Girlfriend for hire

Direction: Vanessa de Leon; Cast: Yassi Pressman, Andre Paras; Story:  Based on Wattpad’s short story with the same title; Screenplay: Jose Javier Reyes;  Editing: Vanessa de Leon; Producers: Vincent de Rosario III, et al; Genre: Romance; Location: Metro Manila; Distributor: Viva Films  Running Time: 104 minutes

Technical assessment:  2

Moral assessment:   2.5

CINEMA rating: V14

Si Nami (Yassi Pressman) ay isang iskolar sa Stanford, isang kolehiyong pangmayaman. Madalas siyang makabanggaang landas si Bryle (Paras), ang kaisa-isang apo ng may-ari ng paaralan. At sa mga pagkakataong ito ay lagi silang magbabangayan.  Nang maglayas si Nami dahil sa problema sa bahay ay siya naman mabubundol siya ni Bryle na namumublema sa kundisyon ng kanyang lolo na dapat siyang makapagbigay ng apo magtutuloy sa lahi ng mga Stanford. Makikipagkasundo ang binata na ipakikilala si Nami bilang nobya sa kanyang lolo kapalit nang pagpapatira sa condo at pera. Kaso nga lamang ay magkakahulugan sila ng loob. Lalong magiging kumplikado ang sitwasyon sa pagbabalik ng nobya ni Bryle na maglalagay sa damdamin ng binata sa alanganin.

Malaki ang kakulangan ng kwento ng Girlfriend for hire. Unang-una ay gasgas na ang buod nito at kakatwa ang pinagpapalagay na magkakahulugan ng loob ang mga tauhan sa kabila ng kanilang pagkakaiba ng motibo at prinsipyo. Lalo nang naging kakatwa ang daloy na ang mismong suliranin sa kanilang relasyon ang siya rin namang nagsilbing resolusyon.  Walang kahirap hirap sa dalawang tauhan na panindigan o ipaglaban ang kanilang “pag-iibigan”.  Kapag dumako pa tayo sa pagganap nina Pressman at Paras ay lalong nagiging kabugnot-bugnot ang desisyon panuorin ang pelikulang ito. Sinasalo lamang ng mga teknikal na aspeto ang pelikula—musika, sinematograpiya, disenyo. Pero tulad ng lagi naming binibigyang-diin, kung hungkag ito, hindi makakasalba ang mga palamuting teknikal na ikukulapol dito.

Girlfriend for hire ang tipo ng pelikula na simula pa lamang ay alam mo na ang katapusan. Ang mas malala ay lagi na lang umiikot ang mga kwento mula Wattpad sa mga mababaw at imposibleng relasyon. Ang mga babae ay humaling na humaling sa mga lalaking abusado o makasarili at sa isang iglap, biglang mababago ang ugali ng lalaki at sila ay mabubuhay nang “happily ever after”. Sige, maaaring patok ang mga kwentong nakakakilig na ito sa mga kabataan pero ano naman kaya ang mensahe ukol sa relasyon at pag-ibig ang naipapamahagi ng mga ganitong pelikula?  Kung bakit nanatili si Nami bagamat hindi maganda ang pakikitungo sa kanya ni Bryle ay isang malaking palaisipan, kungdi man katangahan.  Sadya ba siyang mahina at walang paninindigan o ipagpapalit ang dignidad para sa kaunting luho?  Kung may saysay man ang kuwentong ito, ito ay para ipakita sa kabataan kung ano ang mga relasyong dapat iwasan.

Zoolander 2

Direction: Ben Stiller; Cast: Ben Stiller, Owen Wilson, Will Ferrell, Penelope Cruz; Story:  Based on characters by Drake Sather and Ben Stiller; Screenplay: Ben Stiller, John Hamburg, Nicholas Stoller, Justin Theroux; Cinematography: Dan Mindel; Editing: Greg Hayden; Music: Theodore Shapiro; Producers: Stuart Cornfeld, Ben Stiller, et al; Genre: Comedy; Location: Europe; Distributor: Paramount Pictures Running Time: 102 minutes;

Technical assessment: 2

Moral assessment: 2.5

CINEMA rating: V14

Derek (Stiller) and Hansel (Wilson) have been recruited back into the world of high fashion after a decade of reclusion. This time, Valentina Valencia (Cruz), an Interpool Agent for the Global Fashion Division persuades the two to help her uncover the mysterious deaths of celebrities all of whom end up with Zoolander’s signature “blue steel” pose. As they dredge the high fashion world in this decade, the two ex-supermodels run into old nemesis led by Mugatu (Ferrell) with his usual convoluted sinister plots.

Why Ben Stiller pursued to produce, write, direct, star and lose money and dignity in this unnecessary sequel is incomprehensible. It took him more than a decade to come up with a sequel and honestly, the original Zoolander brand would have been better remembered without this ridiculous follow up. The story is paper thin and relies solely on cameo appearances of celebrities and recycled gags. It is lazily written and appears to be a vanity project banking on the prequel’s reputation alone. Zoolander and Stiller look pathetic and weary as they try very hard to sustain that snooty image of a high profile supermodel. While Stiller still retains the perfect timing to deliver his idiocies which are actually funny, his writing and directing skills are inadequate. Zoolander 2 feels like a toothless tiger trying hard to throw a satirical bite at the artificiality of high fashion… but it for non-Justin fans, the opening scene makes it worthwhile.

