The Proposal

Cast: Sandra Bullock, Ryan Reynolds, Mary Steenburgen, Craig T. Nelson, Mary White, Ramon Oscar Nuñez, Dennis O’Hore; Director: Anne Fletcher; Producers: David Hoberman, Todd Lieberman; Screenwriter: Pete Chiarelli; Music: Aaron Zigman; Editor: Priscilla Nedd-Friendly; Genre: Romantic Comedy; Cinematography: Oliver Stapleton; Distributor: Touchtone Pictures; Location: USA; Running Time: 107 min.;

Technical Assessment: 3
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Young and attractive, Margaret Tate (Sandra Bullock), an executive and book editor of a New York publishing empire, comes across also as tyrannical. Demanding, she so intimidated her staff that they panic once she enters her office. Though seeming invulnerable, one day she gets a notice from the U.S. Immigration office informing her of her imminent deportation to Canada due to an expired visa (She’s Canadian). She devises a plan to get the coveted visa, that is, by marrying her surprised assistant Andrew Paxton (Ryan Reynolds). She proposes a sham marriage followed by a quickie divorce once she gets her visa. Often brow beaten and usually compliant, this time he refuses. But she blackmails him and bribes him by offering him an editorship in the office. Ambitious, he consents. Suspecting something fishy, the immigration officer warns them of the punishments for fraud and informs them they will be questioned on intimate matter including each other’s family. Though together in the office for 3 years, they virtually know nothing of each other. For familiarization, on the part of Margaret, they visit Andrew’s parents in Sitka, Alaska. Thinking Sitka is some God forsaken Alaska outpost, she gets the shock of her life when she instead sees a charming, urbanized town with warm welcoming people. Loving and very closely knit, Andrew’s wacky family is thrilled to know Andrew and Margaret are getting married. With no affection for each other, they have to pretend before family and friends that they are in love. This situation is the well spring of many embarrassment and funny moments.

The Proposal has a plot that is as old as the hills; two people who almost hate each other at the beginning end up getting to like each other, in spite of the madcap obstacles that come their way. Very predictable and formulaic but it does not bore. Cheerfully done, this romantic comedy with all its conventions entertains with its hilarious moments. The humor is devoid of vulgarity, though one embarrassing funny scene involves the two lead actors in the nude. The cinematography enhances the viewers’ pleasure. Though said to have been filmed in Massachusetts and Rhode Island, it replicates the pristine beauty of Alaska. The story is set in a picturesque town with chic, quaint shops (no fast foods or franchise chains) and a waterfront that looks like a tourist haven. This setting exudes a charm befitting this fantasy. Sandra Bullock is versatile as seen in various roles she has played in other movies, but her talent in this romantic comedy is remarkable in her convincing and likeable portrayal of the high-powered uptight New York woman (with the formidable look in pencil skirts and stiletto heels) who is touched and transformed by the loving embrace of Andrew’s family. Ryan Reynolds’ performance is just as commendable as he matches Sandra’s snappy banter and comic skills. Very good support is given by Mary Steenburgen and Nelson Craig as Andrew’s parents, Mary White as the 90 year old grandma and the preacher-exotic dancer Ramon.

The Proposal is entertaining and enjoyable. Scenes of family closeness, togetherness, affection, generosity and understanding will not fail to touch a chord in the hearts of those who value family relationships. It is heartwarming to see here depicted these “old fashioned” values still existing in some towns though practically lost in the fast rat race in the cities. The old grandma especially may be a bit bizarre in her antics but she delights us in her simplicity, wit, and respect for family traditions. On the other hand, there are some negative elements here that should not be glossed over. Like, for instance, the way marriage is viewed by Margaret and Andrew as a vehicle to attain ambition, power, or other mundane practical results like getting a visa. But this sadly happens in real life today. Young people getting married should always start life right and that is by getting the right perspective regarding marriage. Infused with love, marriage should primarily help fulfill each person’s quest for happiness and perfection as well as realize God’s plan. It should never be considered a mere tool for material advancements.

