Red Sparrow

Running Time: 94 minutes; Direction: Francis Lawrence; Starring: Jennifer Lawrence;  Screenplay: Justine Haythe based on the novel by James Matthew; Cinematography: Jo Willems; Editing:  Allan Edward Bell; Producer; Music: James NewtonHoward; Location: Russia; Genre: Thriller; Distributor: 20^th Century Fox 

Technical assessment:  3 

Moral assessment: 2.5 

CINEMA rating: V18 

Dominika Egorova (Lawrence) is a prima ballerina of the Bolshoi Ballet company. Part of her privilege includes the medical care of her sick mother and the rental of their upscale home. But when Dominika has an onstage accident, all these privileges are jeopardized. She is then forced to accept a “job offer” from her uncle Vanya (Schoenaerts), a top Soviet intelligence agent, to seduce Dimitry Ustinov, a Russian politician. She is  raped by Ustinov and seemingly saved by a Russian operative who kills the politicians. However, under the pain of death she is asked to be a “sparrow”—a secret agent trained to hunt political targets. Left with no choice, Dominika is sent to a harsh training facility and learns the way of seduction and ruthlessness. She emerges with grit and determination enduring physical, mental and sexual assaults. Meanwhile an American agent, Nate (Edgerton) working with a Russian mole has been monitored in the effort to discover the identity of his mole. Dominika is assigned to gain the trust of Nate so he can reveal his mole. In the turn of events, Dominika discovers loyalties and makes a decision on whose side to be on. 

Francis Lawrence version of Jason Matthew’s novel is a courageous attempt to recreate Jennifer Lawrence making her go through a series of external and internal demands Dominika has to go through. Jennifer succeeds effortlessly to make her character real as the situation becomes more unreal. The chemistry of Francis and Jennifer, director and star, is stronger and more fluid than Dominika and Nate’s. While the film delivers the grit and chill, it sluggishly moves from one point to the next, making it a dull 139 minutes to endure. The twists are not really surprising, even if you have not read the novel. It’s just that too many spy movies begin and end this way. Dominika’s ordeal and transformation is an effort to showcase female empowerment but there is too much emphasis on violence that it becomes repetitive and gratuitous.  The effort points to a watered down theme of exploitation and survival. The star of the film is Jennifer’s talent, not the story or storytelling. 

The movie is definitely not for young audiences. Seduction, physical and sexual abuse, nudity, profanities and violence pepper the scenes. It could have been an engaging spy film but Francis Lawrence’s directorial inclination to showcase sex and violence become stumbling blocks to achieving this. Twittering through the scenes, you can pick up one strong message: enterprising persons take advantage of the vulnerabilities of the hurting, the suffering and the fallen.  When we look at people in need as opportunities to gain favors or push a personal agenda in the guise of charity or even develop debt of gratitude. When people do this, they risk to build monsters who will recognize the exploitation and become equally heartless. The cycle will never end. We need to realize how we should respond out of concern, out of love, out of our responsibility to be human.  (PMF)

The Florida Project

Direction: Sean Baker;  Cast: Willem Dafoe, Brooklyn Prince, Bria Vinaite; Story: Screenplay: Sean Baker, Chris Bergoch; Producer: Sean Baker, Chris Bergoch, et al; Music: Lorne Balfe; Editing: Sean Baker; Genre: Drama; Distributor: A24  Running Time: 111 minutes;

Technical assessment:  4

Moral assessment:  3.5

CINEMA rating:  V14

The Florida Project is not your typical three-act Blockbuster Hollywood film. Instead it brings our focus to shift from the famous tourist attraction to the peripheries where poverty is painfully in existence. Six year old Moony (Prince) and her mother Haley (Vinaite) are tenants of the Magic Castle Motel. Haley makes ends meet by hawking rich Disney customers, stealing Disney ticket and selling whatever she can, including her personal services. Moony spends her days with another child tenant Scooty (Rivera) and their new friend Jancey (Cotto). They engage in behavior too obnoxious to be cute. Bobby (Dafoe), the tired hotel manager is extremely annoyed by but is protective of the children, especially after realizing Haley is into prostitution. Desperate, Haley tries to borrow money from Ashley, Scooty’s mother, but eventually beats her to pulp when the latter mocks her. This causes the Children’s Welfare to investigate Haley and decide to bring Moony to a foster home while her mother is under investigation. Moony, realizing she will be taken away from her mother, breaks down and runs away with Jancey and enter the Magic Kingdom Park inside Disney World.

