Monday, August 16, 2010

Salt

Salt: Look beyond the action to get the message
By Teresa R. Tunay, OCDS

* Cast: Angelina Jolie, Liev Schreiber, Chiwetel Ejiofor, Alex Pettyfer, Gaius Charles, Victor Slezak, Marion McCorry, Jonah Keyes
Genre: Suspense/Thriller
* Running Time: 99 min.
* Director: Phillip Noyce
* Writer: Kurt Wimmer, Brian Helgeland


Salt is a curious amalgam of James Bond, Bourne Identity, McGyver and Spiderman—and because the lead character is a woman, anything the guys can do she can do better.

Salt opens with with a near naked Evelyn Salt (Angelina Jolie) being tortured in a North Korean dungeon to talk, but all she says, in tears, is “I am not a spy…” Actually she’s really a spy, one of CIA’s toughest and brightest A colleague, Ted Winter (Liev Schreiber) fetches her out of captivity, saying Salt owes her freedom to her admirer Mike (August Diehl), a German scientist whose forte is arachnid research and who soon after becomes her husband.
The chase begins when a Russian defector, Orlov (Daniel Olbrychski), who at interrogation pins down Salt as a KGB agent in deep cover whose mission is to assassinate Russian president Matyveyev (Olek Krupa), currently in the United States to attend the funeral of the American vice-president. The lie detector test registers truth in everything Orlov claims, leading Salt’s other colleague, Agent Peabody (Chiwetel Ejiofor) to believe Salt is really a Russian spy. Ted doesn’t believe it, however, but joins Peabody in the hunt for the elusive Salt whose main concern now is to reach her husband while evading pursuers.
Salt is one thriller you can see three times and not tire of. Jolie as the action star is at her elusive best, reportedly doing 95 percent of her stunts and exuding mystique that combines toughness and fragility. If you’ve ever seen one of those gold-plated real orchids from Singapore, you’ll know what Salt’s persona is in this film.
Originally meant for Tom Cruise (as Edwin Salt), this action masterpiece would have been generic, but because the role went to a woman, and the intriguing Angelina Jolie at that, the movie Salt took on a spicier flavor. We agree with one American film critic who says Jolie is a fine-looking woman whose lips, eyes, profile, nose, boobs, butt and indeed the whole of her enigmatic beauty has been celebrated on celluloid, but this time, Salt celebrates her ankles.
She jumps from one moving truck to another, traverses a high rise window ledge with bare hands and feet, rolls off a flyover and lands on a moving van, and descends an elevator shaft by just jumping from level to lower level—doing all those and more, the character could have died from a fractured skull, internal hemorrhage or a snapped spine, but here Salt survives without as much as spraining an ankle. Indeed, much like a grain of salt on a free fall from the shaker but defies the laws of physics and manages to escape the frying pan. (Boy, that can only happen in the cartoons!)
Salt is a curious amalgam of James Bond, Bourne Identity, McGyver and Spiderman—and because the lead is a woman, anything the guys can do she can do better. Makes you wonder if real life spies can be that good or indestructible but you don’t care for answers and instead go along with the chase because it’s advancing the story, and a good story to boot. The story is really about sleeper spies in the US, orphans trained from childhood by the Russians, to one day patriotically wreak havoc on American society and then the whole world. Evelyn Salt is supposed to be one of those orphans.
Viewers of Salt are enjoined to look beyond all the media sizzle generated by Jolie’s exceptional stunts and dive deeper into Evelyn Salt’s conflicted character. Without second thoughts and second glances she kills everyone who gets in her way but risks life and limb to save the life of her pet puppy. Aware that as a spy she can’t offer a future to the man who offers her marriage, she believes in love and marries him anyway. Brainwashed from age 12 to believe in the nobility of her murderous mission, she grows up as the compleat spy, and yet look what happens when everything is taken away from her.
If there is one very important thing Salt is leading us to examine, it is how we adults have come to regard our children. Salt may not be consciously doing it but it’s making us see what happens when children are used as pawns in vicious adult games, when their native intelligence is hewn to serve inhuman purposes, and when their innocence is sacrificed at the altar of ideology.
It’s adults with warped values who lead children into the dark to suite their destructive schemes, in the process destroying their souls. In Salt, the setting is espionage; in real life, the stakes are higher. Mothers push their children into prostitution and mendicancy. Fathers lure their daughters into incest. Governments and schools inculcate in children the culture of death attractively veneered as “reproductive health”. In Salt, orphans are programmed like dogs to kill for their masters’ own shining goal, and yet, can all the evil in the world really kill the human spirit? You might find the answer in Salt.

