Furry Vengeance

Cast: Brendan Fraser, Brooke Shields, Matt Prokop; Director: Roger Kumble; Producers: Keith Goldberg, Robert Simonds; Screenwriters: Michael Carnes, Josh Gilbert; Music: Ed Shearmur; Editor: Lawrence Jordan; Genre: Comedy/ Family: Cinematography: Peter Lyons Collister; Distributor: Pioneer Fims; Location: USA; Running Time: 92 mins.;

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

Construction supervisor Dan Sanders (Brendan Fraser) uproots his Chicago-based family—wife Tammy (Brooke Shields) and teen son Tyler (Matt Prokop)—to move to the woodlands of Oregon and supervise the creation of an environment-friendly housing development. A sulking son and an unwilling wife are no match for Sanders’ scheming boss Neal Lyman (Ken Jeong) who, with an irresistible double-your-salary package, ensnares Sanders in spite of his better judgment. Insensitive to his son’s resentment of his situation and to his wife’s half-hearted cooperation, Sanders naively thinks they will see his point when the eco-friendly paradise that the subdivision is envisioned to be is finally inaugurated. His family is not alone, however, against the project. Work and life soon become unbearable for Sanders due to the forest creatures that conspire to put stumbling blocks on his path one after the other until Sanders is suspected of being—you guess it right—mentally ill.

Furry Vengeance is one of those movies that promise a lot but deliver so little. While it tries to say that it’s important to preserve flora and fauna in their natural state, it projects fauna as mean critters who will do everything to defend their habitat. Like urinating in the mouth of a person and catapulting boulders to destroy incoming cars. Skunks, raccoons, and other furry animals are so way-over-the-top smart that they make a moron out of Sanders. It’s a wonder Sanders survives the furry vengeance. But then again, all that nincompoopery must have been the reason behind Fraser’s flat acting. And speaking of flat acting—maybe Brooke Shields shouldn’t have accepted such an unchallenging role, unless, of course, that’s what she has really become after all those years of glamorous living: a nondescript suburban housewife. Assessing her character, the viewer might say, “Is that what has become of Pretty Baby?” Oh well, maybe it’s the story’s fault—it makes everybody dull beside the furry avengers.

Time to give Furry Vengeance the benefit of the doubt. It may have been clumsily delivered, but the message in this unfunny comedy is: put family and nature before anything else. Which is not quite a bad message these days when family is increasingly becoming “endangered species” as people pursue careers that sap all their energy. Forgive the predictable ending, as long as the father is converted from ambitious and materialistic career guy to nurturing father—thanks to the raccoon. Forget about the corny dialogue as long as they freeze the bulldozers and punish the greedy housing developers. There’s another noteworthy element in Furry Vengeance: a teen pair’s first kiss is treated with restraint, as though to say it’s not just an impulse to be taken for granted. The boy’s mother has done a good job after all. Despite its technical shortcomings and scatological humor, Furry Vengeance gets passing grades for its good intentions. --TRT

Little BIg Soldier

Cast: Jackie Chan, Lee-Hom Wang, Peng Lin, Ken Lo; Director: Sheng Ding; Producers: Jackie Chan, Solon So; Screenwriter: Jackie Chan; Genre: Action/ Adventure/ Comedy: Distributor: Cathay-Keris Film; Location: Singapore; Running Time: 96 mins.;

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

Set during China's Warring States Period, a battle between two states, Liang and Wei, has left only two men alive in the battlefield – the cowardly Liang soldier (Jackie Chan) and his rival Wei general (Wang Leehom). The Liang soldier captures the wounded Wei general by fluke. He is determined to bring his captive back to Liang to get a reward and live a peaceful, normal life. However, the road to Liang will not be easy and soon he learns there are many others who are after the Wei general and they will not give him an easy time.