My Sister's Keeper

Cast: Cameron Diaz, Abigail Breslin, Alec Baldwin, Sofia Vassilieva; Director: Nick Cassavetes; Producers: Mark Johnson, Chuck Pacheco, Scott L. Goldman; Screenwriters: Jeremy Leven, Nick Cassavetes; Music: Aaron Zigman; Editor: Jim Flynn, Alan Heim; Genre: Drama; Cinematography: Caleb Deschanel; Distributor: New Line Cinema; Location: USA; Running Time: 110 mins;

Technical Assessment: 4
Moral Assessment: 4
CINEMA Rating: For viewers 14 and above

In this film version of Jodi Picault’s best seller, My Sister’s Keeper, Kate, the daughter of lawyer Sara (Cameron Diaz) and Brian (Jason Patric) is diagnosed at age 5 with leukemia. To save her life, the couple agrees to do the untried: engineer a baby by in vitro fertilization to provide a perfect genetic match to the sick child. The baby, Anna, since birth becomes the donor for Kate’s needs, for blood, bone marrow, and stem cells. Alive at 16 instead of dying at age 5 as medically predicted, Kate (Sofia Vassilieva) now needs a kidney to stay alive, but 11-year old Anna (Abigail Breslin) no longer wants to be her sister’s supplier of spare parts. She instead hires controversial lawyer Alexander Campbell (Alec Baldwin) and sues her parents to gain “medical emancipation”. In denial about Kate’s imminent death, Sara represents herself in court against her 11-year old daughter’s lawyer. The trial takes a surprise turn when the couple’s son Jesse (Evan Ellingson) bursts into a stunning revelation in court.

Besides a solid story and unsurpassably good casting as foundation for the film, director Nick Cassavetes’ My Sister’s Keeper has that subtle ability to emotionally affect its audience while continuing to engage their intelligence despite the occasional plot contrivances. The character-development is superb, with lead Diaz delivering the best performance yet of her acting career, surprising viewers with her dramatic flair and marking her graduation from romantic comedy roles she had also excelled at. Breslin is spunky, determined yet lovable and loving, and the bald Vassilieva makes a winning cancer patient who is cheerful and wise despite her losing battle with cancer. Every character in the sad story has issues of their own and the plot’s twists and turns reveal these in the rest: judge (Joan Cusack), Kate’s fellow patient and boyfriend Taylor (Thomas Dekker), lawyer Campbell, firefighting husband and father Patric, withdrawn son Ellingson. Flashbacks could demand viewers’ effort to situate but in time, through great dialogue, cinematography that captures both pathos and joys faithfully, and great makeup (Kate’s especially), all is understood.

Moral issues are definitely found here—from the start, in fact, when conceptualization is viewed through the eyes of the genetically engineered11-year old Anna. Right away one questions if it’s right for parents to produce another child to extend the life of another. No doubt it’s a happy, loving family, better than most families portrayed in American movies and other media, but how will they confront the consequences of misguided devotion? From birth, the engineered child’s body is practically mined to save her sister: she is coaxed, cajoled, bribed with ice cream as she cries and kicks her way into the operating room, knowing only the pain or inconvenience of medical procedures she is too young to willfully desire. She would be told that by doing so she is saving her sister’s life, but as she sells her gold necklace and raises $700 to offer as attorney’s fees because she “doesn’t want to be cut up anymore,” the viewer starts to root for her. Indeed, why can’t her mother see that the kidney transplant will only leave her with two sick children to look after, if it succeeds at all. If it fails, the dying one dies just the same, leaving the donor unable to enjoy a normal life; and if her remaining kidney fails, no one else in the family can donate. Will they then make another test-tube donor baby, or will this donor-child be virtually disposed of since she has served her purpose?

But how could a mother who did not carry a baby in her womb possibly see that? Test-tube baby Anna is not conceived in love, and if there was love at all, it was love for another child. Even the father Brian admits they “went against nature” in the conceptualization of Anna. The main issue here is a mother’s letting go, and the main message is, parents do not own their children. The viewer may think, this lawsuit wouldn’t have happened had they not created Anna in the first place. But in this development, if the viewer hears with the ears of faith, God speaks. God may have allowed Anna’s unorthodox birth, but in His time He tells the world what her parents missed in their blind devotion: that they are not God, but children are gifts from God. Anna, despite the cold and heartless circumstances surrounding her birth, emerges as the biggest gift in this story, eventually helping everyone else to see the light.

