Legend of the Guardians: The Owls of Ga'Hoole

Technical: 3.5
Moral: 3
Rating: PG 13 (Aged 13 and below with parental guidance).

Brothers Soren and Kludd may look the same outside but inside these barn owlets are worlds apart. Soren (voiced by Jim Sturgess) won’t get tired of the bedtime story their father tells about the Guardians of Ga’Hoole, a noble band of warriors who vanquished the evil army named the “Pure Ones”. For Kludd (voiced by Ryan Kwanten), however, such are silly stories only daydreamers like his brother could buy.
Sneaking out of the family nest one night to try their wings at “flying”, barn owlets Soren and Kludd tumble off a branch to the ground. But before they are captured by a hungry wild boar, they are swooped away in the talons of huge mean-looking owls. Their captors turn out to be the minions of the Pure Ones who run an “orphanage”—in reality a training camp that brainwashes abducted owlets to serve their wicked purposes.

Aware of their captors’ nefarious activities to annihilate the owls of the “lesser species” (meaning those outside of the Pure Ones’ dominion) but deceived by the promises of their evil Queen Nyra (voiced by Helen Mirren), Kludd accepts to be a future soldier while Soren is sent to the camp’s slave labor area when he defends a tiny elf owl Gylfie (voiced by Emily Barclay). Soren and Gylfie think the owldom must be warned of the Pure Ones’plan to wipe them out, but who will escape the camp to do it? An old warrior from the ranks of the Pure Ones, Grimble (voiced by Geoffrey Rush) trains the young pair to fly so that they may one day escape the camp and warn the unsuspecting owls.

Directed by Zack Snyder and brought to the screen by Animal Logic, the same studio that made that penguin movie, Happy Feet, this owl film is definitely something worth hooting about. It’s a visual treat, right from the start. The animators certainly created a magical world—forest, sea, sky—that one could only wish to be real in its majesty and beauty.

This is one time you’ll forget about those plastic 3D glasses you’re wearing as you note the fine details, colors and textures that the film is never short of: the subtle lighting shifts on the owls’ feathers ruffling in the breeze, on the scenic backdrops of sea or storm, on Soren’s flight through a nasty funnel cloud, or on the clouds made translucent by their gliding across the sun. Such gorgeous photo-realism takes Legend of the Guardians several notches higher than even the better animation films so far made, especially with the impressive rendering of the owls’ eyes.

From childhood we know that owls, with their wide, intelligent looking eyes, have traditionally symbolized wisdom, but being nocturnal, they can hardly be scrutinized at the zoos, so we have never really seen how they move their eyes. But now, Legend of the Guardians gives us owls with eyes as expressive as humans’. We know a bit about CGI and how difficult artists find it to capture the eyes in animation, but here we have owls’ eyes so realistically conveying human emotions about equally human concerns, like their family’s future or vanquishing evil, that we could come to think they’re not really owls, much less animated owls, but actually human beings in owls’ clothing!

Preposterous though that may sound, Legend of the Guardians depicts laudable ideals and most assuredly delivers a message on the human condition. Perhaps the story and the script are rather familiar to adults, but to preteens in search of heroes a tale of bravery like this would be uplifting, inspiring us to self-confidently keep our head and heart in the right place in the face of adversity.

The movie is definitely worth a peek for viewers of all ages, but please keep the younger children (below primary school age) and nervous 10-year olds out of the audience. Although it’s a worthy story about the quest toward self-awareness, the dark story is generously spiked with intense situations, and startling fierce encounters between good and bad owls—the stuff nightmares are made of.

You’d never think that owls would be concerned with heroism, honor, adventure, peace, legends, power, family, orphans and class distinction but Legend of the Guardians says they are, indeed. Well, as we have said, these owls to us feel like humans. The only thing that will probably jolt you out of this “humanowled” world is the warriors’ intricately crafted combat masks. Appreciating the craftsmanship you’d think, “Gee, how could owls make such exquisite metal masks?” Then you’ll realize: it’s only a movie! --By Teresa R. Tunay, OCDS