CINEMA RATING: Technical: 3.5 Moral: 3 R 14

END

Wednesday, July 28, 2010

Hating Kapatid

Cast: Judy Ann Santos, Sarah Geronimo, Luis Manzano, Vice Ganda, JC de Vera, Cherry Pie Picache, Ms. Gina PareƱo; Director: Wenn Deramas; Screenwriter: Mel Mendoza-del Rosario; Genre: Drama/ Comedy; Distributor: Viva Films; Location: Philippines; Running Time: 110 min.;

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Umalis ang mga magulang nina Rica (Judy Ann Santos) at Cecilia (Sarah Geronimo), noong sila’y mga bata pa upang maghanap-buhay sa ibang bansa. Naiwan sila sa kanilang lola (Gina Pareno) at sa loob ng halos 20 taon ay si Rica na ang tumayong ama at ina para kay Cecilia. Dahil sa isang aksidente noong bata pa si Cecilia, napilitan si Rica na isakripisyo ang kanyang buhay-pag-ibig. Itinuon na lamang niya ang buo niyang lakas sa pag-aalaga at pagbibigay proteksiyon sa kapatid habang wala ang kanilang mga magulang. Unti-unti’y napapalayo na ang loob ni Rica sa kanyang ina (Cherie Pie Picache) at ama (Tonton Gutierrez) dahil sa matagal nilang hindi pag-uwi sa bansa. Kaya’t nang makatapos si Cecilia sa kolehiyo at magbalik-bayan ang kanilang mga magulang ay matabang na ang pakikisama nito sa kanila. Si Cecilia naman ay masaya sa pagbabalik ng kanyang mga magulang at sa wakas ay buo na silang pamilya. Hindi ito magugustuhan ni Rica at magsisimula nang magkalamat ang relasyon nila ni Cecilia. Lalo pa itong lalala, nang malalaman ni Rica na may manliligaw (Luis Manzano) na ang kapatid.

Marami sanang magandang nais sabihin ang Hating Kapatid patungkol sa pamilya at relasyon ngunit pawang napako ang mga ito sa lantarang kakulangan ng sinseridad ng pelikula sa kabuuan. Gaano man kahusay ang mga talinong nasa likod nito, pati na ang mga di matatawarang galing ng mga aktor, semplang pa rin ang pelikula dahil sa walang pakundangan nitong komersiyalismo na labis na naka-agaw ng pansin sa daloy ng kuwento. Masyadong ginamit ang pelikula upang maisulong ang interes ng mga kalakal at serbisyong ine-endorso na ng mga artista. Tuloy, pawang naglaho ang mga tauhan at pawang mga artista na lamang ang napapanood sa isang pinalawak na patalastas sa telebisyon. Kakatwa rin sa maraming pagkakataon na ang mga patawa, kung hindi luma, ay kapos naman sa hagod o sobrang bagal ng pagkaka-bitaw. Nawawala tuloy ang dapat sana’y magandang epekto sa manonood. Hindi rin nabigyan ng pansin ang paghagod sa karakter, emosyon at kuwento. Pawang minadali ang lahat. Sayang ang manaka-nakang aliw sa mga eksena, pati na rin ang ilang eksenang may kurot sa puso na maari sana'y napalawig pa.

