The Escort

DIRECTOR:  Enzo Williams  LEAD CAST:  Derek Ramsay, Lovi Poe, Christopher de Leon, Jean Garcia  SCREENWRITER:  Senedy Que  EDITOR: Vito Cajili  CINEMATOGRAPHER: Lee Meily, Sherman Co  MUSICAL EDITOR: Jessie Lasaten  PRODUCER: Lily and Roselle Monteverde DISTRIBUTOR: Regal Films  LOCATION: Metromanila, Cebu 

Technical assessment:  2

Moral assessment:  2

CINEMA rating:  V18

MTRCB rating:  R 13

Matitipuan ni Cyrus (Derek Ramsay) ang waitress na si Yassi (Lovi Poe) at aalukin niya itong maging isang receptionist sa kanyang opisina—isang ahensiya na nag-eempleyo ng mga “escorts”, mga babae at lalaki na binabayaran kapalit ng aliw.  Masipag at deboto si Yassi sa pagpapalaki sa kanyang dalawang nakababatang kapatid, at pagkat tanto niyang makakakatulong ang malaking sahod na alok ni Cyrus sa pangangailangan ng kanyang pamilya, tatanggapin niya ang bagong trabaho.  Lingid sa kanyang kaalaman, ang tunay na balak ni Cyrus ay hikayatin siya balang araw upang pagkakitaan din bilang isang escort.  Ang hindi inaasahan ni Cyrus ay siya ang mai-in love sa dalaga, isang kalagayang magiging labis na nakagigipit pagka’t magiging masugid na mangliligaw ni Yassi ang biyudo at mayamang businessman na si Gary Montenilla (Christopher de Leon).

Madaling sundan ang daloy ng istorya ng The Escort at dapat sana’y naging kapani-paniwala na ito sa pagsasalamin ng mga nangyayari sa tunay na buhay—sa mundo ng mga babaeng bayaran at sa mundo ng politika.  Nguni’t may mga bagay na nakakasira sa pagiging makatotoo nito.  Isa na ang casting ni Poe bilang Yassi—ito lamang ang masasabi ng CINEMA: hindi bagay kay Poe ang papel ng isang walang malay na birhen.  Isa pa’y ang dialogue—maraming parteng artipisyal ang dating kaya hindi nito makayang antigin ang simpatiya ng manonood para sa mga tauhan.  Nakabawas din sa realismo ng pelikula ang labis na product placement—tuloy lumalabas lang itong parang behikulo para maibenta ang mga brands at resort na pinag-shooting-an nito.

Marahil ay sinikap ng The Escort na maghatid ng magandang mensahe sa manonood pero malabo pa rin kung ano ang tunay na layunin ng nito.  Ang magbigay ba ng aral na walang kahihinatnang mabuti ang masamang gawain?  Kung ganon, ay bakit ginagamit nito ang childhood trauma ng ilang mga tauhan para magmukhang katanggap-tanggap ang kanilang pagtataksil at pagpapasasa sa buhay ngayong mga adults na sila?  Gusto ba nitong sabihin na ang tunay na pag-ibig ay hindi nabibili?  Kung ganon, bakit walang ipinakitang lalim ang pagmamahalan nila Yassi at Cyrus na magbibigay-katarungan sa “sakripisyo” ng birheng si Yassi upang sagipin ang buhay ni Cyrus sa huli?  Napakababaw ng relasyon nila, na tila pinaigting lamang ng ilang araw na bakasyon sa isang luxurious resort.  Ninais ba ng The Escort na pahalagahan ang virginity ng isang babae?  Kung ganon, bakit pinahaba-haba nito ang mga eksena sa kama na nagpapahiwatig na hindi na bagito sa larangan ng laman ang dalaga?  Hindi tarok ng CINEMA kung paano ginawaran ito ng MTRCB ng gradong R-13, ngunit sa ganang amin, hindi dapat napapanood ito ng mga may murang isipan.

Ouija, Origin of Evil

DIRECTOR: Mike Flanagan  LEAD CAST: Elizabeth Reaser, Lulu Wilson, Annalise Basso, Henry Thomas, Parker Mack, and Doug Jones  SCREENWRITERS: Mike Flanagan, Jeff Howard  PRODUCERS: Michael Bay, Jason Blum, Stephen Davis, Andrew Form, Bradley Fuller (as Brad Fuller) Brian Goldner  MUSIC BY: The Newton Brothers  FILM EDITOR: Mike Flanagan  GENRE: Horror, Mystery, Suspense  CINEMATOGRAPHER: Michael Fimognari  PRODUCTION DESIGN: Patricio M. Farrell  PRODUCTON COMPANIES: Allspark Pictures, Blumhouse Productions, Hasbro Studios, Platinum Dunes, Intrepid Pictures  DISTRIBUTED BY: Universal Studios  COUNTRY: United States  LANGUAGE: English  FILMING LOCATION: Los Angeles, California, USA  RUNNING TIME: 99 minutes

Technical assessment:  3.5

Moral assessment:  2.5

CINEMA rating:  V14

In 1967 Los Angeles, single mother Alice (Elizabeth Reaser) makes ends meet by deluding the bereaved into thinking she can communicate with their dear departed.  She claims she is sincerely trying to help her clients feel better about their loss.  Her two daughters, nine-year-old Doris (Lulu Wilson) and high school sophomore Paulina (Annalise Basso) collaborate in their mother’s deceptive trade.  Alice is stunned when she obtains a Ouija board that actually enables her to talk to the dead. While it's great for their business, the board also allows a vengeful ghost to possess Doris who starts throwing tantrums and writing long letters in Polish. This, and other evil consequences, alarm Alice and Paulina.