I do

Cast: Erich Gonzalez, Enchong Dee, Dennis Padilla, Pokwang, Isay Alvarez ; Director: Veronica Velasco; Producer: Malu Santos; Screenwriter: Veronica Velasco; Distributor: Star Cinema; Genre: Comedy/ Drama; Location: Manila; Running Time: 100 minutes
Cast: Steve Time: 88

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

Si Yumi (Erich Gonzalez) ay naniniwala sa kapalaran at nangangarap na balang araw ay makikilala niya ang kanyang Prince Charming at sila’y ikakasal sa kanyang dream wedding. Nang makilala niya si Lance (Enchong Dee), aakalain niyang ito na ang kanyang hinihintay. Magiging mabilis ang pangyayari sa kanilang dalawa at makalipas lamang ang ilang buwan ay magugulat na lamang si Yumi na siya ay nabuntis na pala. Sa takot ni Yumi sa kanyang pamilya ay agad niyang niyaya si Lance na magpakasal kahit hindi pa ito handa, bukod sa hindi rin matanggap ng pamilya ni Lance na ikakasal ito sa isang hindi nila katulad na Tsino. Magiging malabis ang kalituhan ni Lance at hindi nito itutuloy ang pagpapakasal kay Yumi. Maraming beses silang mag-uurong-sulong sa pagpapakasal dala ng maraming aberya, pati ang komplikasyon sa kani-kanilang pamilya, damay na rin ang kanilang anak. Matupad pa nga kaya ang inaasam ni Yuming dream wedding?

Bagama’t kung tutuusin ay gasgas na ang kwento ng I do, nagawa nitong bigyan ng bagong bihis ang tila palasak nang konsepto. Maraming nakakaaliw na eksena na binigyang buhay at kulay ng mga batikang komedyante at aktor. Ang mga bida naman, bagama’t halatang mga pa-cute pa ay nagawa namang umarte sa mga eksenang kinakailangan at sadyang ibinagay sa kanila ang kani-kaniyang papel. Pero nagkulang pa rin sa hagod ang pelikula. Bukod sa kakulangan ng hagod ang pag-arte ng mga pangunahing tauhan lalo na si Dee, kulang din sa lalim ang kabuuang pagkukuwento ng pelikula. Hindi gaanong napalalim ang mga tunay na isyung dapat tinalakay. Sa halip, nasobrahan ng pagkaka-sentro sa kasalan ang kwento, kaya’t halos mawalan na ito ng saysay. Maaring ito rin ang gustong palabasin ng pelikula sa kabuuan ngunit nabigo ito dahil sa mahinang pundasyon ng kuwento. Sa kabuuan tuloy ay madali ring makakalimutan ang pelikulang ito.

Ang kuwento ng mga kabataang mapupusok na nauuwi sa di-inaasahang pagbubuntis ay palasak na rin sa lipunan. Isa itong problemang dapat pagtuunan ng pansin at hindi magkakaroon ng solusyon kung dadaanin na lamang sa tawa. Ito ang ginawa ng I Do – ang gawing katatawanan ang isang napakaseryoso, at maging mga sagradong sitwasyon. Walang nakakatawa sa maagang pagbubuntis nang wala pang kasalan. Magiging sanhi ito ng marami pang komplikasyon na dapat sanang ipinakita sa pelikula upang maging halimbawa sa mga kabataang manonood. Oo nga’t mabigat na ang buhay at hindi na dapat lalo pang pabigatin ngunit sa ginawang pagpapagaan ng I Do sa sitwasyon ay lalo itong naging nakakabahala. Wala ngang matinding halikan o hubaran na ipinakita ngunit ang pagkauwi ng isang bubot na relasyon sa pagbubuntis ay hindi dapat ipinagsa-walang bahal ng perlikula. Wala man lang matapat na pagsisisi mula sa sinumang tauhan. Bagkus, nakatuon pa rin ang babaeng tauhan sa maraming ilusyon— ilusyon ng pag-ibig at pagpapakasal. Hindi dahil sa isa itong mahalagang sakramento kundi dahil, isa itong magandang palabas. Hanggang sa huli’y parang hindi naman nabago ang pagtingin na ito. Para bang ninais pa nitong sabihin na, basta’t mahal mo’y, yun na. Hindi isina-alang-alang ang kahalagahan ng sakramento at ang malalim na inspirasyong kaugnay dito. Sa malaking bahagi ng pelikula, naging insidental at tila palamuti na lamang ang naging anak ng dalawang tauhan. Kahit paano mo ito tingnan, ito’y isang kamalian. --By Rizalino Pinlac, Jr.