Zoolander 2 does not pretend to deliver any message, neither should we pretend to find one. The gags are crass, tasteless and sacrilegious. There are too many worn-out sex jokes that are not even funny. And its reference to religious traditions and teachings border on offensive. On the other hand, the film struggles to make two points: recapturing one’s glory and fatherhood. While the former is presented as vanity and senselessness, the latter equally fails to make any connection. Its supposed father-looking-for-his-son plot barely redeems itself because Zoolander did not exhibit any real affection for his son when the latter failed to meet his standards of beauty. But the biggest disappointment of Zoolander 2 is its failure to make any significant insight in contemporary issues like social media, technology, modern relationships, and the like.

Room

DIRECTOR: Lenny Abrahamson  LEAD CAST: Brie Larson, Jacob Tremblay, William H. Macy, Joan Allen, Sean Bridgers, Megan Park & Tom McCamus  SCREENWRITER: Emma Donoghue CINEMATOGRAPHER:  Danny Cohen  PRODUCER:  Ed Guiney  EDITOR: Nathan Nugent  MUSICAL DIRECTOR:  Stephen Rennicks  GENRE: Drama DISTRIBUTOR: A24 Films  LOCATION:  Canada, Ireland, UK RUNNING TIME:  118 minutes

Technical assessment: 4

Moral assessment: 3

CINEMA rating: V-14                                               

Five-year-old Jack (Jacob Tremblay) and his Ma (Brie Larson) are locked-up in a room. The two of them have managed to live in the tiny little space. Ever since Jack’s birth, their world has revolved inside the four corners of the room. Jack has never seen the outside world—the small room is their only world. Everything seems to be fine but little by little, Jack sees that something is terribly wrong in their situation. As he is now five-years-old, her Ma tells him their real story. How they got locked up there and how dangerous their situation is. His Ma plans an escape plot so they can finally be freed. However, a more complicated outside world awaits them, which both of them are not prepared to face.

Room is a compelling, extra-ordinary film that thrives on its simplicity and honesty. There is no special effect or suspenseful scene, not even hysteria—just plain and simple play of emotion—real emotions, so real as though one is watching a documentary. The real gem of the movie is its actors who played their roles excellently well. Larson is able to deliver such riveting performance, providing the needed combination of deep sadness, tragic joy, and painful love. Tremblay is as impressive as he delivers a natural performance giving playful innocence, intelligent curiosity and smart ignorance. The director blends all the complicated gamut of emotions and the gravity of the mother-son situation into a watchable narrative that flows just naturally as it should, making the audience really involved in the unfolding of the story.

The bond that is built between Jack and Ma is the most arresting thread in the film’s narrative. Given the complexities of their connection, still, love prevails. This is a clear triumph of good versus evil. Amidst the apparent hopelessness and despair, there is redemption for as long as there is love. The society may question the decision of Jack’s Ma to contain him in a room instead of letting him go, but, in the said scenario, it is only a mother’s love that could sustain such a distressing situation. In spite of the inherent darkness of their past and present, the two still manage to appreciate life and the world in general because they have each other.  They sustain one another. Their love is a clear testament of the power of humanity to transform lives, and even alter the world—all that is needed is a heart.  The world we create is the kind of world we create in our hearts. Even in the four corners of a tiny room, Jack’s Ma is able to make the world a great place for him. This kind of humanity, the capacity to love and the mysteries that go with it is God-ordained. It is through the manifestation of love that we see God at work. Above all, Jack’s Ma chooses life over death and in that choice, she also chooses love over hatred, and she makes those choices in the face of the hardest consequences. For its sensitive theme that may be too much for the very young, CINEMA recommends the film as appropriate only for viewers 14 years-old and above.

Deadpool

DIRECTOR: Tim Miller   LEAD CAST: Ryan Reynolds, Morena Baccarin, Ed Skrein  SCREENWRITER: Paul Wernick & Rhett Reese  PRODUCER:  Simon Kinberg & company  EDITOR:  Julian Clarke  MUSICAL DIRECTOR:  Junkie XL  GENRE: Action/Adventure  CINEMATOGRAPHER:  Ken Seng  DISTRIBUTOR: 20th Century Fox  LOCATION:  USA RUNNING TIME:  108 minutes