Don’t be surprised if CINEMA echoes your elders’ admonition, “How many times will I tell you to keep away from the Ouija board?”  Because instances of real possession by malevolent spirits actually are not uncommon, even right here in the Philippines, when people, especially teenagers, summon the dead through this board.  This movie is not horror for horror's sake; it's warning you not to fool around with the evil one's toys.  

Miss Peregrine’s Home for Peculiar Children

DIRECTOR: Tim Burton; CAST: Asa Butterfield, Eva Green, Ella Purnell, Samuel L. Jackson, Chris O'Dowd, Terence Stamp, Finlay MacMillan, Lauren McCrostie, Judi Dench, Allison Janney, Rupert Everett  SCREENPLAY: Jane Goldman (based on the novel by Ransom Riggs)  LOCATION:  RUNNING TIME:  127 mins.

Technical assessment: 4

Moral assessment: 3

CINEMA rating: PG 13
MTRCB rating:  PG

A teenager from Florida, Jacob (Asa Butterfield) is close to his grandfather Abe (Terence Stamp) who regales his grandson with stories of his own youth spent in the magical Home for Peculiar Children run by Miss Peregrine (Eva Green).  When Abe dies, the curious Jacob persuades his father to take him to Wales to see if the stories about the Home by the sea are real.  There he finds his grandfather’s tales coming alive—Miss Peregrine’s Home is indeed populated by the “peculiars”, orphans who possess paranormal qualities.  A cute little girl eats through a monstrous mouth in her nape, another has the strength of ten men, a boy can turn invisible at will, another boy breathes out bees like a fire-breathing dragon, etc.  Jacob himself becomes fond of the teenaged Emma (Ella Purnell) who without her lead shoes floats in the air, and soon he is helping the orphans fight off Barron (Samuel Jackson) who hunts down the peculiars to survive.

With young adults as target market, Burton presents yet another mixture of adventure and fantasy that’s loosely lifted from the Riggs opus with the blessing of the novelist who says the movie captures the essence and tone of his book.  Fantasy fiction translated into film appeals to moviegoers of all ages, and when they are as well conceived and delighful as this one, it’s easy to see why Miss Peregrine’s Home for Peculiar Children has been one of the longest-running movies of late in Metromanila.  Besides being populated by lovable and relatable children under the aegis of a divaesque Green, the story must be a familiar one as indicated by a huge crowd that welcomed author Ransom Riggs at a book signing in March 2013 at Bonifacio High Street.

While the antics of the peculiar children employing their paranormal powers in fighting off the baddies satisfy the audience’s sense of wonder, Miss Peregrine’s Home for Peculiar Children is not recommended for young children.  The violence may be stylized and hardly bloody, but some images can be disturbing, and the chase scenes might be too scary for kids who’d rather be entertained by dancing penguins and adventuresome parrots.  Spoiler coming: even some adults might find particularly icky that scene where Barron and his cahoots are feasting on human eyeballs, slurping them down whole like oysters.  So, careful which child to bring along to this movie; you can always take the younger kids to see Trolls.

Jack Reacher: Never Go Back

Direction: Edward Zwick;  Cast: Tom Cruise, Cobi smolders, Aldis Hodge, Danika Yarosh, Patrick Heusinger; Story: based from Lee Child`s 18^th Reacher novel “Never Go Back”; Screenplay: Richard Wenk, Edward Zwick, Marshall Herskovitz; Cinematography: Oliver Wood;  Editing: Billy Weber; Music: Henry Jackman; Producers: Tom Cruise, Don Granger, Christopher McQuarrie; Genre: Action -Thriller:  Location: USA; Distributor: Paramount Pictures;  Running Time:130 minutes

Technical assessment:  3

Moral assessment:  2.5

CINEMA rating:  V14

MTRCB rating:  PG

Jack Reacher (Cruise) is back and this time he allies with Major Susan Turner (Smulders) to help him arrest criminals across America.  He develops fondness for the Major and arranges to finally meet her and probably date her.  But when he arrives in the camp quarters, he learns the Major has been arrested for treason.  Suspecting foul play, Reacher investigates and outsmarts authorities to break Turner out of prison before henchmen murder her. Along the way, he is told that a paternity suit has been filed against him and that he is the father of 15-year-old street smart Samantha (Yarosh). Thinking Sam is Reacher’s daughter, a paid assassin called “The Hunter” (Heusinger) goes after her, forcing Reacher to take her along in their quest to uncover the truth.  The trio travel to New Orleans to question the only eyewitness to the case, clear Turner and Reacher’s name from the murders they have been framed for and keep Samantha safe from assassins trying to teach Reacher a lesson.