The film works because of the creative decision to have the story told from the innocent perspective of the children involved. The first third introduces you to children so annoying and misbehaved that you feel it would be an unbearable film. But gradually, you begin to understand why they are how they are. Their parents, their environment and their lifestyle molds them. But beneath the compelling images, the film unfolds the naivete of the children making them charming and likeable all throughout.  Baker achieves the most admirable feat—not only unquestionably gaining the sympathy of the audience for his characters but also seeing, learning about, and understanding the world through their eyes. For instance, the attempt of Haley to get into online pornography using her daughter would have been sickening. But we were experiencing it like Mooney—“just another selfie day with mom”, and the tug-of-war between what the audience knew and what the audience felt made the scene very powerful. Another example is the directorial decision to shoot Ashley beating Haley. Audience never see the violence but felt it all the more because it was shot blurred behind Ashley’s son who watched it all throughout. The subtleties of the film is its gem. This is a film whose effect creeps in so slowly that a less attentive viewer might think nothing much is happening. But those who patiently wait will realize every little scene is necessary to appreciate the characters—and eventually find a piece of you in them. The brilliant performances from Dafoe, Prince and Vinaite, the juxtaposition of Disneyland with the children’s motel home complemented by the decision to use diegetic sound brings us a world that is hauntingly real and inspiring.

We are all products of our surroundings and children are most vulnerable to the risks and hazards of a negative environment. We often complain that a person seems to have lost his graces but sometime we fail to realize that his actions are reaction to how the world presents itself to him. An informercial popularized the saying, “Ang maling gawa ay nagiging tama sa bata kapag ginagawa ng nakatatanda” (In the eyes of a child, a wrong doing becomes right if done by an elder). Where do children get their moral or their attitude? We lay down rules for them, but in a sweep of a hand, break the rules when it is to our advantage. Why would we reprimand them when they do the same? The movie presents the disturbing contrast of the socio-economic discrepancies even in the 3^rd world but more importantly shows us the repercussions of being an irresponsible adult.  (JMF)

A quiet place

DIRECTOR:  John Krasinski  LEAD CAST:  John Krasinski, Emily Blunt, Millicent Simmonds, Noah Jupe  WRITERS: John Krasinski, Scott Beck, Bryan Woods  PRODUCERS: Michael Bay, Andrew Form, Brad Fuller  EXECUTIVE PRODUCERS: John Krasinski, Scott Beck, Bryan Woods  SOUNDS:  Erik Aadahl, Ethan Van der Ryn  MUSIC: Marco Beltrami

EDITOR: Christopher Tellefsen  GENRE:  Drama Suspense  LOCATION: U.S.  DISTRIBUTOR: Paramount Pictures  RUNNING TIME: 90 minutes

Technical assessment:  4

Moral assessment: 3.5

CINEMA rating: V14

MTRCB rating: R13

Deadly creatures with incredible hearing ability from nowhere wiped out most of the human population, leaving the small number of survivors who are extra careful to make any sound. Among them is the family of Lee Abbott (John Krasinski) who together with wife Evelyn (Emily Blunt), sons Marcus (Noah Jupe) and Beau (Cade Woodward), and deaf daughter Regan (Millicent Simmonds) scavenge for supplies in an abandoned grocery.  When youngest son Beau innocently picked out a battery-operated toy airplane, Lee cautioned him to leave it so not to make a sound. But Regan felt for her younger brother so she took out the battery to make sure it’s safe and then gave back the toy to Beau.  Unknown to her, Beau took and put back the battery and turned on to play while outside. Expectedly, the monster alerted by the sound attacked and killed Beau.  Regan blamed herself for the death of Beau and felt guilty since then. After 400 days of silent life in the farmhouse, Lee and Marcus went for fishing, with Lee giving pointers to Marcus about being safe with their sounds and movement in the  presence of louder sound like rushing water falls. Regan, who was not allowed to come along with them, instead went to the grave of Beau leaving Evelyn, who is on her final stage of pregnancy, alone in the house. At this time, Evelyn goes into labor—how will things go with her in that condition?      