Technical assessment:  3.5

Moral assessment:  2

CINEMA rating:  V18

MTRCB rating:  R16

Pre-Deadpool Wade Wilson (Ryan Reynolds) was a special forces operative who was dishonorably dismissed.  He becomes a hired kill-all-you-can mercenary who sets no limits how he kills whom, then meets hot chick Vanessa (Morena Baccarin), a hooker with a past as murky as his.  A deadly blend of sex and sympathy draws them closer together, and then it’s year-round non-stop carnal bliss for the two.  One day, taking a break from Vanessa’s addictive charms, the otherwise hunky Wilson collapses in the bathroom and later on is diagnosed to have terminal cancer in his lungs, brain, prostate, and liver.  Desperate for a cure, he leaves Vanessa and agrees to submit himself to a government funded experimental treatment in the hands of a doctor named Ajax (Ed Skrein). The experiment not only cures his cancer, but also gives him superhuman strength and the power to self-regenerate—but he becomes horribly disfigured in the process.  When he finds out that the “experiment” was actually designed to turn him into a super-slave, and that his deformity is irreversible, he leaves Vanessa to spare her from the sight of him dying.  Thus, the mask, the superhero costume, and the monicker “Deadpool”.  He then launches a testosterone-driven hunt for the sadistic guy Ajax who made him uglier than the phantom of the opera.

As far as CGI action goes, Deadpool is tops; just like any Marvel superhero movie, it aims to dazzle its audience with new tricks, new choreography, new ways to torture the enemy, new excuses to bare the hero’s abs—and it does succeed in entertaining the fans and many film critics.  Reynolds (who didn’t quite hit it with Green Lantern) obviously enjoys being Deadpool, spewing witticism, sarcasm and adults-only expletives, and trying to be funny in the middle of hacking an opponent to death.  He also enjoys baring his abs and that forbidden region south of his navel in a bid to maximize the movie’s R rating.  Unlike most movies with a high body count, Deadpool makes no attempt to disguise the gore, so that when heads are axed and torsos impaled and sliced like watermelons, well—you see red all over the screen.   

Towards the end, Deadpool attempts a redemptive message—love sees beyond the externals—but coming after 105 minutes of the protagonist’s undiluted badassery, it feels put on.  Deadpool the character has been described as “technically a superhero, but one with a mean streak and a potty mouth.”   (Just how potty is potty?  Please refer to http://www.christiananswers.net/spotlight/movies/2016/deadpool2016.html).  Deadpool himself is dead right when he says “I am not a hero”, so what is he?  A pathetic cancer victim who finds love too late and is therefore to be pitied?  A wisecracking murderer who enjoys killing people to heal his wounds?  A superhero figure reimagined for box office profits is more like it, proven by the gimmick as the credits roll—Reynolds reappearing minus the Deadpool costume, chiding the audience to go home.  Talk about cutesies.  Don’t say we didn’t warn you.

Zootopia

DIRECTOR: Byron Howard, Rich Moore, Jared Bush LEAD CAST: Voices of Ginnifer Goodwin, Jason Bateman SCREENWRITER: Jared Bush, Phil Johnston PRODUCER: Clark Spencer EDITOR: Fabienne Rawley, Jeremy Milton MUSICAL DIRECTOR: Michael Giacchino GENRE: Animation, Action & Adventure, Comedy PRODUCTION DESIGNER: David Goetz VISUAL EFFECTS SUPERVISOR: Scott Kersavage DISTRIBUTOR: Walt Disney Studios Motion Pictures LOCATION: United States RUNNING TIME: 103 minutes
Technical assessment:  4
Moral assessment:  4
CINEMA rating: V 13 (Children 13 and below with Parental Guidance)
MTRCB rating: PG
Rabbit Judy Hopps (voiced by Ginnifer Goodwin) dream of being cop, despite the discouragement from her parents who say “no bunny ever becomes a cop.” Through sheer determination and hardwork Judy attains her goal, topping her class and becoming the first bunny to join the police force. She is assigned to Zootopia, a mammal metropolis populated by animals, leaves her parents and their quiet farm life only to be given the lowest post of all—monitoring the parking meters. Disappointed but persevering she resolves to be the best parking meter cop there is, issuing 200 parking tickets before noon of her first day at work. A wily fox con artist, Nick Wilde (voice by Jason Bateman) tricks and humiliates her on Day One, but as fate would have it, both Judy and Nick become targets of a conspiracy. Circumstances teach them to work in tandem towards solving ongoing mystery crimes in Zootopia. Just when you’re about to say “What? More talking animals?”, along comes—or hops—Zootopia, another fine animation film from Disney’s menagerie. Its main asset is a meaty theme laid out through intelligent story-telling and made alive by pitch perfect voicing. Humans would easily relate to the setting, an anthropomorphic society where animals are dressed like humans and lead human lifestyles—talk about giraffes drinking latte and gazelles crooning onstage as divas—creative animation at its imaginative best. Although Zootopia would make excellent bedtime-reading for kids, it’s anything but kidstuff, what with Bryon Howard (Tangled, Bolt) and Rich Moore (Wreck-It-Ralph) at the helm, giving flesh to a script by a staff that includes Jim Reardon (WALL-E), Josie Trinidad (The Princess and the Frog) and Jennifer Lee (Frozen). Pick everything good out of those hits, toss them all into Zootopia and you’ve got film fare that’s both delectable and nutritious to go with your popcorn. If it can be called anything, Zootopia is “cartoon for adults” because it’s a strong statement on things, beliefs and attitudes we’ve taken for granted but which need reexamination in human society. It’s an honest and humorous commentary on how we let prejudice, fear, discrimination, and ignorance guide our lives and prevent us from evolving into the perfect creatures we are meant to be. With wit and gentleness it teaches us lessons on empowerment, courage to pursue our dreams, humility and diligence in performing our jobs, faith in one another despite our differences. Zootopia offers much to entertain young and old alike—the sloth episode alone is worth the price of admission, Ha, ha, ha!—but be careful which child you allow to watch it. Not all children can handle the violence on a larger-than-life screen. (The day we watched, a girl about 4-5 years old screamed when a monstrous bison clawed the fragile bunny, and then kept on crying, “No, no, no!”, burying her face in her mother’s lap and refusing to watch further. The mother and the two yayas were clueless, taking turns carrying the uncontrollable kid outside and bringing her back in until she literally lay on the floor, screaming and kicking inconsolably and spilling drinks and popcorn as a result. Literally, naglupasay! The incident, of course, disturbed the audience, but we wonder if it didn’t consist a trauma for the girl.)

