Working Girls

Cast: Eugene Domingo, Eula Valdes, Jennylyn Mercado, Iza Calzado, Cristine Reyes, Bianca King, Ruffa Gutierrez; Director: Jose Javier Reyes; Producers: Tony Gloria, Annete Gozon-Abrogar; Screenwriter: Jose Javier Reyes; Genre: Comedy/ Drama; Distributor: Unitel and GMA Films; Location: Manila; Running Time: 110 min.;

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

Isang sanga-sangang kuwento ng iba’t-ibang kabababaihan ng makabagong panahon. Si Paula (Eugene Domingo) ay itinataguyod ang kanyang pamilya sa pagbebenta ng mga pekeng bag at kung anu-ano pa dahil ang kanyang asawa ay isang batugan. Si Cleo (Eula Valdes) naman ay isang sikat na doctor ng pagreretoke na kinakalaban ng mga grupong feminista. Si Marilou (Ruffa Gutierrez) naman ay isang dating beauty queen na mabibiyuda ng kanyang mayamang asawa ngunit malalaman niyang walang yaman na iniwan sa kanya. Si Teresa (Iza Calzado) naman ay isang nurse na mapipilitang alagaan ang asawa ng lalaking nang-iwan sa kanya noon. Si Ada (Jennylyn Mercado) ay isang single mother na nawawalan na ng panahon sa kanyang anak dahil sa kanyang trabaho bilang call center agent. Habang ang promo girl na si Wendy (Cristine Reyes) ay pilit na hinahanap ang lalaking mag-aahon sa kanya sa kahirapan, si Dara (Bianca King) nama’y piniling maging isang mamamahayag sa kabila ng kanyang mayamang pamilyang pinagmulan.

Isang nasayang na kuwento ang pelikula na dapat sana’y karugtong ng orihinal na Working Girls na ipinalabas noong dekada 80. Hindi gaanong naka-sentro sa buhay-trabaho ng mga kababaihan ang pelikula kundi natuon lamang ang karamihan ng kanilang kuwento sa kanilang buhay pamilya at buhay pag-ibig. Malayo sa orihinal na kuwento na naka-sentro sa buhay ng mga kababaihan sa kanilang trabaho at ang hirap na kanilang dinaranas dahil sa sila ay mga babae. Nalihis ang bagong Working Girls sa sanga-sangang kuwento ng kababaihan na may iba’t-ibang problema ngunit nawala ang dapat sana’y pinaka-kaluluwa ng pelikula. Lumalabas tuloy na isang karaniwang kuwento ng mga kababaihan lang ang napanood at hindi patungkol sa iba’t-ibang klase ng hanap-buhay ng mga babae. Sayang ang lahat ng magagandang intensiyon ng pelikula dahil sumabog ang konsepto nito sa kabuuan. Higit na sayang din ang mga talino ng mga nagsiganap lalo na si Domingo na siyang nagbigay-buhay sa pelikula. Sa kabila ng mga kakulangang ito’y marami pa rin namang magaganda at nakakaaliw na eksena sa pelikula kung kaya’t hindi rin naman gaanong sayang ang panonood nito.

Dahil sa dami ng pinagsiksikang kuwento, hindi naging malinaw ang kabuuang mensahe ng pelikula ukol sa mga kababaihan. Sa isang banda, sinasabi nitong malaki at mahalaga ang ginagampanang papel ng mga kababaihan sa lipunan lalo na sa mga industriya dahil karamihan sa mga ito ay babae na ang nagpapatakbo at babae ang mangagawa. Sa kabilang banda naman ay nariyan ang lantarang paggamit sa panlabas na kagandahan ng kababaihan upang ibenta ang isang produkto. Sa pagbebentang ito ay lumalabas na halos ibenta na rin ng babae ang kanyang sarili at pawang walang moralidad ang nasa ganitong uri ng trabaho. Isa itong masamang imahe para sa maraming kababaihan na nasa ganitong propesyon. Nariyan din ang isang babaeng natuksong pumatol sa iba sa kabila ng pagkakaroon niya ng asawa’t anak. Ang kaniyang pagtataksil ay nasaksihan pa ng mga bata pa niyang anak. Nakababahala ang mga ganitong uri ng eksena. Ipinakita naman sa pelikula kung gaanong katindi ang sakrispisyo ng isang babae ng kumita ng pera para kanyang pamilya habang pinagsasabay-sabay niya ng iba pa niyang papel bilang asawa at ina.