A Quiet Place is a film that meets the expectations for a sustained momentum of suspense from start to the end. The story focuses on a family being in a prolonged life- threatening situation  that requires them to limit their conversation to sign language in order to secure themselves from deadly attacks of sound-sensitive monsters. The plot includes a hearing-impaired daughter, which explains why all members of the family are comfortable with non-verbal communication.  Thus, true to its title, the film has limited sounds and dialogues yet effectively delivers with strong composition.  The director is commendable in his treatment of combined suspense drama by the details and symbolisms such as the many close-up shots of step guides and the features of sound-proofed shelter, the hearing gadget, newspapers, and the day counter among others. The scene of father and son in the waterfalls serves as a breather from a heightened suspense.  The acting is impressive especially Krasinski as a father who is doing everything for the family and Simmonds as a reel and real hearing-impaired teenage girl. The sign language communication of the whole family cast is amazing and interestingly engages the viewers.  But some prolonged silent scenes can still be boring, hence this film need not be longer than the 90-minute run. Nevertheless, as commented by film assessors, the only thing that a viewer would not do in watching the film is laugh. The film projects a whole gamut of emotions: fear, sorrow, remorse, regret, love, sacrifice.

There is no hopeless situation for a family when all members act together to survive and protect one another from enemies. The film highlights that sacrifice is a language of love.  It gives preferential concern for a family member who has special needs. The family sacrifices their verbal expression to be able to communicate with the deaf daughter through sign language. She in return desires to make her own expression of love and support despite her condition.  While everyone has a share, notable in the film A Quiet Place is the sacrificing love of the father.  He exerted efforts to prepare the family for the inevitable.  The character of Lee Abbott depicts a father who is a compassionate and responsible leader, has presence of mind, and always thinks first of the welfare and future of his family.  (IBD)

Pitch Perfect 3

Direction: Trish Sie; Starring: Anna Kendriks, Rebel Wilson, Brittney Snow, John Lithgow, Elizabeth Banks; Screenplay: Kay Cannon, Mike White.; Editing: Craig Alpert, Colin Patton ; Producer: Elizabeth Banks, Paul Brooks, Max Handelman; Music: Christopher Lennertzm; Location: Europe; Genre: Musical Comedy; Running Time: 94 minutes;

Technical assessment: 2.5

Moral assessment: 2.5

CINEMA rating: V14 

MTRCB rating: PG13 

Becca (Kendrick), Fat Amy (Wilson) and Chloe (Snow) are new professionals fixated on their glorious The Bella days in college. Stuck in the empty drudgery of their dead-end-jobs, they accept an invitation from a current Bella member thinking they will be given a chance to perform again. Adding insult to their self pitying is that the invitation is for them to listen and watch the current young Bellas perform. So to redeem themselves, the girls accept to participate in the USO tour of Europe in the hope of proving that they are still a force to contend with. As usual, they are met with hostility by the more sophisticated and talented rivals while being tangled in their personal feuds and uncompromising personalities. On the side still is a subplot of Fat Amy and her gangster father (Lithgow) who is after her 180 million-dollar inheritance and thinks that kidnapping the Bellas is the cleverest way to get his hands on the loot.

Pitch Perfect 3 feels like the tail end of an over stretched party—predictable, tired. and almost silly. Elizabeth Banks stepping down from her role as director of Pitch Perfect 2 and concentrating on playing the sarcastic commentator Gail must have been the wisest decision made by a former cast and crew. While Trish Sie tries hard to keep it sparkling and spunky, she just could not keep it from crashing on the ground because of lazy performances of some cast (Lithgow and Snow), formulaic flow, and a weak storyline. Only Becca’s character and Kendrick’s performance really grows and deserves a trilogy. The rest just reprise their roles and performances from Pitch Perfect 1. Even the mashup of songs, which audiences fell in love with in the first movie was not memorable enough to have retention. 