Everything about her

DIRECTOR: Joyce Bernal  LEAD CAST: Vilma Santos Recto, Angel Locsin & Xian Lim  PRODUCER:  Charo Santos-Concio  GENRE: Drama  DISTRIBUTOR: Star Cinema  LOCATION:  Philippines RUNNING TIME:  2 hours

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

Si Vivian (Vilma Santos) ay kilala sa pagiging matapang, mapangahas, at matagumpay na babae sa kanyang larangan. Tinitingala siya, kinatatakutan at nasa pinakamataas na posisyon sa kanyang kumpanya. Ngunit magbabago ang lahat nang siya ay ma-diagnose ng cancer sa buto. Dito kinakailangan niyang sundin ang magiging payo ng kanyang doctor, kabilang na ang pag-aalaga ng isang private nurse. Papayag si Vivian sa kundisyon na itatago pa rin ang kanyang sakit at walang ibang kahit sino ang dapat makaalam. Darating sa buhay ni Vivian si Jaica (Angel Locsin) na sa simula ay mahihirapang makisama sa kanya ngunit dahil kailangan nito ng trabaho para sa kanyang pamilya, pagti-tiyagaan niya si Vivian. Sa tulong ng isang  kaibigang nagmamalasakit kay Vivian, matatawagan ni Jaica ang nag-iisang anak ni Vivian, si Albert (Xian Lim) na naninirahan sa Amerika. Makukumbinsi ni Jaica si Albert na umuwi ng Pilipinas dahil isisiwalat nitong may cancer si Vivian—isang paglabag sa mahigpit na bilin ni Vivian. Sa pag-uwi ni Albert matutuklasan ni Jaica ang malalim na sugat sa relasyon ng mag-ina.

Isang magandang karanasan ang makitang muli sa big screen si Bb. Vilma Santos. Binigyang-buhay niya ang karakter ni Vivian nang buong husay. Kapwa mahuhusay din sina Angel Locsin at Xian Lim. Hindi naman gaanong bago ang tema ng pelikula kung tutuusin, ngunit sadyang dinala ni Ate Vi ang kabuuan ng pelikula. Dama ang puso ng kuwento sa husay ng kanyang pagkakaganap. Mahusay din ang script at direksiyon na hindi masyadong nagpadala sa tukso na iliko ang kwento sa sentro. Marahil ay nagkulang lang ang Everything About Her nang bahagya sa pagpapaigting pa ng kwento ng mag-inang Vivian at Albert. Parang marami pang dapat sana’y ipinakita upang higit pang naramdaman at naintindihan ng manonood ang kanilang pinanggagalingan. Marahil hindi na rin dapat pang binigyang-diin ang kuwento ni Jaica na pawang nakagugulo lang sa daloy ng kuwento ni Vivian. Sa kabuuan naman ay hindi na rin masama ang kinalabasan ng pelikula na patungkol sa mga ina na piniling magkaroon ng sariling karera bukod sa pagiging ina.