Date Night

Cast: Steve Carell, Tina Fey, Mark Wahlberg, Taraji P. Henson; Director: Shawn Levy; Producers: Shawn Levy, Tom McNulty; Screenwriter: Josh McLaglen; Music: Christophe Beck; Editor: Dean Zimmerman; Genre: Comedy/ Romance: Cinematography: Dean Semler: Distributor: Twentieth Century Fox Film Corporation; Location: USA; Running Time: 88 min.;

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

Clair and Phil Foster (Tina Fey and Steve Carrell) are an ordinary though likable suburban New Jersey couple whose idea of married bliss is hiring a baby sitter once a week so they could enjoy their “date night” on the town. And their weekly date night—far from being a moment of exotic erotica to revive romance in midlife—simply means dining out and privately making fun of unsuspecting diners who stimulate their imagination. On this particular date night, Steve takes Clair to a new fancy restaurant in New York. Skipping the long queue to be seated, they grab a reservation for two for “the Tripplehorns”, pretending to be the absent couple. Then two gun-toting hit men pop into the scene, demanding that the Tripplehorns surrender a sensitive computer gadget or else… They cannot argue at gunpoint that they are not the real Tripplehorns, thus they are tossed into a crazy chase involving two crooked cops (Jimmi Simpson and Common) and their mob boss (Ray Liotta), the real “Tripplehorns” Taste (James Franco) and Whippit (Mila Kunis), and a security expert who’s an untypical combination of muscles and sympathy, Grant Holbrook (Mark Wahlberg).

Fey and Carell wouldn’t have been better cast as the Foster couple in Date Night. They—or their performance—are what makes the movie really funny. They can make us believe they’re a real couple from suburbia who are….well, who are who the Fosters are! And they involve the viewer in the whole 88-minute film run! When actors in a comedy don’t seem aware that they’re acting out a comedy, they become really funny. The plot is, of course, as bizarre and implausible as all comedy-action plots go, but the dialogue is smart, the characterization precise, and the direction by Shawn Levy flawless. Few cinematic couples exhibit this high degree of chemistry as Fey and Carell do in their roles here. If Angelina Jolie and Brad Pitt sizzle in Mr. and Mrs. Smith, and Kate Winslett and Leonardo DiCaprio smolder in The Titanic, Tina Fey and Steve Carell bubble over in Date Night.

Date Night is a perfect movie for a date night, especially when your date is the person you’re married to. There are no “moral lessons” to speak of in Date Night, but it offers a sensible tip for fine-diners: when at a chi-chi restaurant in, wait for your turn and suffer the gay receptionist because, as the Tripplehorns show, impatience is a punishable crime. Date Night also affirms the reality of mob-employed cops, and proves that even tattooed toughies can kiss and make up like ordinary suburban couples. Date Night also makes you realize that not all ex-spies are dehumanized by their careers and die biting a dagger—some retire while they’re still human and become compassionate “security experts” with state-of-the-art espionage gadgets and state-of-the-heart sex appeal.

