Push

Cast: Chris Evans, Dakota Fanning, Camilla Belle, Djimon Hounsou, Joel Gretsch, Neil Jackson, Maggie Siff, Scott Michael Campbell, Colin Ford, Nate Mooney; Director: Paul McGuigan; Producers: Bruce Davey, William Vince, Glenn Williamson; Screenwriter: David Bourla; Music: Neil Davidge; Editor: Nicolas Trembasiewicz; Genre: Sci-Fi/ Fantasy; Cinematography: Peter Sova; Distributor: Summit Entertainment; Location: Hong Kong; Running Time: 111min;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

An American government agency, The Division, genetically transforms citizens with paranormal abilities into psychic warriors. These gifted individuals are taken away from their families and any relationships. Those who are unwilling to participate are liquidated and brutally killed. Nick Grant (Chris Evans), a “mover” (those with telekinetic abilities), has been in hiding in Hong Kong since the Division murdered his father for refusing to cooperate. However, he is forced out of hiding when Cassie Holmes (Dakota Fanning), a 13-year-old “watcher” (clairvoyant) seeks his help to find Kira (Camille Belle), an escaped “pusher” (those who can manipulate minds) and Nick's long lost ex-girlfriend, who may hold the key in putting the Division's program to an end. Their lives are entangled and soon find themselves in a cat-and-mouse chase by Division Agent Harvey Carver (Djimon Honsou), who is out to get and stop them from achieving their goal.

Inspired by the emerging fantasy-sci-fi superhero genre, Push can easily pass as another fun-ride movie. One can never really guess what would happen next since all characters seem to have unnatural powers instrumental to any plot twists and turns. The narrative may be all too shallow but the multi-layered story arcs have kept the audience's interest up to the end. It is quite a disappointment that some plot elements are not developed like the roots and consequences of having supernatural powers. The actors satisfactorily deliver what is expected. Evans is able to carry the movie but it is Fanning who really gave life and spice in the entire feature with her wit and strong screen presence. The Hong Kong backdrop works well but it still remains as almost a milieu.

Since the fascination for superheroes and superpowers started, one classic moral came from the film adaptation of Spiderman, “to great power comes great responsibility”. Clearly paranormal psychic powers are no exemption. These abilities are long-time considered as gifts and must be used with utmost responsibility for the common good. The premise of “Push” clearly illustrates how a society’s evil scheme could manipulate its citizens and abuse God-given powers. Nick may have refused to be used for evil motives but he also did nothing to at least develop his abilities and use those to serve people in need. Again, evil triumphs because good people choose to do nothing. The same is actually true to all characters. All of them are simply concerned with their own personal quest for survival and not really mindful of any global issues like peace or war. In this sense, the movie becomes morally myopic. The entire stand of the movie in its fight against evil gets confusing at times as protagonists turns into antagonists thus blurring the line of good and bad. But then the movie is consistent with one message: paranormal abilities can be either good or bad depending on the person using it. And that no one holds what's going to happen in the future because the free will is always at work. Finally, what's missing in the movie could be the presence of a “force” which is far greater than any supernatural abilities. The movies theme, some scenes of violence, suggestive sexualities, and teenage alcoholism may not be suited for viewers below 14 years of age.

Valkyrie

Cast: Tom Cruise, David Bamber, Kenneth Branagh, Bill Nighy, Tom Wilkinson, Carice van Houten; Director: Bryan Singer; Producers: Gilbert Adler, Christopher McQuarrie, Bryan Singer; Screenwriters: Christopher McQuarrie, Nathan Alexander; Music: John Ottman; Editor: John Ottman; Genre: Drama/ History/ Thriller; Cinematography: Newton Thomas Sigel; Distributor: Metro-Goldwyn-Mayer; Location: San Bernardino Mountains, California, USA; Running Time: 121 min;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Disenchanted army officers plot to blow up the plane of Adolf Hitler (David Bamber). A bomb camouflaged in Cointreau bottles is delivered as a gift by Maj. Gen. Henning von Tresckow (Kenneth Branagh) just before take-off . But the bomb fails to explode, so another coup attempt is schemed by the generals active in the German Resistance movement— Gen. Friederich Olbricht (Bill Nighty), Gen. Erich Fellgiebel (Eddie Izzard), Gen. Friederich Fromm (Tom Wilkinson), Gen. Ludwig Beck (Terence Stamp) and Maj. Otto Ernst Remer (Thomas Kretschmann)—who believe that Hitler is the archenemy not only of the world but of Germany itself. They would launch “Operation Valkyrie”, the government’s plan to mobilize the reserved forces to maintain the status quo in the event of the Fuhrer’s death. With the generals is a young colonel, Claus von Stauffenberg who is chosen to head “Operation Valkyrie”; he will himself deposit the bomb in a suitcase during a meeting with Hitler in East Prussia while the other officers carry out the coup in Berlin.

