o sarili?”  “Negosyo o kalayaan?”—ay hamon din ng Heneral Luna sa mga namumuno ngayon sa Pilipinas? 

Bagama’t itinuturing nating isang “demokrasya” ang Pilipinas sa ngayon, hindi maikakaila na tayo ay isang nahahating bayan.  Ang isang bayan na walang pagkakaisa sa puso, diwa, mithiin, at gawa ay madaling magugupo ng mga dayuhang nagnanasa sa kanyang likas na yaman at nagsasamantala sa kanyang kahangalan.  Iminumulat ng Heneral Luna ang mga mata ng makabagong Pilipino upang matutuhan natin ang mga aral ng kasaysayan.  Saan patutungo ang Inang Bayan kung ang tanging katanungan ng mga kabataan sa ngayon tungkol sa Heneral Luna ay “Bakit palaging nakaupo si Mabini?”

Maze Runner: The Scorch Trials

Direction: Wes Ball Cast: Dylan OBrian, Kaya Scodelario, King Ho Lee, Jacob Lofland, Rosa Salazar; Story: James Dashner; Screenplay: TS Nowlin; Cinematography: Gyula Pados; Editing: Dan Zimmerman; Music: John Paesano; Producers: Ellen Goldsmith-Vein, et al ; Genre: Action, Sci-Fi Location: USA; Distributor: 20th Century Fox; Running Time: 136 minutes  

Technical assessment: 3 stars

Moral assessment : 3  or 2.5

CINEMA rating : V14

After Thomas (O’Brian) and friends escape the BLADE, they find themselves in the seeming safety and comfort of the WCKED facilities as they learn that they have been part of the experiment conducted after the outbreak of the Flare virus. They are fed, given clean clothes, led to comfortable quarters and introduced to other Maze survivors. All seems well at first until Teresa (Scodelario) is separated from the group and Aris (Lofland), the first Maze survivor, reveals to Thomas the experiments being done on the immune survivors to find a cure against the Flare virus. Thomas persuades his friends to escape the facilities and face endless challenges from the Cranks to WCKED security. They meet Brenda (Salazar) and Jorge, leaders of an underground group of survivors who help them find the Right Arm, another resistance group of survivors and former Mazers. However, Teresa, who believes that a cure must be found for the Flare virus regardless of the means, betrays her friends and reveals their location to WCKED. A fight ensues leading to the capture of several survivors and his friends prompting Thomas to plan an attack on WCKED.

You cannot fault SCORCH TRIALS for its action and entertainment value but it does not necessarily mean it is a good movie adaptation or a better sequel. While audiences are kept at the edge of their seats with the endless chase scenes, when everything mellows, there seems not much of a storyline or character development. There are high points in the movie—a solid performance from the main cast, believable production design that takes us to another place, and cool effects that keep our hearts racing. But bestselling as the novel is, the movie offers nothing new. Dystopian societies, zombie virus, cold hearted leaders who have no moral qualms disrespecting life to achieve a noble end have been seen in so many movies and done in much better ways. Overall, it’s a good watch for fans of the novel and the first movie who will forgive its weaknesses.

Does the end justify the means? This cliché is easier said than done because when faced with the choice of defending someone’s rights against your personal gain, the latter will take precedence. But such choice is sugar coated as a necessary evil and passed on as collateral damage. Scorch Trials show us a situation where human life is devalued for the sake preservation. Our children are not to be experimented on—physically, emotionally or psychologically. But every time we throw them in situations where they are forced to helplessly defend themselves as we abandon their dignity and watch in amusement, we do exactly as the doctors in WCKED.

Everest

DIRECTOR:  Baltasar Kormakur  LEAD CAST: Jason Clarke, Josh Brolin, John Hawkes, Robin Wright, Emily Watson, Keira Knightley, Sam Worthington, Jake Gyllenhaal  SCREENWRITER: William Nicholson & Simon Beaufoy  PRODUCER:  Tim Bevan & Eric Fellner  EDITOR: Mick Audsley  MUSICAL DIRECTOR:  Dario Marianelli  GENRE: Adventure/Drama/Thriller  CINEMATOGRAPHER:  Salvatore Totino  DISTRIBUTOR: Universal Pictures  LOCATION:  UK, USA, Iceland  RUNNING TIME:  121 minutes

Technical assessment: 3.5

Moral assessment:  3.5

CINEMA rating: V14

          A story based on what actually transpired in 1996 expedition which claimed the lives of eight mountain climbers, Everest backs up that information as it presents two rival teams, led by Rob (Jason Clark) and Scott (Jake Gyllenhaal), who attempt to reach the top of the world's highest mountain—Mt. Everest. Their caliber is challenged by the hostile environment of the mountain: the snowslides, the missing guide posts, the zero visibility and worst of all, the raging snowstorms which swoop down the climbers as they are nearing the peak of the mountain and back again on their way down. 