Malakas ang mensahe ng Everything About Her patungkol sa mga tinatawag na working moms. Ipinakita ng pelikula kung gaano kalalim ang sugat na ibinabaon nito sa puso ng mga anak na tila naghahanap ng pagkalinga at panahon ng isang ina. Hindi nito hinuhusgahan o nilalahat ngunit ipinakita nito ang karaniwang nagiging kapalit ng pagtatrabaho ng ina sa labas ng tahanan—ang pagkakaroon ng galit ng mga anaksa kakulangan ng pagkalinga ng isang ina. Sa isang banda, may batayan nga ba ang pagiging isang mabuting ina? Sa lipunang pinaiikot ng materyalismo, saan nga ba lulugar ang isang ina kapag nagugutom na ang kaniyang mga anak? Parating nagiging batayan ng pagiging isang mabuting babae ang pagiging mabuting ina. Kapag sa paningin ng mga anak ang ina ay naging masama, parang nagiging masamang babae na rin siya. Tila ba naka-angkla ang basehan ng pagkababae sa pananaw ng iba—sa kanyang anak o asawa—ngunit hindi sa sarili niyang pagsusumikap at ambag sa lipunan. Ito isang malaking debate magpasa-hanggang ngayon. Ngunit marahil sa kabuuan ng Everything About Her, ang naipahiwatig nito ay—para sa isang masaya, makabuluhan, at mahabang buhay, nararapat na bigyang pansin at oras ang mga tunay na mahalaga sa buhay, ang mga relasyon, relasyon sa Diyos, sa sarili, sa pamilya, sa kaibigan at sa mas malawak pang komunidad. Sa bandang dulo ng buhay ng isang tao, hindi yaman, kasikatan o kapangyarihan ang magiging sukatan ng makabuluhang buhay kundi ang malalalim na relasyon na itinanim at pinagyabong nang may wagas na pagmamahal.

The revenant

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Direction: Alejandro Iñarritu; Cast: Leonardo DiCaprio, Tom Hardt, Will Poulter; Story: Based on The Revenant by Michael Punke; Screenplay: Mark Smith, Alejandro G. Iñarritu; Cinematography: Emmanuel Lubezki; Editing: Stephen Mirrione; Music: Ryuichi Sakamoto, Alva Noto; Producers: Arnon Milchan, Steve Golin, et al; Genre: Epic Drama; Location: 18th Century Louisiana; Distributor: 20th Century Fox; Running Time: 156 minutes.

Technical assessment:  4

Moral assessment: 3.5

CINEMA Rating: V18

            The film opens with Hugh Glass (DiCaprio) telling his half-breed son not to give up as long as he is breathing. Through a collage of images, we see how he loses his wife and cares for his young son, Hawk. A few years later, Glass and a teenage Hawk are part of team hunting for pelts in the Louisiana wilderness until they are ambushed by Native Americans searching for the chief’s kidnapped daughter. With only 10 men remaining, the party relies on Glass’ expertise and experience to lead them to safety. However, when Glass is brutally mauled by a grizzly bear, the team captain is forced to leave him behind in order for them to be able to safely return to camp. Hawk, Bridger (Poulter) and Fitzgerald (Hardy) volunteer to stay behind, care for Glass and give him a proper burial when the time comes.  However, Fitzgerald, being hostile to both father and son, convinces the injured Glass to be killed so that the three of them can move on. When he smothers Glass, Hawk arrives thinking his father is being murdered and tries to call for help. But Fitzgerald stabs him to death as Glass watches helplessly. Fitzgerald convinces the young Bridger that Hawk has gone missing and they should leave Glass to die. Glass slowly recovers from his injuries and makes a resolve to make Fitzgerald pay for the murder of his son.

            There is a poetic mix of calm and brutality in director Iñarritu’s art. He brings out the core of human struggle with calm precision that it chokes you out of your emotions. The Revenant is divinely genius. Cinematography is majestic and intuitive. It combines the arresting beauty of the Old World and the dynamism of the scene in images that you see and don’t see. Sound design is meticulously laid out, resulting in a rich dramatization. The storytelling, although a little longer than necessary, manages to pierce through the soul. But the main success of the movie is DiCaprio’s Glass. He attacks the character with so much commitment and intensity so that every pain, every heartbreak, and every rage is felt by the audience. But more importantly, each element, although a stand out by itself, works cohesively to tell the story and does not draw attention to itself.  The Revenant is a movie that will surely be a classic for film studies in the future.

            The strongest message of the film is told at the very beginning: “as long as you can breathe, you fight”. This is man’s indomitable spirit to stay alive. There are several motivations to do so: self-preservation, protecting a loved one, seeking justice and rectification and hunger for revenge. The film took us to all of them, perhaps one more prominently that the other. That determination to hang on, the courage to fight and the will to live takes heart, mind and soul and the deep sense of spirituality that allows man to transcend every inch of physical and emotional pain. While it does not explicitly acknowledge God, images of the Church, reference to conscience through inner voices and the words that Glass remembers before he decides not to kill Fitzgerald implicitly suggest His presence. Other sub themes worth discussing are respect for environment and culture, love for family, friendship and loyalty. However, the film graphically presents interracial war, sexual assault, and death, that younger audience will feel disturbed. Hence, CINEMA recommends the film to more mature viewers.