Shutter Island

Cast: Leonardo DiCaprio, Mark Ruffalo, Ben Kingsley, Max von Sydow; Director: Martin Scorsese; Producers: Brad Fischer, Mike Medavoy, Arnold Messer, Martin Scorsese; Screenwriters: Laeta Kalogridis; Dennis Lehane; Editor: Thelma Schoonmaker; Genre: Suspense/ Thriller; Cinematography: Robert Richardson; Distributor: Paramount Pictures: Location: USA: Running Time: 138 min.;

Technical Assessment: 4
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Shutter Island is adapted from Dennis Lahene’s book published in 2003. It centers on Teddy Daniels (Leonardo DiCaprio), a US Marshall sent to Ashcliffe Psychiatric Correctional Facility in Shutter Island to investigate the mysterious disappearance of Rachel (Emily Mortimer). Since the security in Shutter Island is tightly controlled, Teddy suspects foul play in the case. Meanwhile, Dr. Cawley (Ben Kingsley), the hospital’s administrator, is pushing for a new method in treating his patients. As the movie progresses, one will realize that things are not what they seem. Apparently, Rachel, her killer, and Teddy’s wife are all interconnected. Teddy has visions of his wife and children who died in a fire caused by Andrew Leaddis. As he investigates further into the disappearance of Rachel, he comes closer to the past he has been trying to run away from and the tragedy in his life.

Amidst the psychopaths and Teddy’s past, the lines are blurred between reality and absurdity. The film brilliantly plays with the audiences’ minds as it is creatively interpreted by Robert Richardson’s cinematography within the perfect 1950’s setting adding to the creepiness. Martin Scorsese leads the audience into a thrilling maze of anxiety and uncertainty as they start feeling trap in a world they cannot understand. The artistic elements are outstanding and DiCaprio and Kingsley’s performances memorable. Surely, this is a film that will be remembered for long because of the powerful images that leaves an aftertaste of fear mixed with depression.

There are several positive aspects in Shutter Island. One, we see the efforts of Teddy to make good of his life despite all the tragedies he has been through. His desire to meet his wife’s killer does not stem from revenge but from justice. And even if he had a primary agenda in coming to Shutter Island, Teddy is still willing to sacrifice himself for the safety of his partner.

However, the movie is definitely not for children. The movie is too dark, violent and seemingly hopeless if one would look at the outcome of main characters lives. The scenes feel heavy and a lot of sensitivities will be crossed. Although teenagers ages 14 and above will be able to understand the movie, it is preferred that it be restricted to adults because of some concerns in language and content, extreme violence, some nudity and obscenity.

Hot Tub Time Machine

Cast: John Cusack, Clark Duke, Craig Robinson, Rob Corddry; Director: Steve Pink; Producers: John Cusack, Grace Lo, Matt Moore, John Morris; Screenwriters: Josh Heald, Sean Anders, John Morris; Music: Christophe Beck; Editor: George Fosley, Jr., James Thomas: Genre: Comedy; Cinematography: Jack N. Green; Distributor: Metr0-Goldwyn-Mayer (MGM); Running Time: 100 min.;

Technical Assessment: 2
Moral Assessment: 1.5
CINEMA Rating: For mature viewers 18 and above

Former best friends Adam (John Cusack), Nick (Craig Robinson) and Lou (Rob Corddy) have lost touch over the years. They reunite when Lou is hospitalized for an accidental poisoning. Adam and Nick show up to make sure that Lou does not commit suicide. For old time’s sake and to give themselves a break, they embark on a trip to the ski resort that holds most of their memories as teenage friends. They also bring along Adam’s Geeky nephew Jacob (Clark Duke). There, they pursue their old version of fun – sex, drugs and alcohol. Their wild night ends up in a slope-side hot tub and its malfunctioning magically brings them back to 1986. Much to their surprise, they are back in their teenage bodies as well.

Hot Tub Time Machine looks as tired as its premise. As with the characters in the film who have become tired old men, the film has nothing but tired old jokes: toilet humor, sexual overtones, and profanities are all over the place. In theory, the story seems hilarious and promises bunch of laughs and a degree of 1980’s nostalgia. But the execution does not come up believable nor exciting. For those who can relate to the era, some scenes may be appealing and can bring out some laughs here and there but are never enough to sustain the movie’s supposedly comedic feel. The casts come out strong though. Cusack, Corddry and Robinson make a solid comic team. But with this old and mediocre material, their talent has been put to waste.

