Kick-Ass

Cast: Aaron Johnson, Nicolas Cage, Chloe Moretz, Christopher Mintz Plasse, Mark Strong, Michael Rispoli; Director: Matthew Vaughn; Producers: Adam Bohling, Tarquin Pack, Brad Pitt, David Reid, Kris Thykier, Matthew Vaughn; Screenwriters: Jane Goldman, Matthew Vaughn; Music: Marius De Vries, Ilan Eshkeri, Henry Jackman, John Murphy; Editor: Eddie Hamilton, Jon Harris, Pietro Scalia; Genre: Action/ Crime Sotory: Cinematography: Ben Davis; Distributor: Lionsgate; Location: USA; Running Time: 117 min.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Dave Lizewski (Aaron Johnson) is an unnoticed lackluster high school student much addicted to comics. He dreams of becoming a superhero and calls himself “Kick- Ass”, though he has no superpowers, no special training or skills. He dons a superhero costume and patrols some seedy neighbourhoods where he prevents thieves from plying their trade and gets beaten and stabbed instead. Meanwhile Damon (Nicolas Cage), a cop who was framed and imprisoned through the machinations of Frank d’ Amico (Mark Strong), the crime czar, has been released from prison and has been preparing to eliminate organized crime and evil. After building an arms arsenal and training his eleven-year old daughter Mindy in martial arts and the use of weapons, Damon now assumes the identity of the superhero “Big Daddy” and Mindy is called “Hit Girl”. The duo become a deadly fighting machine hitting the crime empire of Frank d’ Amico. To catch the superheroes, including “Kick-Ass”, who has earned some fame through the help of “Big Daddy” and “Hit Girl”, Frank’s young son Chris (Christopher Mintz Plasse) takes on the identity of ‘Red Mist”, a self proclaimed superhero. “Red Mist” sees “Kick-Ass” in costume and befriends him, being a fellow superhero. How will the “superheroes” and anti-hero fare in the end?

Kick-Ass is the latest screen adaption of a comic book written by Mark Millar and John S. Ramita, Jr. Said to be a faithful reproduction of the comic book, the movie is fully packed with action and brutal violence to the nth degree. As in most action pictures, there is not much of a story or plot. The narrative line is there to hang the actions on. The photography captures efficiently the guts and gore in the well orchestrated fight scenes. At the start, when ‘Kick-Ass” begins narrating the story of his life, everything seems quiet and uneventful. But soon the tension mounts with the introduction of Big Daddy’s training of Hit Girl where the latter has to overcome her fear even when shot at point blank range with live bullets (she wears a bullet proof vest). “Hit Girl” becomes a formidable one-girl killing machine near the end when she massacres scores of well armed gangsters with precision and finesse, without feeling or compunction, like she were targeting figures in a TV games. Unbelievable one may say but she succeeds in holding the viewers attention and not because of her appealing presence as eleven year old ordinary girl Mindy. In spite of his fighting prowess, Nicolas Cage comes across as a poignant character after his sad past. Christopher Mintz Plasse as the affected, smug, self- satisfied son of his gangster father delivers on his role. Languagr is frequently vulgar and the depiction of sex scenes is in bad taste, to say the least.

Kick-Ass may be considered exciting entertainment especially by action film aficionados but that does not make it good entertainment for all, especially the impressionable young movie audience. It is true that the theme is laudable, the desire of even ordinary citizens to try to eliminate crime and evil, even in the face of much danger and formidable forces of the enemy. Also, the depiction of relationship like that between father and daughter (Cage and Chloe Moretz) is tender and affectionate though one would wonder if a father who so loves his daughter would expose her to so much danger in that early age and train her in the lethal “art” of killing instead of sending her to school and letting her enjoy her childhood. The relationship also of the crime czar and his son looks fine and here no one notices the efforts of the father not to let his son know of his immoral business though at the end, he uses him for his ends. The film may have some positive values but these cannot overturn the pervading objectionable features of the film. Kick-Ass goes overboard in its violence, so brutal, gory and ruthless. One may have been entertained by the expertise of the gifted Chloe Moretz in fighting the evil elements but on reflection, one is disturbed that a child can be so used and trained to kill without any emotion, qualms or regret. The film will desensitize the young to brutality and cruelty and, who knows might encourage other children to follow the footsteps of “Hit Girl”. The film is awash with gross language. Sex which should be considered a beautiful thing, something to bond people in love, is here degraded. The depiction of the sex scenes with the frontal baring and mashing of breasts is not only in had taste but also they are immoral. Drug use especially by children is objectionable. This film should be seen only by mature audiences, at least 18 years of age.

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.