The biggest saving grace of the Pitch Perfect 3 is its efforts to show how real friendship cuts through the worst of situations to bring out the best in people. Becca, Fat Amy and the rest of the Bellas finally discover that it is not old glory which matters most but old loyalties and genuine care for one another. The jokes are for adults and at times not really funny. The movie contains an out-of-wedlock pregnancy, vulgar humor, and a couple of crude language incidents. CINEMA rates that film as suitable only for older bored young adults. (PMF)

Rampage

DIRECTOR: Brad Peyton  LEAD CAST:  Dwayne Johnson, Naomie Harris, Jeffrey Dean Morgan, Malin Åkerman, Jake Lacy, Marley Shelton, Joe Manganiello  SCREENWRITER: Adam Sztykiel  PRODUCER: Brad Peyton, Beau Flynn  EDITOR: Jim May   MUSICAL DIRECTOR:  Andrew Lockington  GENRE: Fantasy/Science Fiction  CINEMATOGRAPHER: Jaron Presant  DISTRIBUTOR: Warner Bros. Pictures  LOCATION: USA  RUNNING TIME: 117 minutes

Technical assessment:  3.5

Moral assessment:  3

CINEMA rating:  V14

The Wyden siblings Claire (Malin Akerman) and Bret (Jake Lacy) conduct experiments on genetic editing in a space station to avoid detection by the US government.  A lab rat turns into a giant, smashing everything in its path.  As the station explodes along with the escape pod, three cartridges containing the pathogens used in the experiment zoom back down to earth.  One is swallowed by a crocodile in the Everglades, another is sniffed by a wolf in a Wyoming forest, and the third lands in a San Diego wildlife preserve, home to George, an albino gorilla that primatologist Davis Okoye (Dwayne Johnson) has rescued from poachers as a baby.  The three animals exposed to the pathogens mutate into aggressive monsters and go on a rampage, killing or eating humans and pulverizing their cities.  Davis sincerely believes he can persuade his pet/friend George to stop; he is helped by genetic engineer Dr. Kate Caldwell (Naomi Harris) and Agent Harvey Russell (Jeffrey Dean Morgan).

The plot is nothing new: scientists who play God botch up an experiment, monstrous animals wreak havoc on the metropolis, good guys come to the rescue, and all ends happily ever after.  That much you can expect wherever Dwayne “The Rock” Johnson stars, anyway.  Not that we’re complaining.  With a face that spells “harmless” and biceps that inspire you to ponder the theology of the human body, Johnson makes for a likeable hero in Rampage.  George the albino gorilla will probably be compared to King Kong, but the CGI here is just right, smoothly done to a degree that advances the story believably and not to craft a movie that looks and feels just like another computer game.  With a giant gorilla that is almost human providing the naughty-naughty humor, it becomes easy to close your eyes to certain flaws of the movie and just enjoy the fiction. 

What saves Rampage is its unwillingness to compete with other films of its genre.  It doesn’t try to outdo its predecessors through bigger and better computer gimmickry, perhaps because it wants to underscore its many messages.  For mad scientists— stop tampering with nature.  About forgiveness—“Even assholes deserve a second chance”, quote unquote.  For military men—your guns won’t save you, but common sense might.  For everybody—be honest, be humble, and you’d better behave, otherwise the gorilla will eat you.  Although its lessons may be good for children, too, the visuals are too scary for minds that cannot separate fact from fiction.  (TIP: keep your eyes open for what George does to people in the movie's last few seconds.)

Never not love you

DIRECTOR: Antoinette Jadaone  STARRING: James Reid, Nadine Lustre; WRITTEN BY: Antoinette Jadaone; GENRES: Drama, Romance; CINEMATOGRAPHY: Mycko David; PRODUCTION COMPANY: Viva Films; DISTRIBUTED BY: Viva Films; COUNTRY: Philippines; LANGUAGE: Filipino, English  RUNNING TIME: 1 hour 40 minutes