Valkyrie is both a suspense thriller and a lesson in history for those who do not know that the movie is a recreation of a true-to-life plot to assassinate Adolf Hitler, the last attempt on his life before he committed suicide nine months later. Viewers with a foreknowledge of the failure of that final assassination attempt would nonetheless be entertained by its cinematography—it was shot in many of the actual locations in Germany, and where the places or buildings no longer exist, the sets were made to be faithful recreations of the original. Thought-provoking, too, are the interactions among the conspirators—the details, the nuances captured in close-up shots and dialogue, elements that one does not readily find in history books. Director Brian Singer keeps the pace suspenseful, particularly when the coup threatens to unravel. The lead cast’s strong performances satisfy the viewer’s expectations, although Cruise owes his credibility as a German officer more to his eye patch and prosthetics than to the untamable American go-go-go air about him.

A story about moral responsibility, Valkyrie puts under question the matter of loyalty. Where does it begin, or end? An impassioned Stauffenberg convinces the conspirators that he feels it is their duty not only to save Germany from the Fuhrer’s folly but more so to save human lives, whether they’re Jews, Russians, or prisoners of war. If they must be true to themselves, they must risk being traitors to their leader Hitler. The movie ends at a point where the viewer is left to wonder if the conspirators still had a moment to serenely analyze what went wrong with the coup attempt. Without seeing the corpse, Stauffenberg was positive Hitler was dead—simply because the bomb which he himself had placed closest to Hitler exploded. On the basis of that explosion alone the conspirators proceeded to spread the word of Hitler’s death, but it turns out he’s alive; meanwhile Operation Valkyrie is in full force. On hindsight, this shows that when passion reigns, reason loses, even for army officers from a race renowned for precision thinking and rational superiority.

Marley & Me

Cast: Owen Wilson, Jennifer Aniston, Eric Dane, Kathleen Turner, Alan Arkin; Director: David Frankel; Producers: Gil Netter, Karen Rosenfelt; Screenwriters: Scoot Frank, Don Roos; Music: Theodore Shapiro; Editor: Mark Livolsi; Genre: Comedy/Drama/Romance; Cinematography: Florian Ballhaus; Distributor: Twentieth Century-Fox Film Corporation; Location: Florida, USA; Running Time: 115min.

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above

John and Jennifer Grogan (Owen Wilson and Jennifer Aniston) are a journalist couple who leave the veritable ice-box Michigan for sun-drenched West Palm Beach , Florida . Both immediately find employment at the South Florida Sun Sentinel, but Jennifer seems desirous of starting a family, and so they try for a baby. Doubting his preparedness for family life then, John seeks the advice of his womanizing reporter friend, Sebastian (Eric Dane), who then suggests the couple get a puppy to more or less satisfy for the meantime Jenny’s maternal instincts. They buy a cute little Labrador, Marley, the cheapest in a bunch of puppies at a clearance sale. Soon Jenny gets pregnant—but loses the child. Meanwhile, Marley grows into a 100-pound canine that, although lovable, has a rather uncontrollable appetite for destroying or eating anything he fancies. In fact, Marley flunks obedience school, but he continues to inspire John in his column writing for the newspaper. Jenny gets pregnant again, and finally gives birth to a son; then , a devoted mother, gets pregnant again—and again—until she reaches saturation point about the destructive dog and gives John the ultimatum: either Marley goes or she leaves him.

There’s a real life John and Jennifer Grogan—and Marley, too. Marley and Me is an adaptation of a best seller written by John Grogan, practically condensing into two hours 13 years’ worth of real life experience. Aniston and Wilson display good chemistry as the devoted couple, engaging and believable and with a worldview so compassionate it can embrace a hyperactive dog while going through the vicissitudes of family life. Director David Frankel makes sure this “dog movie” goes beyond the stereotype featuring the cute and cuddly canine, while scriptwriters Scott Frank and Don Roos manage to make the story at turns funny and moving but free of melodrama. It’s impossible to sleep through this movie where nearly every scene has a dog in it, and if you’re observant you’ll notice it’s not just one dog actor playing Marley—it took 22 look alikes to play the Labrador’s title role.

Marley and Me is a strong and positive affirmation of parenthood, family and marriage, something that seems providential, coming in the midst of an abortion-favoring Obama leadership. The movie’s family- and life-supporting statement comes subtly and naturally as the story unfolds, not at all sounding like a pro-life spiel, thus making it a most effective yes-vote for the glories of parenthood and marriage. Although Marley and Me seems wholesome enough to merit a GP rating, the movie contains some material not fit for young children, particularly John and Jenny’s too lenient attitude towards pet-handling. Marley is a virtual beast that cannot be trained or restrained, endangering human lives and property. Indeed, at times the viewer may wonder whether the dog here is a pet or a master. Perhaps the director and the writers did not mean to, but the movie seems to say that if people can be that kind to and tolerant of a rambunctious pet, they could be heroic as parents understanding their children’s quirks. CINEMA doesn’t want to be a killjoy, but still there’s a follow up question: if they won’t train a dog to obey, how could they discipline their children?