            Everest is based on a true story involving seasoned climbers who met their respective fate while climbing Mt. Everest. At the level of information, the film has successfully portrayed the events on that fateful mountain trek, but it falls short of capturing the level of emotions to inject  drama or excitement to the film.  For instance, the scene of reaching the summit is not given much weight to convey the climbers’ jubilation and great relief after all the hardships overcome.  (Or is the film saying that the mountaineers were just too weary and breathless to celebrate?)  Nevertheless, efforts are seen in acting and characterization particularly that of Brolin and Gyllenhaal.  The constant use of close-up shots captures details and helps in carrying out the theme of individual struggle and survival. The production design is commendable and provides a credible picture of the freezing trek and camp sites.  Except for minor gray areas in the plot development, the film is educational and has very good technical qualities, especially the cinematography which does justice to the awe-inspiring scenery—the magnificent mountains against which man appears insignificant, like ants.

             Everest depicts positive values that movie viewers can reflect on.  More than climbing the earth’s highest mountain, the film is about individual dreams, personal satisfaction, family, teamwork, heroism, and sacrifice. Mountain climbers (whether amateur or professional) find a different sense of joy and self-actualization in pursuing this perilous activity.  For them conquering every peak means realizing a dream not only for themselves but also for their families and loved ones.  The film shows the family as inspiration and motivation for a person to keep going despite life’s adversaries and difficult situations, while the families are supportive of the climbers, too. Regardless of their religious beliefs, the climbers observed tradition by offering prayers at the temple and entrusted their activity to the supreme spirit.  Also, in spite of the competition between the two accredited guides, they are able to work as a team when called for to save and protect lives.  Leaders are not afraid to sacrifice and set aside the self in helping others.  In real life, the heroic acts of Rob Hall and company are remembered and are now part of the history of the world’s highest peak.

  

Ex with benefits

DIRECTOR:  Gino M. Santos  LEAD CAST:  Derek Ramsey, Colleen Garcia, Meg Imperial, Carmi Martin  SCREENPLAY: Jeff Stelton, based on a novel by RUTH MENDOZA  GENRE: drama, romance  PRODUCERS:  ABS-CBN Productions, Star Cinema, Viva Films COUNTRY: Philippines 

Technical assessment: 2.5

Moral assessment: 2:5

CINEMA rating:  V18

MTRCB rating:  R13  

            Magkaklase sa medical school sila Adam (Derek Ramsey) at Arki (Colleen Garcia)—at magkasintahan din na magkakahiwalay nang may samaan ng loob.  Makaraan ang sampung taon, isa nang nangungunang “sports doctor” si Adam, at susulpot muli sa buhay niya si Arki, na isa namang nagungunang medical representative o “med rep.”   Batid ng marami na nakarating sa tuktok si Arki pagka’t kasama ang kanyang katawan sa ibinebenta niyang mga gamot—sa pagbubulung-bulungan ng iba, isa siyang “buy one, take one.”  Aasahan si Arki ng kanyang boss (Carmi Martin) na makamtan ang endorsement ni Adam para sa bago nilang produktong pain killer.  Pagkat may gusto pa si Adam kay Arki, at may kailangan naman si Arki sa doctor, may mamamagitan sa dalawa.  Sisikapin ni Arki na gawing “trabaho lang at walang personalan” ang kanilang pagkakalapit, ngunit hindi rin maikakaila ng babae ng may pagtatangi pa rin siya kay Adam.