Alvin and the Chipmunks: the road chip

DIRECTOR: Walt Becker  LEAD CAST:  Jason Lee, Tony Hale, Kimberly Williams-Paisley, Josh Green, and with the voices of Justin Long, Matthew Gray Gubler, Jesse McCartney, Kaley Cuoco, Anna Faris, Christina Applegate  SCREENWRITER:  Randi Mayem Singer, Adam Sztykiel  PRODUCER:  Janice Karman, Ross Bagdasarian EDITOR:  Ryan Folsey   MUSICAL DIRECTOR:  Mark Mothersbaugh  GENRE:  Animation, Adventure, Family Comedy, Fantasy, Music  CINEMATOGRAPHER: Peter Lyons Collister   DISTRIBUTOR:  20th Century Fox  LOCATION:  United States RUNNING TIME: 92 minutes
 

Technical assessment: 3.5  Moral assessment: 3  CINEMA rating:  VA  (Viewers of all ages)

In this fourth installment in the Alvin and the Chipmunks film series, Dave (Jason Lee) introduces Chipmunks Alvin, Simon and Theodore to a new girlfriend, Samantha (Kimberly Williams-Paisley) and her teen son, Miles (Josh Green).  He produces a record for rising pop artist Ashley Grey (Bella Thorne) in Miami and decides to bring Samantha along with him. He leaves behind the Chipmunks with Miles in Los Angeles.  Miles physically abuses the trio.  Having seen an engagement ring in Dave’s bag, they were worried that Dave will get engaged, start a new family and dump them. They only have three days to save themselves from losing Dave and possibly gaining a terrible stepbrother. Miles is not favorable of having a stepfather so the four travel cross-country to sabotage an assumed engagement.

Legend

--> Direction: Brian Helgeland;  Cast: Tom Hardy, Emily Browning, David Thewlis, Taron Egerton, Christopher Eccleston, Paul Bettany, Chazz Palminteri; Screenplay: Brian Helgeland; Based on The Profession of Violence by John Pearson; Cinematography: Dick Pope; Editing:  Peter McNulty; Producer: Tim Bevan, Eric Fellner, Chris Clark, etc.; Music: Carter Burwell; Genre: Crime; Distributor: Universal Pictures; Location: United Kingdom Running Time: 131 minutes.

Technical assessment: 3

Moral assessment: 2.5

Rating: V18

In the 1960s, Frances (Browning) tells the story of twin brothers Reggie (Hardy), her husband, and Ronnie (Hardy) Kray as they lord over the criminal underground world of London. Suave former boxer Reggie and psychotically unstable Ronnie muscle-in on the control of a local club through brutality and blackmail. Their kingdom expands when an American syndicate approaches them for protection in exchange for half profits of London’s underground gambling profits. However, Ronnie psychotic violence continues to cause problems with the authorities subjecting them to an investigation and eventually their arrest. The story is narrated between the tragic love, abuse and suicide of Frances as she stands witness to the rise and fall of the Krays.

There is always an enthralling quality in crime films done particularly well. From a purely technically stand, Legend has a charm that captivates audiences mainly because of Tom Hardy’s impeccable interpretation of Reggie and Ronnie. He methodically manages to keep the personalities defined and balanced with so much chemistry. The script is funny and engaging and the presentation is grippingly entertaining. Pope and Hegeland perfect photography of Hardy’s dual performance easily makes audience forget that they are watching only one person. Browning is a little disappointing because her delivery lacks depth in its omnipresence.

The lines of morality are often blurred for people who misinterpret crassness and vulgarity with candor and being real. There is guilty pleasure over the smooth moves of criminality and nervous laughter with outrageous behavior.   With such propositions, the audience of the film should be equipped with a strong moral sense and Gospel-shaped conscience and realize that while some people may escape punishment or enjoy the shortlived benefits of criminality, it is never worth it because the misery, pain and punishment it brings will always outweigh whatever pleasure it gives.  The film is for mature adults because of mature themes and several disgustingly violent scenes.  

Snoopy and Charlie Brown: The Peanuts Movie

RUNNING TIME:  1 hr. 33 mins

LEAD CAST:  Noah Schnapp, Francesca Capaldi, Bill Melendez

DIRECTOR: Steve Martino

SCREENWRITER: Bryan Schulz, Cornelius Uliano, Charles M. Schulz

PRODUCER:  Craig Schulz, Bryan Schulz , Cornelius Uliano

EDITOR: Randy Trager

MUSICAL DIRECTOR:  Christophe Beck

GENRE: Animation

CINEMATOGRAPHER: Renato Falcão

DISTRIBUTOR: 20^th Century Fox

LOCATION:  USA

Technical Assessment: 3.5

Moral Assessment: 4

Cinema Rating: VA

Charlie Brown (Noah Schnapp) gets infatuated with a new kid in the class, the Little Red-Haired girl. Since then, he exerts every effort to be noticed by her: he tries to top a standardized test, win in a talent show, join a school dance and lead a book report. As Charlie Brown goes through all these, he gets help from his faithful pet dog Snoopy (Bill Melendez) and the rest of the “Peanuts” gang. Will Charlie ever get the notice he so longs for? How far would he go in his infatuation?