Manila

Cast: Piolo Pascual, Rosanna Roces, Jay Manalo, Alesandra de Rossi, Angelica Panganiban, Jiro Manio, Anita Linda; Director: Adolfo Alix, Jr., Raya Martin; Screenwriters: Adolfo Alix, Jr., Raya Martin; Genre: Drama; Cinematography: ; Distributor: Star Cinema; Location: Manila; Running Time: 90 mins;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

Dalawang kuwentong hango mula sa mga obra nina Ishmael Bernal at Lino Brocka, ang unang kuwento ay tungkol sa isang drug addict na si William (Piolo Pascual) na gagala-gala sa kalye ng Maynila, tila may kung anong hinahanap sa kawalan. Ito’y sa kabila ng pag-aalala ng ina niyang si Charito (Rosanna Roces) kung nasaan na siya. Sa kalye rin ng Maynila magsasanga-sanga ang ilan pang mga taong may kinalaman sa buhay ni William at sa pagkakalulong niya sa droga. Ang ikalawang kuwento naman ay tungkol sa isang bodyguard na si Philip (Piolo Pascual) na naninilbihan kay Barry (Jay Manalo) anak ng isang Congressman ng Maynila. Tapat ang paglilingkod ni Philip kay Barry sa pag-aakalang parang kapatid ang turing nito sa kanya. Ang katapatang ito ay masusubukan nang maka-enkuwentro ni Barry ang isang dating karibal. Makakapatay si Philip sa pagtatanggol kay Barry at dito niya mapatutunayan ang kawalang-saysay ng kanyang katapatan sa isang among tau-tauhan lamang ang turing sa kanya.

Masarap balikan ang ilang obra ng mga batikang Pilipinong direktor na naglagay sa Pilipinas sa mapa ng pandaigdigang sining. Ang mga pelikulang pinaghanguan ng Manila ay talaga namang maituturing na klasiko at nararapat lamang bigyan ng kaukulang paggalang. Maganda ang intensiyon ng Manila ngunit nagkulang ito sa akmang sinseridad na hinihinling ng kuwento. Sa halip na mapalutang pang lalo sa kasalukuyang panahon ang dalawang piling obra, ay lalo pang napalabo ang mensahe nito. Sayang at pawang magagaling pa naman ang mga nagsiganap. Maganda rin at mahusay ang kuha ng kamera pati na ang pag-iilaw. Hindi rin masyadong problema ang editing. Marahil ang tunay na problema ay ang kaiksian ng oras na inilaan nila para sa kabuuan ng pelikula. Pilit ipinagsiksikan sa iisang pelikula ang dalawang dapat sana’y malawak na istorya. Mahirap masundan ang emosyon sapagkat hindi malinaw ang pinanggagalingan ng bawat karakter. Sayang at malaki sana ang potensiyal ng pelikula na maihanay sa mga obrang pinaparangalan nito.

Isang masukal at malupit na gubat ang lungsod ng Maynila. Ito ang sinasabi ng pelikula. Ipinakita nito ang pinakamadidilim na kasuluksulukan ng Maynila. Ang dalawang magkaibang pangunahing tauhan ay sumisimbolo sa dalawang uri ng tao Maynila. Isang nagpakalunod sa masamang bisyo upang makalimutan ang mga realidad ng siyudad at isang humaharap dito nang buong katapatan sa pag-aakalang ito’y masusuklian ng kaginhawahan. Anu’t-anupaman, sina William at Philip ay larawan ng kadiliman at kawalang-pag-asa sa isang siyudad na siya sanang kakalinga sa mga tulad nila. Kung tutuusin ang kuwento ay nagpakita lamang ng isang parte ng mukha ng Maynila: ang kasamaan at kadiliman nito. Malinaw naman ang itensiyong ito ng pelikula. Hindi nga naman interesado ang mga manonood sa maganda, mapayapa at maaliwalas na buhay. Maaring tunay ang mga ipinakitang larawan ng Manila ngunit pawang hindi malinaw ang nais nitong iparating at kung anong klaseng imahe ng Maynila ang nais nilang ipakita sa ating mga kababayan at maging sa mga dayuhang manonood. Kung puros kawalan ng pag-asa at kabukutan ang ating makikita, ano nga ba ang nararapat na gawin? Marahil sinasabi rin ng pelikula na bawat isa sa atin ay may pananagutansa mga katulad nina William at Philip. Hindi lamang sila ang may kagagawan ng kung anong kapalaran nagkaroon sila. Malinaw na ang mismong lipunang kanilang ginagalawan ang nagtulak sa kanila sa maling landas. Dapat gabayan ang mga batang manonood upang maipaliwanag ito ng husto, kung hindi’y maitatanim sa kanilang isipan na ang Maynila ay isang malupit na siyudad sa mga mahihirap at walang lakas. Maaring ito nga ay totoong nangyayari ngunit dapat sana’y magpakita man lang ng kahit na isang kislap na pag-asa ang pelikula upang makapaghimok ng mga natutulog na damdaming makabayan.