            Isa-isang-tabi na lamang natin ang sound, lighting, music, cinematography, at iba pang mga technical aspects ng pelikula, na karaniwan lamang naman para sa ganitong genre.  Higit pa sa kahalagahan ng mga aspetong ito ng Ex with benefits ay ang “pagdadala” nito sa tema ng pelikula.   Ano ba ang hangarin ng pelikula o ng direktor sa ginawa nitong pagtalakay sa kuwento?  Ang itinatampok sa advertising posters nito ay ang masasayang eksena ng magsing-irog—bagay na aakalain ng manonood na isang romantic comedy ang pelikula.  Sa pagsasalarawan ng pelikula sa sexual intimacies ng pangunahing tambalan, may mga nilabag itong “ethical and moral boundaries” na hindi nito pinagmalasakitang ipaliwanag.  Kaya nga ba’t trailer pa lamang nito ay umani na ng galit ng ilang “med reps”.   Tanong nila: “Ano na lamang ang sasabihin ng aming mga kaibigan—na ganyan pala ang ginagawa namin makabenta lamang?  Kawawa yung may mga asawang med reps na pagdududahan ng asawa nila dahil sa pelikulang iyan!”

            May ilalahad sa hulihang bahagi ng pelikula upang bigyan ng “bigat” ang kuwento, ngunit hindi ito magiging kapani-paniwala pagkat hindi ito naging sapat upang maging balanse ang pelikula.  Para lamang itong idinagdag para pahiramin ng kaunting moralidad ang kuwento pagkat kahit ang pagganap ni Ramsey at Garcia sa bahaging ito—kung ikokompara sa maiinit nilang pagganap sa mga tagpo ng pagtatalik—ay matabang, mahaba ngunit mababaw, at walang puwersang pumukaw sa damdamin ng manonood.  Sa katunayan, tila baga dumarami ang nanonood sa Ex with benefits sa pag-asang umaatikabong bakbakan sa kama ang itatambad ng pinalakang tabing.  Pinili ng pelikula na talakayin ang isang napakamaselang bagay—ang katapatan sa propesyon—ngunit hindi nito nakayang bigyang-katarungan iyon.  Bagkus nailagay pa nito sa alanganin ang trabaho ng mga “med reps”, ang kredibilidad ng mga doktor, at ang tuntunin ng mga pharmaceutical companies. 

We are your friends

DIRECTOR: Max Joseph LEAD CAST:  Zac Efron, Wes Bently, Emily Ratajkowski  SCREENWRITER: Max Joseph/Meaghan Oppenheimer  PRODUCER:  Tim Bevan , Eric Fellner , Liza Chasin  EDITOR: Terel Gibson, Oliver Courson & company  MUSICAL DIRECTOR:  Randall Poster  GENRE: music/drama  CINEMATOGRAPHER:  Bret Pawlak  DISTRIBUTOR: Warner Bros. Pictures  LOCATION:  USA  RUNNING TIME: 95 mins

Technical assessment:  2.5

Moral assessment: 2

MTRCB rating:  R16

CINEMA rating: V18

            23-year-old Cole Carter (Zac Efron) dreams of becoming a big time disc jockey to live out his passion and use his talents in electronic music mix.  He hangs out with his friends; Ollie (Shiloh Fernandez), Squirrel (Alex Shaffer), and Dustin (Johnny Weston) who also have their respective dreams in life. The four of them work part time in a realty funding recovery business to earn and save up money to realize their dreams.  While pursuing his niche in electronic music, Cole meets seasoned DJ James Reed (Wes Bently) who believes in his talents  and generously shares his resources to Cole.  During mentorship between the two musicians, Cole meets Sophie (Emily Ratajkowski), the assistant cum girlfriend of James and gets attracted to her who in turn also gets attracted to him.  Expectedly, James gets appalled at discovering what Cole and Sophie are doing behind his back.  Realizing the results of his action, Cole wants to make amends with James. He consoles himself in the company of his friends who give their usual support to him.

            We are your friends  is about passion for music of a struggling young musician, not necessarily about friendship as the title implies. The sub plots relating to friendship theme seems to complicate the plot which could have been predictable given the focus in the character of Cole.  It also fails to highlight each of the character of the friends.  There is much to be desired in the editing as some of the scenes are unnecessary and prolonging.  The lighting is not maximized to further convey emotions.  Nevertheless, meaningful lines and scenes with reference to the details in the art of electronic music and sensational effects to body movements are informative and serve as saving grace of the film.  Likewise, the actors did well in their portrayals to the credit of the director.   The sound effects particularly on the portion of composing the desired music piece of Cole adds value to the music theme of the film. The production design is also commendable.