Jay

Cast: Baron Geisler, Coco Martin; Director: Francis Pasion; Producer: Francis Pasion; Screenwriter: Francis Pasion; Music: Gian Gianan; Editor: Kats Seraon, Chuck Gutierrez, Francis Pasion; Genre: Drama; Cinematography: Carlo Mendoza; Distributor: Cinemalaya; Location: Manila and Pampanga; Running Time: 110min;

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For viewers 18 and above

Natagpuang patay sa kanyang apartment si Jay Mercado, isang gurong may nakapagdududang sekswalidad. Mayroon siyang walong saksak sa likod at pinaghihinalaang isang masahistang lalaki ang pumatay sa kanya. Agad na kukunin at sasawsaw ang Channel 8 sa balita kung kaya't pupunta si Jay Santiago (Baron Geisler) sa lugar na bayang tinubuan ng pinatay na Jay upang gawing isang reality-drama ang buhay at kamatayan nito. Agad namang makakakita ng oportunidad para sa isang magandang kuwento si Jay. Ang pinatay na Jay pala ang siyang tanging inaasahan ng pamilya na mag-aahon sa kanila sa kahirapan. Biktima rin ang pamilya ng lahar kung kaya't nakalubog na ang kalahati ng kanilang bahay. May iniwan pang makulay na kuwentong pag-ibig si Jay at ito ay ang kanyang relasyon sa kapwa lalaking si Edward (Coco Martin). Sa ngalan ng trabaho at ikagaganda ng programa, gagamitin ni Jay ang lahat ng ito upang makabuo ng isang kuwentong bebenta sa masa kapalit ang pangakong tulong na bibigyan nila ng katarungan ang nangyari sa biktimang si Jay. Hanggang saan kaya makararating ang panghihimasok ni Jay sa buhay ng mag-anak ng namayapa upang makabuo ng magandang kuwento?

Mahusay ang pagkakagawa ng Jay. Tinalakay nito ang isang paksang bihirang talakayin sa pelikula. Hindi tulad ng karaniwang kuwento, maraming elementong nakapaloob sa kabuuan ng pelikula na nagbigay ng kulay pati na rin ng sadyang kalituhan. Nagawa nitong pagtagni-tagniin ang bawat elemento upang pag-isipin ang mga manonood ukol sa makitid na agwat sa pagitan ng katotohanan at palabas lamang. Sa bandang huli'y sadyang nailigaw at nailihis ng pelikula ang atensiyon ng manonood mula sa melodrama at trahedyang buhay ng isang bikitima tungo sa panibagong pambibiktima ng mga mismong nagpapanggap na sila ay makakatulong sa pagbawas ng pighatii at sa paghahatid ng katarungan. Mahusay ang pagganap ng mga artista lalo na si Geisler na epektibo sa kanyang panibagong papel bilang binabae. Tama ang timpla ng mga eksena at sakto sa nais nitong iparating.

Isang komentaryo sa mass media ang pelikula. Sinasalamin nito kung paanong pinagsasamantalahan ng kapitalistang sistema maging ang hinagpis at pighati ng mga pawang biktima ng sitwasyon. Dumating si Jay Santiago sa pamilya ng biktimang si Jay Mercado sa pagpapanggap na mga kaibigan na buong pusong tutulong ngunit naroon lamang sila upang kumalap ng magandang kuwentong bebenta sa masa at pangalawa na lamang ang pagutulong. Ngunit ipinakita rin kung paanong katanggap-tanggap na sa pamilya ni Jay ang pananamantalang gagawin at ginagawa sa kanila. Sila pa mismo ang nagpapakitang handa silang magpagamit sa alang-alang sa salapi at kasikataan. Sinubukang wasakin ng Jay ang anumang ilusyon mayroon tayo ukol sa itinuturing nating kakampi ng katotohanan: ang mass media. Ipinakikita ritong ang mass media ay isang malaking negosyo na binubuhay ng bawat kaawa-awang kuwento ng pighati. Isang mapanglinlang na sistema na patuloy na namamayani saan man mayroong telebisyon, radyo, dyaryo o pelikula. Sa bandang huli, sa sistemang ganito ay ang manonood ang siyang tunay na biktima sapagkat siya ang nalinlang, pinagdamutan ng katotohanan, binigyan ng maling pag-asa, at ibinenta sa mga kumpanyang naga-aanunsiyo ng mga produktong bibilhin niya. Hindi ito kinondena ng pelikula at talaga namang ito'y hitik sa mapanuring mensahe na maaring hindi pa angkop sa mga batang manonood. Dagdag pa rito ang ilang maseselang eksenang tumatalakay sa sekswalidad at kaunting paghuhubad na nasa konteksto naman at hindi malaswa. Sa bandang huli, nagsusumigaw ang malinaw na mensahe: hindi dapat paniwalaan ang lahat ng nakikita at napapanood.