Public Enemies

Cast: Johnny Depp, Christian Bale, Marion Cotillard, Jason Clarke, Rory Cochrane, Billy Crudup; Director: Michael Mann; Producer: Michael Mann; Screenwriters: Ronan Bennett, Ann Biderman; Genre: Gangster- Action/Drama; Distributor: Universal; Location: 1930s Chicago, Florida, Miami; Running Time: 143mins;

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

The movie begins as 30 year old enigmatic gangster John Dillinger (Johnny Depp) reunites his gang after orchestrating a prison break. They proceed to rob banks in Chicago and living it all up in their nightlives. Meanwhile, FBI director, Edgar Hoover (Billy Crudup) is eager to get a boost for the agency and decides that closing in on Dillinger would do the job. He assigns special agent Melvin Purvis (Christian Bale) on pursuing the “public enemy no. 1." However, Dillinger is smooth and popular and almost effortlessly evades being caught until a hotel personnel recognizes him when his crew takes a vacation in Miami . Dillinger is transferred to Indiana to stand trial but he escapes using a fake wooden gun. But life on the run proves difficult for him as he is forced to work with a new crew and the trigger-happy Baby Face Nelson (Stephen Graham), and violence replaces the cool precision of their robberies. Will Dillnger’s charisma be able to save him from Purvis’ determination and the disaster of working with Nelson?

Public Enemies is based on the true-to-life story of the 1930s famous gangster and the FBI efforts to catch him. Mann delivers a tight action drama that thrills the audience completely. The cinematography is tight and the hand-held shots bring the audience in the scene. The production design is perfect and alive from sets to costumes to props. The action is provoking and the drama is brilliant. Performances from Depp, Bale, Cotillard and Crudup are strong and honest. This is perhaps one of the best action biopic films of the year.

Like most characters of a gangster film, Dillinger is presented as a sympathetic and even lovable character, which unfortunately makes us root for the bad guys. But we do see members of Dillinger’s gang meeting tragic and horrible ends, so in a way justice is served. Dillinger has many redeemable virtues like refusing to participate in kidnapping and his gentlemanliness; however robbery no matter how non-violent is still stealing, immoral and illegal. No matter how cool, cute or popular a criminal is, he is still doing something against the law and against morality. Criminals who are glamorized as sensitive and appealing characters on the big screen may create a distorted image for impressionable young viewers. The violence in the movie focuses more on Dillinger’s complexities; however, some situations and language may not be appropriate for young impressionable viewers, especially those who love Depp’s Jack Sparrow character. The gangster theme is better suited for older viewers.

Brutus; Ang Paglalakbay

Cast: Ronnie Lazaro, Yul Servo, Timothy Mabalot, Rhea Medina; Director: Tara Illenberger; Screenwriter: Tara Illenberger; Editor: Fiona Borres, Tara Illenberger; Genre: Drama; Distributor: Bonfire Productions/ Cinemalaya; Location: Mindoro; Running Time: 110 minutes;

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: For viewers age 13 and below with parental guidance