Little Big Soldier lives up to its title from start to finish. It may be a little film for a war setting that requires certain feel of grandeur. But it is a big film with Jackie Chan at the helm delivering a noteworthy performance that is both serious and comic. This may have always been Chan's style but he is more serious than comic in this film that makes it quite different from his other films. The big scenes are not the really the battle scenes but the moments between the two main lead. The film is able to develop an interesting pair of characters with the very needed depth of emotions coupled with skillful martial arts. There are also captivating frames of Ancient China scenery that have added delight to the entire look of the film. However, there are many underdeveloped and at times, odd subplots that were not given enough attention so it has actually distracted the audience from the movie's main plot. The sounds get a little bit off sometimes and Chan's voice is awfully dubbed.

As with other war films, Little Big Soldier once again tackles the morality of war. It clearly philosophizes two opposing points with its two lead characters. One is a coward who doesn't want to kill people, but is compassionate and kind, and the other is considered patriotic and courageous , with the number of men he has killed, and he firmly believes he is doing it for the a justifiable cause and for the common good.. War may have turned some into savages but it's different with the case of the two main characters who eventually ended up as friends protecting each other from harm and danger. Although the two leads may have different beliefs, they both showed traits of a good soldier – one who defends his land and people and sacrifices his own life, advocating peace rather than war. Towards the end, the film showed that a life of sacrifice has its rewards not on earth but in a place where peace reigns and flowers are in full bloom. After all, as the film says many times, life is marvelous. However, there are some scenes of violence and suicide wherein children must be guided so such scenes can be explained in its thematic and cultural context.

A Nightmare on Elm Street

Cast: Jackie Earle Haley, Kyle Gallner, Rooney Mara, Katie Cassidey; Director: Samuel Bayer; Producers: Michael Bay, Andrew Form, Bradley Fuller; Screenwriters: Wesley Strick, Eric Heisserer; Music: Steve Jablonsky; Editor: Glen Scantlebury; Genre: Horror/ Thriller/ Fantasy: Cinematography: Jeff Cutter; Distributor: New Line Cinema; Location: USA; Running Time: 95 mins;

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

Freddy Kruger returns from 1984’s very first A Nightmare on Elm Street series but this time with less humor and a darker past. The movie follows the original plot with a few new twists as Nancy (Rooney Mara) and her friend Quintin (Kyle Gallner) discover that they, and the rest of their murdered friends, shared the same pre-school where Freddy Kruger (Jackie Earle Haley) was the gardener. Apparently, Freddy is accused of molesting or hurting the children and the parents decided to put justice into their hands. And without the benefit of a trial or strong evidence, the parents burn Freddy alive. Meanwhile, Nancy and Quintin, in the attempt to stop Freddy’s revenge, try to pull him out of their dreams so they can kill him in real time.

The concept of a nightmare crossing reality delivered shivers when audience first watched the 1984 original movie. However, this remake pales in comparison to Wes Craven’s original movie. The powerlessness in one’s sleep and the horror that one can be hurt or killed in the embrace of dreams were the reasons the franchise worked for some time. However, the powerlessness of the performances from the screaming teenagers and the dull horror of each sequence will not make this remake work. It is tired and lacks the scream factor expected of this genre. Robert Englund’s Freddy was psychotically funny and creepy. Englund’s one liners and perpetual smirk were almost adorable but Haley’s meaner and more evil version turns Freddy into another ordinary serial killer. Freddy is evil, whether dead or alive, in dreams or reality. At first, one will be led to believe that he is avenging his own fate in the hands of the pre-school parents. But later on, as the entire plot unfolds, we are introduced to an evil creature that hurts and kills just because he can.

The movie is too violent and gory for young audiences; it also deals indirectly, yet despicably, with child abuse and molestation. The victims and the people who punished the wrongdoer are hunted and killed at the end. And more disturbingly, nothing can stop Freddy’s killing rampage. Theme, language and treatment may cause even adults’ stomachs to turn. The film targets teenagers and young adults—people who are usually susceptible to misleading beliefs. There’s a scene where Quintin takes off his necklace and puts it around Nancy’s neck as she sets out to confront the villain, telling her “You’ve got to believe in something.” Although it resembles a cross, and his words hint at faith in superhuman protection, it may be perceived as superstition instead of genuine faith in the divine since nowhere else in the movie is God shown as a loving or even a saving God. In fact, the movie doesn’t even allude to God anywhere and its open ended conclusion even implies the undying power of evil.