            The film says that dreams and friends are important for young people who need friends to hang around with in reaching out for their dreams. It is equally important that as a dreamer, a young person finds an inspiration, friend, and mentor who believes in his talents and shares his same passion.  It is unfortunate to lose such a mentor due to weaknesses like sexual attraction.  In We are your friends, woman is shown as an object of man’s weakness in this film, constantly and vividly shown in suggestive sensual shots to stimulate the male imagination. The film shows how a person at fault can be sincerely sorry and exert efforts to make amends.  Despite the amendments, however, the entire run of the film is somehow disturbing.  It fails to provide background of the characters that could have helped the audience in understanding them, especially since the film has no reference to the family.  Western culture notwithstanding, there is still value in the moral support of the family especially in areas like pursuing one’s dreams.  The environment of alcohol, fights, drugs, vulgar language, and the overall theme of the film make it fit only for a mature adult audience. 

Pixels

DIRECTOR: Chris Columbus  LEAD CAST: Adam Sandler, Kevin James, Michelle Monaghan, Peter Dinklage, Josh Gad, Brian Cox, Ashley Benson, Jane Krakowski  CINEMATOGRAPHY: Amir Mokri  STORY: Tim Herlihy  BASED ON: Pixels a short film by Patrick Jean   SCREENPLAY: Tim Herlihy, Timothy Dowling  MUSIC: Henry Jackman  GENRE: Science fiction action comedy  EDITOR: Hughes Winborne  PRODUCER: Adam Sandler, Chris Columbus, Allen Covert, Mark Radcliffe, Michael Barnathan  COMPANIES: Happy Madison Productions, 1492 Pictures  DISTRIBUTOR: Columbia Pictures  LOCATION: United States  LANGUAGE: English RUNNING TIME:  105 minutes

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating: PG 13 

MTRCB rating:  PG                              
In 1982, NASA launches a time capsule into outer space containing images and footage of Earth life in the hopes of establishing peaceful communication with extraterrestrial life. The video contained a footage of the worldwide video arcade championship. The aliens apparently misinterpreted the enclosed video feed  as a declaration of war and a challenge from Earth. So they attack the Earth using the games as models for their various assaults including Pac-Man, Donkey Kong, Centipede, Space Invaders, Arkanoid and Tetris. Their technology creates voxels (small cubes) that change form and are capable of turning any form of matter into more of itself.  President Will Cooper (Kevin James) calls upon his best friend since childhood, former video game professional and 2^nd placer in 1982 video game championship Sam Brenner (Adam Sandler) to combat the video game characters from destroying the Earth. Brenner decides to lead a team of retrogamers Eddie Plant (Peter Dinklage) and Ludlow Lamonsoff (Josh Gad) to defeat the aliens with technology similar to those used in games. Will they succeed in this literal war against technology?

The film is supposedly a witty take on Earth’s war against technology but it never quite succeeds in developing this interesting premise. Perhaps the genre gets in the way. The film is clearly a comedy so it’s not supposed to take things seriously. Adam Sandler’s persona perhaps also gets in the way since he is just himself in the film. Pixels is a film about nerds and Sandler is supposed to be one but he fails to deliver being in the lead. The supporting cast’s energy is not able to save Sandler’s apparently lazy performance. The initial part of the movie is able to depict successfully the 1980’s video arcade scenario which serves as a back story to the present day conflict with the aliens posing as video game characters. However, as the film loses its focus as it goes back to the usual Adam Sandler formula of romantic comedy. The romance in the film is never justified or explored—it is just there to serve a purpose inessential to the whole story. The motivations of the characters as well are not compelling enough to merit interesting plot. There are funny moments here and there but not enough meat for the audience to chew on. Pixels could have been an intelligent film but the producers are perhaps too afraid to even try. The CGI is apparently wasted given the laziness of the filmmakers to explore on the story further.

Pixels’ premise on the literal war of humans against technology could have been a good argument on the debates as regards morality of modern technology. As humans continue to create technology both for the purpose of convenience and leisure, will there ever come a time when this same technology will be the cause of human destruction?  While the film fails to heat up the debate as it confuses technology with aliens and extra terrestrials, it is still a question worth pondering on. The film portrays various stereotypes, i.e. drinking alcohol as a harmless form of escape, the objectification of women as men’s trophies and sexual fantasies, highly intelligent persons as nerds, etc. CINEMA resists and questions such stereotyping that further creates erroneous representations of reality. Although Pixels has attempted to uplift the image of the “nerds”, its lack of sincerity is not able to deliver the supposed message well.  Given some scenes of violence, use of foul language, and some sexual insinuations, the parents should guide the young impressionable minds of audiences 13 years and below.