The movie is a charming adaptation of the popular comic strip. It is able to transform the original Peanuts appeal into moving images, animation and 3D effects while staying faithful to the original core and feel of the comic classic. This is one animation for children that does not resort to too much spectacle—just plain and simple classic comic strip turned into film: the characters, the artwork and the entire look is very much consistent with the original source. And at a time when movies and animations are expected to be grand, this is quite a gamble. But the result is a breath of fresh air; the audience does not always see an animation in its utter simplicity. The story is pretty cohesive and does not distract itself from the central characters Snoopy and Charlie. Overall, Snoopy and Charlie Brown: the Peanuts movie is a delightful experience that followers of the popular comic strip will get nostalgic in seeing their favorite comic characters come to life.

The heart and soul of Snoopy and Charlie Brown: The Peanuts Movie lies in the wholesomeness of its central message—that goodness and kindness is of ultimate importance in one’s character. Fame, intelligence, good looks are but fleeting and superficial traits and are nothing if those are not coupled with goodness. Charlie is one pure character that children should emulate. His honesty, kind-heartedness, and benevolence are commendable. Despite his weakness, he finds strength in meaning well in everything he does. He does not lose heart nor is tempted to cling on to something not truthful even if it would mean his humiliation and a possibility of rejection by other people, and much worse from the object of his infatuation. Now that is ultimate self-denial in the name of pure goodness. The film tells the audience clearly what really matters in life and in one’s character. In a world that puts too much premium on popularity and self-preservation, here is a movie that shows how it is to care for the other—to be courageous to take the ultimate sacrifice for the beloved, and to do what is right even if it is not necessarily popular, to be kind even at a time when it is very hard to be one. 

Macbeth

DIRECTOR:Justin Kurzel  CAST: Michael Fassbender, Marion Cotillard, Paddy Considine,   SCREENWRITER:  Jacob Koskoff, Michael Lesslie  PRODUCER:  Iain Canning, Emile Sherman, Laura Hasting  CINEMATOGRAPHER:  Adam Arkapaw

EDITOR:  Chris Dickens  MUSICAL DIRECTOR:  Jed Kurzel    GENRE: Drama DISTRIBUTOR:  Studio Canal (UK), The Weinstein Company (US)LOCATION:  United Kingdom, France, United States  RUNNING TIME:  113 Minutes

Technical Assessment:  4  Moral Assessment : 1  CINEMA Rating:  V18

          Macbeth (Michael Fassbender), a royal troop leader, is a big supporter of King Duncan (David Thewlis).  He likewise wins the commendation of the king for his victorious battles. But Macbeth actually  aims more than the praises of King Duncan. Together with his wife, Lady Macbeth (Marion Cotilliard) , they believe in the  prophecies of the witches that Macbeth will be crowned king and cannot be killed by natural born human. During the village feast when King Duncan pronounces Malcolm  (Jack Reynor) as his heir to the throne, the couple wait for the time for Macbeth to fulfil the prophecy. He kills King Duncan on his sleep with a dagger handed by the ghost of one of his killed soldiers. Malcolm is the first to discover, and decides to flee out of fear. His action makes him a suspect for the killing and spares Macbeth who becomes the King in the absence of Malcolm. But Macbeth, now king,  remains unhappy because aside from having no heirs, the prophecy  for the throne of the king favors Banquo (Paddy Considine) who has a son.  So he sends assasins to kill Banquo and his son.  But only Banquo is killed and the son flees. Macduff  (Sean Harris)  realizes the scheme of Macbeth and his wife, he searches and finds the earlier pronounced heir of the throne Malcolm.

          Macbeth, a Shakesperean poetry in motion, excels in most technical aspects of the film. As a novel adaptation it is seen with effort to level off  par excellence with the equivalent literary classic by Shakespere. Fassbender and the rest of the cast gave their excellent acting. The director did well in his overall treatment of transforming the actors into the characters they are portraying.  The delivery of lines were effective and meaningful. The production design has entirely created the requirement for the battle era that accommodated a huge number  of extras for the crowd.  The editing is clean and has good following of the story.

         It is good to have ambition. It helps set direction of what a person wants to achieve in life. However, if it is marked by greed and selfishness it may lead to  his/her own demise. This is what happened to the main character of the film Macbeth. He was overwhelmed by praises of people for his victorious battles as a soldier.  It led him to the grievous act of murdering innocent people.  The wife is as selfish as the husband in the film. She prayed to the gods of darkness and believed in witches. She equally met her own shameful demise for her connivance. The film was concluded with justice served. However, the entire run of the film depicted selfish motives, senseless murders, praying to false gods, believing in hoax prophesy,  and bad influence of women. The film may have given a lesson about pursuing ambition, but no solution was offered in the end.  

Our brand is crisis

DIRECTOR:   David Gordon  LEAD CAST: Sandra Bullock, Billy Bob Thornton, Anthony Mackie, Joaquim de Almeida  SCREENWRITER: Peter Straughan  PRODUCERS:  George Cloony & Grant Heslov  EDITOR:  Collin Paton  MUSICAL DIRECTOR:  David Wingo  GENRE: Satirical comedy, Drama  CINEMATOGRAPHER:  Timm Orr  DISTRIBUTOR: Warner Bros. Pictures  LOCATION:  United States (also filmed in Bolivia) RUNNING TIME: 107 minutes

Technical assessment:  3    Moral assessment:  3     CINEMA rating:  V14

       Into self-imposed retirement, high-powered political spin-doctor Jane Bodine (Sandra Bullock) is recruited to boost the campaign of a Bolivian presidential candidate, Senator Castillo (Joaquim de Almedia) who’s struggling in the election polls.  In Bolivia, Bodine crosses paths with another American political strategist and archrival Pat Candy (Billy Bob Thornton), who’s working for Castillo’s rival candidate.  The two American image-makers stop at nothing in the Dirty Tricks Department to make their respective employers win the election.