Sina Adag (Timothy Mabalot) at Bayang (Rhea Medina) ay dalawang batang Mangyan na nagbalak bumaba ng bundok at pumunta sa bayan nang may kani-kaniyang dahilan. Gusto ni Adag na makabili ng gamot para sa kanyang nakababatang kapatid samantalang si Bayang naman ay balak hanapin ang nawawalang kuya na hindi na bumalik matapos magpaalam na pupunta ng bayan. Upang makalikom ng panggastos ay nag-brutus sila sa mga illegal loggers kung saan ay mambubulabog sila ng mga troso at ilalakbay sa ilog gamit lamang ang kanilang balsa. Sa kanilang paglalakbay ay aanurin ang kanilang balsa dahil sa sama ng panahon. Sa kanilang pagkakaligaw sa gitna ng gubat ay makikilala nila ang isang grupo ng mga sundalo sa pamumuno ng isang sarhento (Ronnie Lazaro) na aakalin nilang dadakip sa kanila. Bagama’t mapapalapit sa kanila si Sarhento ay tatakasan pa rin nila ito. Dito naman nila makikilala si Carlito (Yul Servo) na isa palang rebelde na pinaghahanap ng militar. Maiipit sa gitna ng laban ng militar at rebelde sina Adag at Bayang habang namumulat ang kanilang mata’t isipan sa maraming katotohanan sa kanilang paligid.

Payak ang pagkakagawa ng Brutus: Ang Paglalakbay. Ngunit sa kabila na kapayakan nito ay lumutang ang tunay na yaman at diwa at pelikula. Ang lahat ng nagsiganap ay mahuhusay. Ang dalawang batang hindi kilala ay nagbigay ng natural na pag-ganap, tuloy nagmukhang dokumentaryo ang pelikula. Ipinamamalas nito ang hindi na karaniwang napapanood ng mga tao: ang buhay ng mga katutubo. Naipakita rin sa pelikula ang matulaing bulubundukin at ilog ng Mindoro, kasama na ang mayamang kultura ng mga Mangyan. Maayos ang daloy ng kuwento na bagama’t may kabagalan sa simula ay nagawa namang bawiin sa gitna hanggang wakas. Malalim ang karakterisasyon at malinaw ang pinaghuhugutan ng bawat karakter. Sa kanilang paglalakbay ay maihahatid ang manonood sa isang mundong bihirang silipin at sa payak na pamumuhay na talaga namang hitik sa puso at damdamin.

Mayaman din sa mensahe ng kabutihang-asal ang pelikula. Ipinakita sa mata ng dalawang inosenteng bata kung paanong ang kalikasan at mga katutubo ay nilalapastangan. Pati ang walang hanggang suliranin ng digmaan at kapayapaan ay tinalakay din nang walang kinikilingan. Tunay ngang sinira na ng modernisasyon hindi lamang ang kalikasan kundi pati na ang mayayamang kultura ng ating mga kapatid na katutubo. Sa una’y nakabahala kung paanong ang mga bata ay natututong gumawa ng bagay na labag sa batas, ngunit malinaw ang mensahe ng pelikula na hindi ito tama. Dahil sa pelikula ay mamumulat ang kaisipan ng mga manonood kung gaanong kalalang problema ang idinudulot ng ilegal na pagto-troso. Ang pagsira sa likas na yaman ay pagsira na rin sa buhay ng mga tao. Hitik din sa puso ang pelikula ukol sa kasalukuyang kalagayan ng ating mga katutubo na pawang nawaglit na sa kamalayan ng gobyerno at lipunang abala sa pagpapayaman at pagpapayabong ng sariling interes. Sa usapin naman ng mga rebelde ay walang pinanigan ang pelikula. Ang sinumang nagkasala sa batas ay dapat maparusahan ngunit ipinakikita rin sa Brutus kung ano ang maaaring tunay na damdamin at saloobin ng mga rebelde. Tao rin silang nagmamalasakit sa kapwa bagama’t iba ang kanilang naging paraan. Sa gitna rin ng kanilang gulo ay maraming inosenteng buhay ang nadadamay. Higit sa lahat, malinaw ang mensahe ng pelikula ukol sa pagmamahal sa pamilya at kaibigan—ito ay hindi matatawaran at makakayang tumbasan ng kahit na anong yaman. Mawala man at malapastangan ang lahat ay mananatiling masaya ang buhay kung may pamilya at mga kaibigan na handang magmahal at magmalasakit.