Charlie St. Cloud

GENERAL INFORMATION

LEAD CAST: Zac Efron, Amanda Crew, Charlie Tahan, Augustus Prew, Donal Logue, Kim Basinger, Ray Liotta DIRECTOR: Burr Steers SCREENWRITER: Craig Pearce, Lewis Colick PRODUCER: Marc Platt GENRE: Drama RUNNING TIME: 109 minutes DISTRIBUTOR: Universal Pictures LOCATION: New England, USA

Technical: 4 Moral: 3 For viewers 14 years and above

Overcome by grief at the death of his younger brother, Charlie St. Cloud takes a job as caretaker of the cemetery in which his brother is buried. Charlie has a gift and special bond with his brother (Sam) whom he can see. Charlie meets up with his deceased brother each night to play catch and talk, but when a girl walks into Charlie’s life, he must choose between keeping his promise to Sam, or going after the girl he loves. The movie presents life after death in a realistic way: the dead are still alive though in a different form.

Muli

Cast: Sid Lucero, Cogie Domingo, Rocky Salumbides; Director: Adolf Alix, Jr. Screenplay: Jerry Gracio; Running Time:100 minutes; Location: Baguio; Genre: Drama/ Adult

Technical Assessment: 3
Moral Assessment: 1
Rating: For Viewers 18 years old and above



Magsisimula ang kuwento nang dekada 70. Pagkalabas ng seminaryo, si Jun (Sid Lucero) na ang namahala ng kanilang inn at humalili sa yumao niyang ina. Mahihikayat si Jun na sumali sa isang komunistang kilusan na naghahangad ng pagbabago mula sa diktadurya, at dito ay magkakaroon siya ng relasyon sa kapwa lalaki nilang lider. Sa kasamaang palad ay masasawi ang kasintahan niyang ito at ibubunton sa kanya ang sisi kung kaya’t siya’y ilalaglag ng samahan. Makikilala naman niya ang abugadong si Errol (Cogie Domingo). Magsisimula sila sa kaswal na pagkakaibigan na hahantong sa isang sekswal na relasyon. Lilipas ang panahon at makakapag-asawa si Errol at magkakaroon ng dalawang anak. Minsan isang taon ay umaakyat si Errol ng Baguio upang makipagkita kay Jun kahit pa ito’y may iba na ring kinakasama. Sa pagdaan ng mga taon ay hindi malilimot nina Jun at Errol ang isa’t-isa ngunit may kani-kaniya na rin silang buhay pamilya at pag-ibig, at ang kanilang relasyon ay hindi rin tanggap sa lipunan. Magawa pa kaya nilang mapanindigan ang kanilang pagmamahalan?

Ang Muli ay uminog sa iba’t-ibang panahon ng kasaysayan ng Pilipinas mula dekada 70 hanggang sa kasalukuyan. Maganda sanang panimula ito at tila isang bagong bihis para sa isang kuwentong pag-ibig na namamagitan sa dalawang lalaki. Ninais ng pelikula na pagsabayin ang paghahayag ng kalayaan ng bansa mula sa diktadurya at ng kalayaan sa paghahayag ng piniling kasarian o sekswalidad. Ngunit hindi ito naging maliwanag sa kabuuan ng pelikula dahil hindi gaanong naipakita ang malinaw na koneksyon ng dalawa. Pawang lumalabas na nagkataon lamang na naganap ang kanilang kuwento sa nasabing panahon. Ilagay man ito sa ibang panahon o lugar, hindi pa rin magbabago ang takbo nito. Hindi naman matatawaran ang husay ng mga nagsiganap lalo na si Lucero na naging kapani-paniwala sa kanyang papel. Maging is Domingo at iba pa ay pawang mahuhusay din. Nabigyang buhay nila ang kani-kanilang ginampanang tauhan. Yun nga lang ay nagkulang ng kaunti sa hagod ang karakterisasyon kaya lumabas na napakababaw ng kanilang mga pagkatao. Mahusay naman ang kuha ng camera at paglalapat ng musika.