       When a movie stars big names like Sandra Bullock or Joaquim de Almeida, expectations run high: there must be integrity in the plot, topnotch acting, engaging dialogue, crisp editing, and over-all technical excellence that matches the brilliance of the stars. But while nothing seems terribly askew in Our brand is crisis, nothing is that breathtakingly flawless either.  It’s the genre at fault: the movie apparently suffers from an identity crisis.  As a satire it lacks bite, as a comedy the fun is forced, as a drama it doesn’t quite involve the viewer.  Given the weight of the subject matter—manipulation of public opinion at all cost—and considering that it was co-produced by George Clooney—it could have packed more punch to become an unforgettable movie.  Instead it bowed halfway in an effort to increase its box office appeal.

         Saving the movie is its delicate, timely and timeless theme—earning a living out of marketing lies, deceiving people to win them over to your side, resorting to character assassination to disable the opposition.  Our brand is crisis takes the political neophyte into a world where nothing can be called “pure” except the avarice that informs every action of an individual.  There’s a young person in the story that the Filipino youth can resonate with—he is full of hope and trust in an older person he deems virtuous until something happens.  The complete turnaround of one bothered character in the end is another saving grace.  Sure Our brand is crisis uncovers the ruthlessness of money and power worshippers, but it also makes an unequivocal statement for the triumph of conscience.

Walang forever

DIRECTOR: Dan Villegas  LEAD CAST:  Jennylyn Mercado, Jericho Rosales SCREENPLAY:  Paul Sta. Ana  MUSIC: Emerzon Texon EDITOR: Marya Ignacio  PRODUCERS:  Josabeth Alonso, Edgardo Mangahas, Fernando Ortigas, EA Rocha  DISTRIBUTOR: Quantum Films  GENRE:  Romantic-Comedy  LOCATION:  Manila, Taiwan  RUNNING TIME: 120 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

Magsisimula ang Walang Forever sa isang interview ng sikat na screenwriter na si Mia Nolasco (Jennylyn Mercado).  Tatanungin siya kung saan siya humuhugot ng mga ideya para sa mga isinusulat niyang kwentong pangpelikula.  Isisiwalat niya na bukod sa mga nakikita niyang pinagdaraanan ng ibang tao, ay ang mismong mga karanasan niya ang nagagamit niya para sa mga kuwento.  Dito maihahantad ni Mia ang kuwento ng pag-iibigan nila ni Ethan Isaac (Jericho Rosales), paghihiwalay, pagtatagpong muli, at magtatapos ang pelikula sa pagpapakita ng kasalukuyang buhay ni Mia.

May laman ang kuwento ng Walang forever, bagama’t hindi masyadong makinis at maliwanag ang pagkaka-juxtapose ng flashbacks sa tunay na buhay at mga film clips na tumutugon sa mga ito.  Para tuloy kakailanganin mo pang panoorin ulit ang pelikula para mapagdugtong-dugtong ang mga eksenang naturan, at hanguin ang buong love story nila mula rito.  Sa paningin ng CINEMA, ang nakalilitong paglalahad ng kuwento ang “nakakapilay” sa technical aspect ng hinirang na “Best Film” ng ika-41 Metromanila Film Festival.  Ang ibang aspeto naman tulad ng sinematograpiya, tunog, musika, production sets, ay pawang akma sa pagsulong ng istorya.  Ang pinakamagaling na sandata ng Walang forever ay ang hindi matatawarang kakayahan sa pagganap nila Mercado at Rosales, at kahit hindi ganoong kabigat ang hamon ng pelikulang ito sa kanilang husay bilang mga artista, ay kapuna-punang ibinuhos pa rin nila ang kanilang sarili sa kani-kaniyang mga papel.

Pinahahalagahan ng pelikula ang pagmamahalan ng isang babae at isang lalaki nang walang takot sa anumang pagsubok na darating, isang bagay na tila kinatatabangan na ng ilang mga kabataan sa kasalukuyan.  Sa panahong nanganganib na ang “forever” sa mga nagliligawan at nagrerelasyon dahil na rin sa makasariling pag-iwas sa commitment, pinaninindigan ng Walang forever ang pagkakaroon ng makabuluhang pagmamahalang nagpapakasakit alang-alang sa “forever”.  Sa puntong ito, pinatototohanan ng Walang forever na sa kabila ng lahat, sadyang mayroong “forever” na maaasahan at matatamo ng bawa’t nilalang na umiibig nang tapat.