British writer Child’s Reacher novels are about the adventures of an American military-cop-turned-vigilante who hitchhikes across his broken country seeking justice that institutions and politicians deny him.  How does Reacher in the novels compare with Reacher in the movies?  What Jack Reacher had in the first movie that viewers fell in love with is diluted in this sequel.  For one, Reacher’s street smart analysis and quick wittedness is overrated.  The action is poorly paced and screaming for conciseness. The rawness of his character is replaced with a glossy Hollywood caricature. The father-son daughter is stretched so thinly it fails to deliver any authentic connection with the viewers. We do not think the narrative would have suffered if her subplot was removed, more so because the Samantha character comes across as annoying.  (Is that the natural outcome for children of an obscure paternity?) The character development and dialogue are sometimes too cliché and cheesy. Overall, the movie benefits from good performances from Cruise and Smulders, the clean technical direction, but falls bland and formulaic. It is not that bad but it is not any good with or without the predecessor. The title should serve as a subtle warning.

Quest for the truth comes with a cost. You take risks and go the extra mile just to make sure that the truth is revealed, protected, and respected. There are many instances in Jack Reacher when the quest for truth was the motivation of the characters: Reacher finding out if Sam was his daughter, Turner’s men investigating the involvement of a general in arms and opium trade, Turner herself clearing her name and giving justice to the death of the men, Sam looking for the connection between herself and Reacher.  The quest for their truths came at a very heavy and disturbing cost….mostly violence and dead bodies.  Could it have been done otherwise?  Not with the chosen narrative flow of the director; not in an amoral world of espionage and megalomania.  It seems that violence was the framework of the film that Reacher’s brand of honesty, Turner’s patriotic integrity, and even Samantha’s street smart instincts gave way to say that was the only way to stay alive and protect the truth.

Deepwater Horizon

DIRECTOR:  Peter Berg  LEAD CAST:  Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O'Brien, Kate Hudson  SCREENWRITER: Matthew Michael Carnahan, Matthew Sand  PRODUCER: Lorenzo di Bonaventura, Mark Vahradian & David Womark  MUSICAL DIRECTOR:  Steve Jablonsky  GENRE: Action/Thriller/ Drama  CINEMATOGRAPHER:  Enrique Chediak  DISTRIBUTOR: Summit Entertainment  LOCATION: USA  RUNNING TIME: 107 minutes

Technical Assessment: 3

Moral Assessment: 3

Cinema Rating: V14

MTRCB Rating: PG

The film dramatizes the tragic events on board Deepwater Horizon oilrig back in April of 2010. The narrative is told mostly from the point-of-view of chief electronics technician Mike Williams (Mark Wahlberg).  He leaves his loving family behind and arrives on the rig to find the drill site executives, Jimmy (Kurt Russel) and Don (John Malkovich) on board arguing as the former wants to take precautions while the latter pushes to cut corners in order for them to get back on schedule. As they are already 43 days behind delivery, Mike and the rest of the crew are pressured to proceed with the drilling in spite of test results that indicate unfavorable conditions. With that, the situation goes worse and Mike finds himself having to brave the dangers of explosion and shipwreck in order to rescue everyone onboard.

Deepwater Horizon succeeds to be an entertaining piece with the entire feature impressively reenacting a significant event in the oilrig industry.  The chosen thread to tell the story is focused and easy to follow. One would not be lost in the film’s storytelling technique which does not really go far from the familiar ship-of-fools plotline with a twist of heroism towards the end.  The main character is given enough exposition arcs—family, love, friendship, work, etc. so the dramatic heroics and sympathy is very much earned.  Camera techniques and special effects are well executed and the audience is really brought there in the event to experience real terrors of the dangerous explosion.  However, the film lacks in educating the real outcome of the case—as to who’s really to blame or what could have been done to avoid such tragedy from happening again.  Were they pushed by too much capitalism?  Or Greed?  Those were just some angles to the themes that the film could have explored but it chose to stay safe with the Hollywood conventions of filmmaking.

 At the forefront and center of the film is a man who risked his own life and safety to save others.  His convictions, aspirations and motivations are clearly shown from the beginning and are consistent until the end. His big “why” in life is his family – his wife and his daughter.  He wants to remain alive for them. And he believes everybody onboard is feeling the same—they all want to live and survive for their “whys” in life.  What’s really impressive about Mark is his selflessness amidst the danger of his own life.  Human instinct would always go for self-preservation, but here is a man who’s willing to endanger his own life for the safety of others.  He is not driven by anything else than his genuine concern for others.  The film actually focused on this part of the story. Instead of thoroughly investigating into who’s to blame for the tragedy, it opts to focus on one’s act of heroism.  Tragedies such as Deepwater Horizon could bring out the best and the worst in people but this film chose to focus on the best side of man: after the heroic rescue, the survivors huddle together and pray the Our Father.  For some strong language and heavy tragic visuals, and given the highly technical milieu, the film may be too much for the very young so CINEMA deems it as suited only to audiences 14 years old and above.