Technical assessment: 3

Moral assessment: 2.5

CINEMA rating: V18

MTRCB rating: PG

Nang dahil sa trabaho, magtatagpo ang landas nila Gio (James Reid), isang graphic artist at Joanne (Nadine Lustre), isang bagong graduate at bagong salta sa Maynila na nagta-trabaho sa isang advertising agency. Magkaka-gusto agad si Gio kay Joanne kaya’t liligawan niya ito sa paraang alam niya—magkakamabutihan sila sa kabila ng pagiging magka-iba ng pananaw sa buhay. Makukumbinsi ni Gio si Joanne na magsama silang dalawa at dito’y lalo silang tila hindi na mapaghiwalay. Ngunit masusubok ito nang magkaron si Gio ng oportunidad sa London at mapilitan si Joanne na sumama dito kahit pa nasa Maynila ang katuparan ng kanyang pangarap. Magsasama sila sa London at doon magsisimula nilang madiskubre ang kani-kanilang sarili – ang kani-kaniyang kasiyahan na kahit pa ibig sabihin nito’y kailangan nilang magkahiwalay.

Marubdob ang bawat damdamin sa Never Not Love You. Taong-tao ang mga karakter na binigyang buhay ng isa sa mga pinakamainit na tambalan ngayon. Lumabas ang pelikula sa karaniwang de-kahong romansa. Nariyan pa rin ang kilig, pero sa pagkakataong ito, mas may malalim na kabuluhan at sinseridad ang pelikula na talakayin ang isang relasyon sa gitna ng mga pansariling ambisyon, kasiyahan at pangarap. Mga bagay na nangagailangan ng mas mataas na antas ng pagdedesisyon. Ang mga komplikadong sitwasyon at karakter ay nagampanan ng buong husay ng dalawang bida. Bumagay sa kanilang parehas ang kanilang mga papel—si Reid bilang happy-go-lucky artist at si Lustre bilang ma-ambisyon na probinsiyana.  Sakto ang timpla at hagod ng damdamin ng mga eksena, pati na ang mga malalim na katahimikan sa gitna ng mga away, pagtatalo, at kaguluhan. Pati ang mga piniling lugar ay nakatulong din ng husto sa lalo pang ikinaganda ng kuwento.  Kita ang kaluluwa ng pelikula na naka-ugat sa dalawang pusong nagmamahalan-magkaiba ng mundo ngunit pinagtagpo ng layuning mahalin ang isa’t-isa.  Lamang, tila nagkulang ang pagkahubog ng kabuuan sa bandang huli kung saan hindi masyadong buo ang naging katapusan ng kwento. Hindi lamang bitin kundi nagging salat sa sapat na katuwiran ang naging pagtatapos. Pawang hindi rin gaanong nahalukay ang lalim ng mga damdamin. Maaring sinasadya din nitong iwasan ang histerya, ngunit may nawala ding elemento sa pelikula na dapat sanaý nakapukaw ng isipan at puso ng manonood.

Nasa sentro ng Never Not Love You ang dalawang kabataang nagsisimulang mamulat sa katotohan ng pagsasama ng magkasintahan. Bagama’t hindi tahasan, nakakiling ang pelikula sa makabagong pananaw patungkol sa pakikipag-live-in: walang alinlangang pinalalabas ito na katanggap-tanggap sa lipunan. Nakababahala na hindi man lang nababahala ang kahit na sino sa kuwento sa ganitong klaseng set-up na mayroon ang dalawa. Tila baga, sapat nang panghawakan ang mga salita—o ang pagpapa-tattoo para masabing may matibay na saligan na ang pagsasama ng isang babae at isang lalaki. Mamumuhay na parang mag-asawa na kinasal lamang sa isang tattoo bar.