Sa kabila ng mga kakulangang teknikal, hitik sa mensahe ng pagmamahal at pagpapahalaga sa pamilya ang Hating Kapatid. Sinasalamin nito ang maraming pamilyang napipilitang mabuhay nang magkakahiwalay dala ng matinding pangangailangan na mangibang-bayan. Totoo ang sakripisyo ng mga magulang na umaalis mabigyan lamang ng magandang kinabukasan ang mga anak. Kaakibat din nito ang maraming suliraning dala ng paghihiwa-hiwalay. Nariyang malayo ang loob ng mga anak sa magulang dahil sa tagal ng panahong hindi pagkikita. Hindi nga naman mapupunan ng anumang materyal na bagay ang init ng presensya at pagiging nariyan para sa mga anak sa oras ng pangangailangan. Sinubukan namang punuan ng mga magulang ni Rica ang mga pagkukulang na ito sa pamamagitan ng pagtawag sa telepono at paggamit sa makabagong teknolohiya, ngunit sadyang di pa rin sapat. Sa bandang huli’y nagsubok naman ang mga magulang niyang bumawi sa kanilang pagbabalik. Nakakabahala nga lang ang malabis na poot na naitanim ni Rica sa kanyang mga magulang na wala namang hinangad na hindi maganda para sa kanilang magkapatid. Kahanga-hanga naman ang ipinakitang pagmamahalan ng magkapatid sa pelikula. Pati ang aral na ang tao, gaano mo man kahusay alagaan, ay hindi mo kailanman magiging pag-aari. At ang pagmamahal ay ibinabahagi at hindi sinasarili. May mangi-ngilan nga lang na patawang eksena sa pelikula na maaring maka-sakit sa damdamin ng ilan tulad na lamang nang gawing katawa-tawa ang isang matanda. Pati na rin ang pag-iingat sa paggamit ng mga paputok ay dapat na mabigyang-pansin. Kaya nararapat pa ring gabayan ang mga batang manonood na 13 gulang pababa.

Monday, July 26, 2010

The Sorcerer's Apprentice


Cast: Nicholas Cage, Jay Baruchel, Alfred Molina, Teresa Palmer, Toby Kebbell; Director: John Turtletaub; Producer: Jerry Bruckheimer; Screenwriters: Lawrence Konner, Mark Rosenthal; Music: Trevor Rabin; Editor: William Goldenberg; Genre: Fiction/Fantasy, Comedy, Action/Adventure, Drama, Kids/Family; Cinematography: Bojan Bazelli; Distributor: Walt Disney Studios Motion Pictures; Location: New York, USA; Running Time: 111 min.;

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

The Sorcerer’s Apprentice opens with a flashback to the Middle Ages, when wizard Balthazar Blake (Nicholas Cage), a pupil of Merlin, the legendary medieval wizard, has been tasked to watch for the emergence of the prophesied successor of Merlin Year 2000, grade schooler Dave Stutler (Jake Cherry) accidentally discovers a store called Arcana Cabana, which is actually more of a museum housing the sorcerer Balthazar’s treasures. The treasures Balthazar guards in Arcana Cabana include a matrioshka (Russian nesting doll) imprisoning another medieval sorcerer, Maxim Horveth (Alfred Molina), Balthazar’s contemporary as pupil of Merlin who had flipped over to black sorcery. Subjecting the 9-year old Dave to a test, Balthazar discovers the boy is the person he has been looking for through the centuries. However, the boy is scared and incredulous, especially when his story about his encounter with Balthazar is seen as hallucination by people who hear of it. Year 2010, 19-year-old Dave (Jay Baruchel) is now a socially-awkward physics geek at New York University and his humdrum existence is about to be punctuated by his encounter with the evil Maxim who has been newly freed from his doll-prison and is doggedly after the magical ring in Dave’s possession.
Like movies of this genre, director Jon Turtletaub’s The Sorcerer’s Apprentice is meant to be a fantasy-adventure. It will be compared—perhaps unfairly and unfavorably—to a Harry Potter movie, but this doesn’t mean it can’t stand on its own. Due to the proliferation of such magic-driven flicks, the viewer can’t help but recognize in this movie elements from other kindred-creations, particularly in the display of sorcerous powers. Because it has its own fantastic story to tell (authored by Lawrence Konner, Mark Rosenthal and Matt Lopez), advanced by CGI and special effects, it has enough energy and splash to entertain the audience, mostly the young ones. Happily, the script (by screenwriters Matt Lopez, Doug Miro and Carlo Bernard) is devoid of vulgar language albeit slightly tinged with toilet humor. Molina’s villain is the kind audiences love to hate, while Cage is a surprise, a departure from his usually morose characters, he is quite lighthearted here and smiles a lot in spite of his bad hairpiece.
Disney’s The Sorcerer’s Apprentice, with all its bloodless stylized violence, is inoffensive enough for pre-teens, but parents and educators guiding young viewers should arm themselves with convincing explanations in case the latter ask about the probability of people being imprisoned in dolls and coming back to life after centuries. The movie’s hero is a young person, so expect young people to resonate with it, and maybe affirm its values without question, so do be forewarned. Older teen and other viewers will benefit from discussions on the topics of power, destiny, and sexual attraction as portrayed in the movie. (Note that school kids here are shown attracted to the opposite sex at age 9). Perhaps one exercise would be to ask “What would you do if you had Dave’s powers and you are asked to save the world?” While CINEMA may give this movie PG 13 rating, parents are advised to bring only older children as some of the scenes might prove too scary for very young children.--TRT