Looking at the film in larger context, it is supposed to talk about life’s second chances. If men could only live their lives all over again, they would make far better choices so they can live far better lives. It could’ve been an inspiring turning point in the movie if it did not dwell too much on the scatological humor, rough and crude language, graphic casual sex, profanities and nudity. Friendship is also given emphasis in the film but it remained in a quite shallow level for their concept of fun is more destructive than productive. The younger audiences are supposed to learn a lot from the movie’s middle-aged characters who grew up seeing themselves as failures due to the wrong choices they made when they are still young. However, much of the film’s content – sex, drugs, alcohol, violence and gore, is not suitable to the very young audiences with impressionable minds for they may be influenced by the film’s morally disturbing values.

Diary of a Wimpy Kid

Cast: Zachary Gordon,Robert Capron, Rachael Harris, Steve Zahn; Director: Thor Freudenthal; Producers: Nina Jacobson, Bradford Simpsopl Screenwriters: Jackie Filgo, Jeff Filgo, Gabe Sachs, Jeff Judah, Jeff Kinney; Music: Theodore Shapiro; Editor: Wendy Greene Bricmont; Genre: Comedy/ Family; Cinematography: Jack N. Green; Distributor: Twentieth Century Fox Film Corporation; Location: Canada: Running Time: 94 min.;

Technical Assessment: 4
Moral Assessment: 4
CINEMA Rating: For viewers age 13 and below with parental guidance

The wimpy kid in The Diary of a Wimpy Kid is wise-cracking Greg Heffley (Zachary Gordon) who actually thinks his diary is not a diary but a “journal”. Entering his first year of middle school, Greg grapples with the awkward situation of a pre-teen, and thus his “journal” begins, chronicling everything going on in his head, at home and in school—the three locations he finds himself in day in and day out. Home is well-meaning if sometimes distracted parents (Rachael Harris and Steve Zahn), mean older brother Rodrick (Devon Bostick), and the youngest in the family, a nonverbal toddler. School is mostly teens who think Greg is a nerd and a geek; the 12-year old school paper editor Angie (Chloe Moretz); and his almost-buddies, tubby boy Rowley Jefferson (Robert Capron) and Chirag Gupta (Karan Brar), the only boy shorter than Greg. Greg wants to be the most popular kid in school at all cost but his popularity is all in his mind. He thinks he is smart (which he is) and cannot, therefore, accept when someone inferior wins the popularity race hands down.

The Diary of a Wimpy Kid presents a realistic and credible picture of Junior High School in America, with a sensitive story spiced up with humor. There’s a device in the movie that demonstrates the power of the herd-mentality in middle school—the slice of mold-coated Swiss cheese that’s been on the school ground for ages because nobody dares touch it. Anyone seen touching it instantly becomes a pariah, an “untouchable” literally, whom the whole student population avoids because…. Because! Based on the books of cartoonist Jeff Kinney, the movie features Kinney’s drawings and hand-letterings on the wimpy kid’s diary’s pages. The movie is fast-paced and nimble, the action engaging, and the dialogue bright. But most of all, the child actors are real performers—whether in lead or support roles, they are the ones who carry the movie since the adult roles are minimal.

While The Diary of a Wimpy Kid may be a family movie, it’s not for young children; in fact, even older children and pre-teens, would need parental guidance in order to see the movie in the proper perspective. Though the lead characters are pre-teens, the situations presented are mostly for teens. The content is also suited to teens, particularly scenes that imply drug use by older teen, show bullying by older teens, scare young characters by referring to devil worshippers, etc. There’s a good spiel by Greg’s mother where she clearly and unequivocally makes her point to her children that adult/girlie magazines are a no-no in the Heffley household because they degrade women. The better thing here is, she is obeyed by her children. The one most important thing the wimpy kid learns is the supremacy of truth in human relationships. In that sense, the movie subtly speaks of growth and maturing of the lead character—he begins by desiring popularity without knowing how to achieve it, and ends up taking responsibility for his mistakes, the broken friendship, the undeserved award.