Wala ring maituturing na kinikilalang gabay ang mga tauhan. Ang mga desisyon ay pawang naka-base lamang sa payo ng kaibigan o di kaya ng boss. Napakaliit ng papel na ginampanan ng mga magulang sa pelikula. Parte marahil ng nais panghawakan ng pelikula na nasa wastong gulang na ang mga karakter upang gumawa ng kani-kanilang pansariling desisyon.  Delikado ito at nakababahala lalo’t higit sa mga pagkakataong nangingibabaw ang emosyon sa isipan. Walang malinaw na pagpapahalaga ang mga tauhan bukod sa pagnanais nilang maging “masaya”—pero maging ang kasiyahang ito ay dapat pag-isipan kung saan naka-ugat at kung saan patungo. Parte marahil ng napakaraming tanong sa isipan ng mga tauhan sa bandang huli. Saan ba dadalhin ng tadhana ang dalawang magka-ibang puso na bumabagtas ng kani-kaniyang kapalaran? Anong bukas ang naghihintay kung laging magtatalo ang puso at isipan? Sa gitna ng mga pagtatalong ito, sana’y naisipan ng pelikula na kurutin kahit gaano kanipis ang posibilidad na baka kaya magulo ang mga relasyon ay sa dahilang wala itong tamang pagbabasbas? Wala itong matibay na ugat at maasahang gabay at saligan—na ang dalawang puso ay di maaring isipin lamang ang kanilang pansariling kapakanan kundi pati ang kapakanan ng buong komunidad sa kanilang paligid sampu ng bubuin nilang maliit na lipunan sa kanilang tahanan? Tila yata ang konsepto ng kasiyahan sa kasalukuyang panahon ay naka-sentro sa pansariling kaligayan, ambisyon at mararamot na dahilang dikta ng lipunang nalunod na sa kamunduhan. Dahil sa mga maseselang tema ng pelikula ukol sa relasyon, minamarapat ng CINEMA ang Never Not Love You ay akma sa mga manonood na 18-taong-gulang pataas.

Ready Player One

DIRECTOR: Steven Spielberg LEAD CAST: Tye Sheridan, Ben Mendelsohn, Olivia Cooke, Mark Rylance SCREENWRITER: Zak Penn, Ernest Cline PRODUCERS: Donald De Line, Dan Farah, Kristie Macosko Krieger, Steven Spielberg EDITORS: Sarah Broshar, Michael Kahn MUSICAL DIRECTOR: Alan Silvestri GENRE: Action/Adventure, Sci-Fi CINEMATOGRAPHER: Janusz Kaminski DISTRIBUTOR: Warner Bros. LOCATION: England RUNNING TIME: 140 minutes

Technical assessment: 3

Moral assessment: 3

CINEMA rating: V13

MTRCB rating: PG

The real world of the future is grim and destitute. Can’t blame people if they wear virtual reality headsets all day and stay in the make-believe city of Oasis, created by eccentric computer genius James Halliday (Mark Rylance). Before he dies, he leaves behind three riddles, each leading to a key, and finally an easter egg that will give the finder ownership of Oasis and his riches. Years of trying to solve the riddles have frustrated most people, except Wade (Tye Sheridan) whose virtual self—avatar, it’s called—is Parzival, and Samantha (Olivia Cooke) aka Art3mis, and a few others. Each of them has a motivation that is linked to the real world. But Sorrento (Ben Mendelsohn) who heads IOI wants to confine people in the virtual world. IOI is the internet highway where people play the Oasis, and IOI rewards them with virtual coins when they win a game, and fines them when they lose. If Sorrento gets control of Oasis, he will put millions of people in debt and send them to labor camps to pay off their debts.

We thought we heard Apple’s Steve Jobs in Halliday’s transcendent musings. Watch out for references to the beginnings of the internet and online games, including Atari. The film takes you inside a video game, with dizzying flips and drifts. If you’re not used to video games, not only will you miss who’s chasing whom, you’ll also nauseate. But there’s enough music from Duran Duran, Tears for Fears, and bands of the 80s to keep you nostalgically entertained. Chucky the evil doll makes an appearance, and there’s a meticulous reconstruction of Stanley Kubrick’s film The Shining (warning: scary for kids). With special effects and music, the film becomes a fusion of the past and the future. Director Spielberg says the film is a quantum leap for social media into the cavern of the virtual world, where people could feel without being present. True enough, CGI captures those seductive glances, every frown, every smile, that peculiar gait. And because it’s a Spielberg film, we pined for that story that crushed our heart and then lifted us up the way ET and Jurassic Park did. But the plot and the characters are deadened by the volley of special effects.