Here Comes the Bride

Cast: Eugene Domingo, Tuesday Vargas, John Lapus, Jaime Fabregas, Angelica Panganiban; Director: Chris Martinez; Screenwriter: Chris Martinez; Genre: Comedy: Distributor: Star Cinema Productions; Location: Philippines; Running Time: 110 mins.;

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For age 13 and below with parental guidance

Dumating na ang araw na pinakahihintay ni Stephanie (Angelica Panganiban): ang kanyang kasal na gagawin sa isang beach resort. Papunta na rin ang ilan sa kanyang mga bisita na karamihan ay manggagaling ng Maynila. Sa kalagitnaan ng biyahe, habang nagaganap ang partial solar eclipse ay biglang maaaksidente si Stephanie pati na rin ang iba niyang mga bisita sa lugar na tinatawag na Magnetic Hill. Magkakabungguan ang kanilang mga sasakyan, mawawalan ng malay at sa kanilang paggising ay nagkapalit-palit na ang kanilang mga kaluluwa sa kanilang katawan. Si Stephanie ay nasa katawan ng kanyang matandang dalagang ninang (Eugene Domingo) at walang naniniwalang siya ito. Ang ninang naman niya ay napunta sa katawan ng isang yaya (Tuesday Vargas). Si yaya naman ay nasa katawan ng isang matandang mayaman (Jaime Fabregas) na napunta naman ang kaluluwa sa katawan ng binabaeng beautician na si Toffee (John Lapuz) na ngayon ay nagsasaya dahil ang kaluluwa niya ang nasa katawan ni Stephanie. Magkakagulo oras na malaman ng lahat ang misteryoso nilang pagpapalitan ng kaluluwa.

Isang mahusay na pelikula ang Here Comes the Bride na hindi lamang nagbigay ng todong aliw at saya kundi naghatid din ng makabuluhang istorya. Naiiba at bago sa panlasa ang tipo ng komedyang kumilos sa pelikula. Pakaaabangan ang bawat eksena at talaga namang hahagalpak sa katatawa ang manonood sa bawat linya at kakatwang sitwasyon. Sa pagkakataong ito, mas nakakatawa ang mga sitwasyon at ito ang tunay na tinatawanan at hindi ang mga komedyante lamang. Hindi kinailangan ng mga tauhan na gawing katawa-tawa ang mga sarili upang magbigay aliw. Lutang ang kahusayan ng manunulat na siya ring nagdirehe ng pelikula. Walang itulak kabigin ang husay ng mga nagsiganap na naging doble ang hirap dahil kailangan din nilang gampanan ang karakter ng bawat isa. Lahat sila ay naghatid ng laksang kasiyahan at lumutang ang kanilang tunay na talino sa pag-arte. Sana’y ito na ang maging batayan ng pelikulang komedya sa Pilipinas.