Maraming ibinatong argumento ang pelikula sa lipunan at simbahan. Pilit nitong inilalarawan ang namamayaning kaapihan ng mga mamamayan, sa larangang ekonomiya man o sekswal, na nag-uugat sa gobyerno at lalo na sa simbahang Katoliko. Naging talamak , tahasan at talaga namang lantaran ang ginawa nitong pagkukuwestiyon sa turo ng simbahan ukol sa relasyon at sekswalidad. Pinalabas nitong makitid at sarado ang isipan ng simbahan sa usaping homosekswalidad. Hindi isina-alang-alang ng pelikula ang kahalagahan ng pamilya. Bagkus, malabis nitong binigyang pansin ang sekswal na relasyon ng dalawang lalaki na wala namang lalim kundi nakaugat lang sa pagluluto ng isa ng kaldereta. Bukod dito, wala nang makitang dahilan kung bakit nila minamahal at inaantay ang bawat isa. Sa tuwing sila’y magkikita, pagtatalik lang naman ang inaatupag nila. Walang malalim na kumustahan, walang matinding pinag-uugatan ang kanilang pag-iibigan. Naipakita naman kung gaano katindi ang naging epekto kay Errol ng ginawa niyang pagsisinungaling sa asawa ngunit sa bandang huli’y niromansa pa rin ang pag-iibigan nina Jun at Errol. Kung magiging ganito ang basehan ng wagas na pag-ibig, wala nang pamilyang mabubuo at ang lahat ng pagkakaibigan ay parati na lamang mag-uugat sa kababawan o tawag ng laman. Hindi marahil nauunawan o natatanto ng mga gumawa ng pelikula na ang simbahan ay sadyang maunawain at maawain sa sinumang nagkakasala. Ngunit ang kanilang isipin at palabasin sa pelikula na walang masama sa relasyong homoseksuwal ay siyang tunay na nakakabahala. --Rizalino R. Pinlac, Jr.

Resident Evil: After Life

LEAD CAST: Milla Jovovich, Ali Larter, Kim Coates, Shawn Roberts DIRECTOR: Paul W.S. Anderson SCREENWRITER: Paul Anderson PRODUCER: Paul Anderson RUNNING TIME: 97 minutes LOCATION: Tokyo & LA

Technical: 2.5 Moral: 2 For viewers 18 and above


Resident Evil opens with gripping scene showing umbrellas on a rainy day in Tokyo. In the middle of all this hustle and bustle stands a girl, dripping wet and apparently stoned. Soon she sinks her teeth into the neck of an innocent passerby—aaah, so she’s “one of them,” a newly converted zombie, one of those that will engage Alice (Milla Jovovich) in her battle to save the world from the bad guys.

Real life fashion model Milla Jovovich slips back into her black tights as Alice for this fourth entry in the series based on the video game. In post-apocalyptic Los Angeles, Alice is armed with an arsenal of high-powered guns and flying knives to fight off zombies infected with a virus developed by the Umbrella Corporation (with headquarters in Tokyo). Whatever the zombies’ role is in the bad guys’ attempt at world domination is obscured by their clicheic participation—mobbing after humans, waving their arms and sputtering monosyllables which together may be taken to mean they want the humans as snacks, just as moviegoes crave popcorn and soda.

Clearly, Resident Evil relies on its main attraction Jovovich to make a story out of a video game. If there is an attempt to make a moral pronouncement, it is pitifully overshadowed by the stylish presence of its main star, shown throwing flying knives are people in an obviously choreographed way, and in all-too-often close-up shots that distract from the story with her parted lips. Even if you didn’t know that Jovovich is a five-star fashion model whose face and figure has appeared in so many high-end advertisements, you’d wonder here if she’s a heroine out to save humankind or an endorser selling guns. One question pops up: is it okay to be killing so many people on the way to finding the real culprits? What happens to the families of those killed? But what do you expect when a video game is given flesh and blood via a full length feature film? Forget about the justice and the value of human life and the consequences of killing. The lesson Resident Evil: After Life incidentally teaches is: if you want your kids to grow up smart, cut down their video game playing.