What’s good is that screenwriter Ernest Cline, also author of the book where the film is based, uses the riddles to unravel the life, love and regrets of Halliday. The computer geek had a falling out with his best friend and Oasis co-creater Ogden Morrow (Simon Pegg). Morrow married the woman Halliday loved but never had the courage to court, let alone kiss. And as Wade and company solve the riddles, they too discover their own values. The virtual world where we can reinvent ourselves is beguiling. But there’s a part of us that seeks what’s true, because feelings don’t lie, friendship and love don’t lie, and it’s in the honesty of relating with others that we derive our humanity and happiness. And so, though alternately painful and happy, living in the real world is still a lot more fun and true to our nature. As for technology, it is to aid humanity, bridge relationships even, as in the film, but not to have dominion over it. (ME

Along with the gods

DIRECTOR: Kim Yong-hwa  LEAD CAST:  Ha Jung-woo, Cha Tae-hyun, Ju Ji-hoon & Kim Hyang-gi  SCREENWRITER: Kim Yong-hwa  PRODUCER:  Kim Yong-hwa & Won Dong-yeon  EDITOR: Hye-jin Kim, Zino Kim & Na-young Nam  MUSICAL DIRECTOR:  Bang Jun-seok   GENRE: Action/Sci-Fi/Adventure  CINEMATOGRAPHER:  Kim Byung-seo  DISTRIBUTOR: Lotte Entertainment  LOCATION: South Korea  RUNNING TIME: 139 minutes

Technical assessment: 3.5

Moral assessment: 4

CINEMA rating: V 13

MTRCB rating: PG

When firefighter Kim Ja-Hong (Cha Tae-hyun) dies in the line of duty, he is greeted by a trio of guardians and their boss reaper. They become his escort to the after life. Since he died by saving someone else’s life, he qualifies to the so-called paragons—and could possibly reincarnate  within 49 days should he be acquitted at the seven trials of seven different levels of hell. In the same way, the trio of guardians will be granted reincarnation too, so they would do all their best to guide Kim so he will be acquitted. Kim should not be found guilty of sins of betrayal, violence, indolence, etc. However, a certain angry spirit will come which would make it even harder for Kim to pass the seven trials.

Along with the Gods gives a different take on what happens to a soul in the afterlife. It combines Buddhism’s law on karma and reincarnation and the Christian belief in eternity and the concept of seven deadly sins. However it is put, the treatment is very much an existentialist view on life. The film is technically superior using GCF (computer graphics), green screens and with superior actors in the cast. The story is dramatically woven with bits of fantasy, adventure, and at some point, horror without losing its core of heart wrenching human drama.

Along with the Gods makes one reflect on the most significant virtues and values that human beings should strive for in life—kindness, forgiveness, heroism, generosity, compassion, love—as all these and more would make one accountable in the afterlife. The body dies but the soul lives on and whether one has been good or bad would determine the fate of the soul. Although the complexities of human weakness is shown in the film, still, the film challenges each one to rise above weakness—to sacrifice if need be. All good deeds and good intentions will not be left unnoticed. In the end, one’s heart will be judged as to how much love it was able to give while living on earth. The concept of sin may be too much for the very young audiences so CINEMA still recommends that children should be accompanied and properly guided in watching this film.

Game Night

GAME NIGHT

Direction: John Francis Daley;  Cast: Jason Bateman, Rachel McAdams, Billy Magnussen, Sharon Horgan, Lamorne Morris;  Screenplay: Mark Perez; Cinematography: Barry Petersoni; Editing: Jamie Gross, Gregory Plotkin, David Egan; Music: Cliff Martinez; Producers: John Davis, Jason Bateman, John Fox, James Garavente; Genre: Black Comedy;  Location: USA; Distributor: Warner Bros Pictures  Running Time: 100 minutes

Technical Assessment             2.5

Moral Assessment:  2.5

CINEMA Rating: V14 –V18

Max (Bateman) and Annie (McAdams) love parlor games and host a routine weekend game night with friends, except Gary (Plemons), a deadpan awkward policeman. When Max’s obnoxious brother Brooks (Chandler) shows up and arranges to host the game night at his place and initiates an interactive role-playing mystery game wagering his Corvette as the prize for the winner. Max who has always been insecure of his brother’s success and Annie who finds Brook’s insufferable decide to make sure they beat him. During the game, an actor pretending to be an FBI agent arrives and narrates the supposed mystery plot but in the middle of his explanation, he and Brooks are assaulted and kidnapped. Believing all is part of the act, the 3 couples try to solve the mystery using clues and technology. As the 3 couples realize that they no longer are playing a game, Brooks reveals his own insecurities and life of crime. In a twist of events, Gary helps in rescuing the group but also is revealed to have taken part of the kidnap plan in his attempt to be invited in game night.