Sa likod ng matinding katatawanan ay may malalim na mensahe ang pelikula. Ito ay ang pagpapahalaga sa kabuuan ng isang tao: ang kanyang katawan at kaluluwa. Bagama’t ang kaluluwa ay tinuturing na mas mahalaga dahil ito ay nananatili at hindi namamatay, dapat ding igalang at pahalagahan ang katawang lupa. Sa lahat ng bagay ay dapat may kaisahan ang katawan at kaluluwa lalo na sa mga desisyon sa buhay. Sa maraming beses ay ninais ni Toffee na samantalahin ang pagkakataon na siya ay nasa katawan ni Stephanie ngunit maigting ang pagtutol ni Stephanie na gamitin ni Toffee ang kanyang katawan sa masamang paraan. Nariyan din ang matinding tukso sa lahat na manatili na lamang sa katawan ng iba upang matakasan ang kani-kanilang problema. Para bang ang mabuhay bilang ibang tao ang sagot sa kanilang mga suliranin ngunit sa bandang huli’y napagtanto din nila na hindi ito nararapat at kailangan nilang makabalik sa kani-kanilang katawan sapagkat iyon ang tamang gawin. Pinahalagahan din ng pelikula ang pananatiling dalisay ng katawan hanggang sa pagpapakasal. May ilang nakababahalang eksena lamang na kung saan ay may biglaang pagtatalik ang dalawang tauhan ngunit nabawi naman ito sa kabuuang konteksto. Yun nga lang ay nararapat pa ring gabayan ang mga batang manonood lalo na sa ilang mga eksena na may patungkol sa maseselang relasyong sekswal, at lalo’t higit sa isang nakaliligaw na pananaw na maaari palang magkapalit-palit ang mga kaluluwa ng tao. Sa Here Comes the Bride, ang pagpapalitan ng kaluluwa’y nagmistulang isang laro, bagay na taliwas sa turo ni Kristo at ng Simbahan.

The Last Song

Cast: Miley Cyrus, Greg Kinnear, Kelly Preston, Bobby Coleman; Director: Julie Anne Robinson; Producers: Jennifer Gibgot, Adam Shankman; Screenwriters; Nicholas Sparks, Jeff Van Wie; Music: Aaron Zigman; Editor: Nancy Richardson; Genre: Drama/ Romance: Cinematography: John Lindley; Distributor: Walt Disney Pictures; Location: Georgia, USA; Running Time: 110 mins.;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers age 13 and below with parental guidance

Ronnie (Miley Cyrus) blames her dad for her parents’ divorce. When her mother Kim (Kelly Preston) takes her and her kid brother Jonah (Bobby Coleman) for a summer with their father Steve (Greg Kinnear) in his beach town home on Tybee Island, Georgia, Ronnie doesn’t hide her disgust for her father. She snaps at her father at every turn, spurning his hospitality and kindness, while Jonah, who enjoys a loving relationship with his dad, pleads with her to at least be civil to the estranged father. In spite of his daughter’s boorish ways, Steve—a retired concert pianist who’s now busy making a work of art for the local church—keeps his calm and perseveres as a compassionate father. Ronnie avoids her dad by escaping to the beach, and here’s where she meets hunky Will (Liam Hemsworth), who’s tall, blonde and blue-eyed but fails to attract Ronnie.

If there’s one outstanding feature in this movie, it is the remarkable sincerity in the lead characters’ acting. It is both demanded and generated by the solid story which may be cutesy t first glance but is, on second thought, substantial. Cyrus is in her element playing the alienated daughter, refusing a Juilliard scholarship, remaining hostile to men, raring to be friendless for life. But she’s equally convincing after her character’s conversion—tending a sick parent and unaffectedly sparkling with all the goodness a 17-year-old can muster. Coleman stands toe to toe with the other lead actors, while Hemsworth emotes especially in the intimate close shots as though there were no cameras around him. Lastly, Kinnear’s portrayal of the anguished father would have you believe he has in real life been through such an ordeal. Last Song has strong characters done justice by soulful performances. It is this synergy among Last Song’s lead players that makes the movie memorable.

There are scenes in Last Song that clearly show how far a father’s love can go to protect his daughter from harm: one of them is when Ronnie and Will are keeping vigil over the turtle eggs. A discovery late in the movie showing the reason the reclusive father passionately devotes himself to creating a centerpiece for the church also perfects his persona as a just man.

Last Song is a graphic demonstration of the damage divorce can do to children, and of the triumph of the human spirit in healing the wounds it inflicts upon the soul. It is not just about a pair of intelligent young persons falling in love, although it is an important ingredient in the story; Last Song is really about a father and a daughter split apart by divorce but gradually drawn back to each other through pain, repentance and forgiveness.