Predators

Cast: Adriene Brody, Topher Grace, Alice Braga, Walton Goggins, Oleg Taktarov; Director: Nimrod Antal; Producers: Elizabeth Avellan, John Davis, Robert Rodriguez; Screenwrites: Alex Litvak, Michael Finch; Music: John Debney; Editor: Dan Zimmerman; Genre: Action/ Adventure/ Sci-Fi; Cinematography: Gyula Pados; Distributor: Twentieth Century Fox Film Corporation; Location: USA; Running Time: 107 min.;

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

One by one, they drop down from the sky and into the jungle, giving the impression that they are all part of a parachuting outing gone wrong. Are they trainees in a jungle survival exercise? It seems no, because each of them is ready to kill man or beast in order to save his own neck. Soon they learn that they are all killers. They are Royce (Adriend Brody), a dyed to the wool mercenary; Isabelle (Alice Braga), an Israeli army sniper; Cuchillo (Danny Trejo), an Hispanic drug-gang enforcer; Stans (Walter Goggins), a death-row convict; Nikolai (Oleg Taktarov), a Russian Special Forces operative; an African warlord (Mahershalalhashbaz Ali); a Yakuza (Louis Ozawa Changchien); and Edwin (Topher Grace), a mild-mannered doctor who’s the only one among them who is not a killer. With survival as their main concern, they realize it’s much better to have bad company than to be alone in such a menacing environment. And later, they discover they are on another planet, and while the vegetation closely resembles Earth’s, the animals are an entirely different matter. The truth soon dawns on them: they have been brought there in order to be hunted for sport by unknown predators.
The main hitch about attack movies such as Predators is its predictability. You are sure the lead characters will in the end prevail over their predators, so that the suspense is in guessing the order in which the others will be eliminated. Punctuating the rather slow first half hour of Predators are escapes from booby traps and metallic monsters that look like warthogs. By the middle of the movie the tension stems from the identity of the invisible hunters: who are they, and what do they want from the humans? The casting is good, lending credibility to each character; and the actors prove their respectability by giving serious performance despite the implausible plot. The steamy jungle and its strange creatures keep audience attention level high, while cinematography blends well with CGI.
Predators offers many opportunities for mixed group discussions on ethics and life values. One question to throw would be “Would you kill people for a living?” It could also tease minds by asking “Why is it that the only one who seems to have a conscience in the movie is the woman? Are women more moral than men?” Science teachers should also enlighten their students about a breathtaking scene where the planet is surrounded by four moons too big and too close to be real: remember this is science fiction. Those with queasy stomachs and delicate ears are warned: bodies are impaled and guts spill out in this movie; obscenities and other unprintable words are uttered as well. Remember these characters are mercenaries, not diplomats.--TRT

Friday, July 23, 2010

The Last Airbender

ASSESSMENT ONLY
Cast: Noah Ringer, Dev Patel, Nicola Peltz, Jackson Rathbone, Shaun Toub; Director: M. Night Shyamalan; Producers: Frank Marshall, Sam Mercer, M. Night Shyamalan; Screenwriter: M. Bight Shyamanalan; Music: James Newton Howard; Editor: Conrad Buff IV; Genre: Action/ Adventure; Cinematography: Andrew Lesnie; Distributor: Paramount Pictures; Location: USA; Running Time: 103 mins.;

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers age 13 and below with parental guidance

BRIEF FILM SYNOPSIS

Based on the hugely successful Nickelodeon animated TV series, the live-action feature film is set in a world where human civilization is divided into four nations: Water, Earth, Air and Fire (www.Rottentomatoes.com)

The four nations used to live in harmony until the Fire Nation launches a brutal war against the others. A century has passed with no hope in sight to change the path of this destruction. Caught between combat and courage, Aang (Noah Ringer) discovers he is the lone Avatar with the power to manipulate all four elements. Aang teams with Katara (Nicola Peltz), a Waterbender, and her brother, Sokka (Jackson Rathbone), to restore balance to their war-torn world.

OUTSTANDING FEATURES OF THE FILM: Very good visual effects but poor development of plot and shallow dialogue.