Game Night begins as a usual run-of-the-mill romantic comedy but slowly churns into a vulgar over thought cute action thriller. The spirited casting salvages the frantic material. However, the constricted characterization leaves but little room for them to explore and expand. The script is a wobbly collection of hurried plots and daft scenes. There are laughs and hysterical moments only to be dampened when the audience regains sense and realizes the dullness of the director’s attempts.

In the pretense of comedy and mystery the movie tries very hard to talk about sibling rivalry and brotherly love. It shows how jealousy and miscommunication are detrimental not only to a healthy sibling relationship but to each other’s growth as persons.  Then there is the standard used to measure success—should it only be one’s material and financial gains? Does a healthy and happy marital relationship not count?  Fortunately, the movie tried to emphasize the value of the family and friends’ compassion and support in the face of danger, pain and failure. However, the operative word is “tried” because it wanted to get there but did not arrive in time to save the frenzied movie.

The moving spirit behind Caviezel's Luke

In an interview, Catholic actorJim Caviezel, who played Jesus Christ in "Passion of the Christ" and is currently starring as Luke in " Paul, Apostle of Christ", says " I act in films that can bring the most souls back to God."  REad about it here:

https://www.lifesitenews.com/news/jim-caviezel-i-act-in-films-that-can-bring-the-most-souls-back-to-god

Mary Magdalene

DIRECTOR:  Garth Davis  LEAD CAST: Rooney Mara, Joaquin Phoenix, Chiwetel Ejiofor, Tahar Rahim  SCREENWRITER:  Helen Edmundson, Philippa Goslett  PRODUCER:  Iain Canning, Emile Sherman, Liz Watts  EDITOR:  Alexandre de Franceschi, Melanie Ann Oliver  MUSICAL DIRECTOR:   Hildur Guðnadóttir, Jóhann Jóhannsson  GENRE: historical drama  CINEMATOGRAPHER: Greig Fraser  DISTRIBUTOR: Focus Features  LOCATION:  United States, United Kingdom, Australia  RUNNING TIME:   120 minutes

Technical assessment:  3

Moral assessment:  3

CINEMA rating:  V14

In the beginning, Mary Magdalene is shown as an ordinary woman living on the shores of Galilee, going about her daily duties of cleaning the fishnets and minding the housework.  But she is far from being ordinary in that she—a lover of solitude—rejects the family tradition of women getting married and becoming housewives and mothers in a patriarchal society.  Then Jesus comes along—the son of the carpenter from Nazareth who goes around with a bunch of followers from the working class, teaching, preaching, healing—who asks her “Do you have the courage to follow what you hear?” And then Mary leaves her unfulfilling life, believing she has found meaning in following Him.

The film is well meaning and intends to dump the overused image of Mary Magdalene as the former prostitute who was converted into a spiritual groupie after being rid of seven devils.  The choice of Roony Mara as Mary—porcelain complexion bereft of makeup, no sultry pouting lips, thank you—is deliberate, for the actress could personify the I-mean-business feminism and strength of character the director wants for this Magdalene.  Mara’s performance is good, but fails to touch the heart.  She portrays Mary Magdalene as an intelligent disciple, a chaste confidante of Jesus, but even the scenes with the Savior often seem glassy and put on.  Mara is more in her element when displaying spunk in scenes with Peter the hothead (Ejiofor) and Judas the firebrand (Rahim).  The cinematography deserves superlatives for projecting the arid landscape in all its radiance.  The production set gets kudos, too, for meticulously bringing to life that particular time in history.

Whatever is said of Mary Magdalene—from Scorsese to Pasolini to Lloyd-Weber—no one can deny her significant role in salvation history.  Whether one subscribes to the idea of “sola scriptura” or welcomes the assertions of apocryphal literature, Mary Magdalene—the woman who first saw Jesus’ empty tomb—stands as witness to the truth that Christ does bring forgiveness and His friendship to the humble, regardless of social status or gender.