Doubt

Cast: Meryl Streep, Philip Seymour Hoffman, Amy Adams, Viola Davis; Director: John Patrick Shanley; Producers: Mark Roybal, Scott Rudin; Screenwriter: John Patrick Shanley; Music: Howard Shore; Editor: Dane Collier, Ricardo Gonzalez, Dylan Tichenor; Genre: Drama; Cinematography: Roger Deakins, Matt Turve; Distributor: Miramax Films; Location: USA; Running Time: 104min;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

It is 1964 and the winds of political change are blowing more strongly over post-Kennedy assassination communities in the U.S. St. Nicholas School , a Catholic institution, has opened its doors to desegregation and has now accepted its first Afro-American pupil. Soon, this precipitates a confrontation between the principal Sister Aloysius (Meryl Streep) who runs the school with stern discipline and fear to safeguard its moral standards, and a charismatic priest Fr. Flynn (Philip Seymour Hoffman) who insists on the spirit of Vatican II that the church have a “more familiar face”. A neophyte, Sister James (Amy Adams), notices that Fr. Flynn has been taking undue interest in the colored boy, and based on certain circumstances, suspects him of having molested the child. But Fr. Flynn with his easy charm has ready explanations and Sister James lets the matter rest. But Sister Aloysius believes he is guilty and pressures him to leave the school. He does not admit his guilt but Sister Aloysius unrelentingly pursues her campaign to have him removed, even trying to convince the boy’s mother Mrs. Miller (Viola Davis) to file a complaint against the priest. Who will win this battle of wills?

Doubt is Director John Patrick Shanley’s film adaptation of his own Pulitzer Prize-winning play of the same title. Simply but effectively directed, the film boasts of the excellent powerful performances of a high caliber cast and their tight ensemble acting. Meryl Streep outdoes herself here as she again showcases not only her sensitivity to the nature of her “character” but also her versatility. From the devil in Prada’s fashionable clothes to an optimistic bohemian singing and dancing queen and now as a stern uncompromising guardian of morals. In this movie Doubt, Hoffman’s Fr. Flynn with his pleasant disposition and lighthearted cavalier view of sin is her perfect foil. As Sister Aloysius says, he is “invulnerable to deep regret.” For he can sin again and again and think he can continue to bask in God’s mercy and enjoy some perks when a lost sheep is found. These contrasting personalities highlight the conflict between two opposite positions taken by the protagonists. The film tries to round out character delineation through little details. The sharp edges of Sister Aloysius’ character are softened, for instance, by the kindness she shows an old, almost embarrassed blind nun groping for her cutlery by quietly shoving her a fork. And then, though condescending often, she shows a maternal concern to the young inexperienced Sister James. The film also sheds more light on Fr. Flynn’s interests. He is shown heartily enjoying a big bloody medium rare steak and shows no inclination for any kind of mortification (as when he asks for sugar for his tea, a simple but unheard of luxury in the convent of ascetic nuns who had to search for it). The highlighting of Fr. Flynn's fondness for pressed flowers and long and perfectly groomed nails may give clues to his sexual orientation. In a way, the film seems manipulated so that the audience may sympathize with Fr. Flynn and look at Sister Aloysius as some kind of villain.

Doubt touches on an important subject relevant to our time: child molestation. Though this dramatic film treats the subject seriously, it ends ambiguously without any clear indication of what/who is right or wrong. Doubt permeates the film. It begins with Fr. Flynn’s sermon on doubt and the whole film ends in doubts. We ask questions like: Is Sister Aloysius right or wrong in accusing Fr. Flynn of wrongdoing, given only the “circumstantial evidence” but without certainty? Is she justified in pursuing the priest’s ouster from the school under the circumstances? Is Fr. Flynn innocent or guilty? I s Sister Aloysius intolerant as accused by Fr. Flynn? Is Fr. Flynn right in saying that she is an obstruction “to progressive education and a welcoming church”? There is probably some grains of truth to some of the accusations. In the light of Vatican II, we can indeed be more welcoming but without compromising on important moral issues. Teachers can be more warm and understanding to students but still be firm and “strict” without engendering fear. On the other hand, in the face of the sex scandals that rocked the U.S. Church in recent times, probably priests strive to be above suspicion. They can strictly draw the line between being compassionate (especially to the marginalized like this film’s Negro boy) and showing undue interest. Tense and gripping, this engrossing film stimulates the mind and engages the heart. It is worth seeing.