The Priest

CAST: Paul Bettany, Karl Urban, Cam Gigandet, Maggie Q, Lily Collins, Brad Dourif, Stephen Moyer, Christopher Plummer; DIRECTOR: Scott Stewart; WRITERS: Cory Goodman, Min-Woo Hyung; GENRE: SciFi/Fantasy, Action/Adventure, Horror; RUNNING TIME: 87 minutes

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

After the Church’s victory on its war against Vampires through the Priests who possess supernatural abilities, the monsters are locked away and the Priests are now disbanded. Then years later, a lone warrior Priest ( Paul Bettany) receives a bad news that his brother has been killed by the vampires and his niece is abducted. Wanting to save his niece, he asks for the Church’s permission to pursue the vampires but they won’t allow him for fear that it would cause public panic. This leaves him without a choice but to break his sacred vows and pursue his quest to track down his niece and save her from becoming one of the vampires.

With its sloppy storyline and ridiculous points and turns, the plot of the Priest is pretty simple bordering on melodramatic than sci-fi. Which is not at all bad because the audience could easily follow through the play of emotions and motivations of the characters in the film given the spectacle of visuals and sounds. The production design is decent and the computer graphics appear to be believable. The fight scenes could be both engaging and distracting (perhaps those were done with the same purpose). Bettany delivers a promising performance and strong screen presence that goes also with the other casts although their characters seem underdeveloped.

The clergy as a peg for the world’s seat of power with the priests as warriors is an intriguing and interesting premise but could also be taken out of context given its portrayal and (mis)representations of the Catholic church rituals. Perhaps, the film is an attempt to emulate the Catholic church’s dark past through a futuristic sense that make everything seem confusing. However, the Church is not portrayed in the film as an evil force, perhaps only neglectful, if not ignorant, of its duties. Again, in the context of its dark history, the Catholic church has already admitted its mistakes and as any other institution, it is not perfect. The Priest also challenges “sacrifice” as the foundation of church believers. It is challenged, questioned and critiqued in the film. But towards the film’s end, it is still “sacrifice” that made all the sense in the story saying that it is the very essense of love not just for one’s self, but for the entire humanity. With sacrifice, the evil is defeated by the good.

Tumbok

CAST: Christine Reyes (Grace), Carlo Aguino (Carlo), Ryan Eigenmann; DIRECTOR: Topel Lee; PRODUCER:Viva Films; GENRE: Horror/Suspense; LOCATION: Philippines

Technical Assessment: 3
Moral Assessment: 1.5
CINEMA Rating: For viewers age 14 and above.

Ilang araw pa lamang sa lumang condominium unit ang mag-asawang Ronnie (Carlo Aquino) at Grace (Christine Reyes) ay marami ng kakaibang nararamdaman, nakikita at naririnig si Grace. Kinumpirma ng mag-inang kapit kwarto nila ang mga kakaibang kaganapan na nakasanayan na nila gayon din ang mga kamalasan sa buhay ng mga tumira sa condominium. Napag-alaman ni Grace na maliban sa kanila ng mag-ina ay mayroon pang mag-asawa at grupo ng mga estudyante na kasama nilang naninirahan sa condominium. Hanggang sa pagtulog ay dinadalaw si Grace ng kababalaghan. Napansin din niya na sunod-sunod na kamalasan din ang nangyayari sa kanila. Napaslang pa ang pinsan niya pagkatapos bumisita sa kanya at payuhan siya na lisanin nila ang condominium dahil sa napakalakas na negatibong enerhiyang bumabalot sa kabahayan. Sa kalaunan ay natuklasan ni Grace na ang pamilya ng asawa niyang si Ronnie ang isa sa mga naunang biktima ng kamalasan ng bahay. Samantala hindi naniniwala sa kababalaghan at malas si Ronnie. May praktikal ding dahilan ito na limitasyong pinansyal kaya mas mainam para sa kanya na manatili sa condo at hwag na lamang pansinin ni Grace ang mga inaakala niyang kababalaghan na naghahatid ng kamalasan sa buhay nila dahil sa pagtira nila sa condominium na nakatirik sa tumbok na tatlong sanga ng daan.

Masalimuot ang kwento ng pelikulang Tumbok. May kalabuan kung seryosong nais ipahatid ng pelikula ang paniniwala tungkol sa kamalasang hatid kapag nakatirik ang iyong tirahan sa tumbok ng daanan. Hindi malinaw kung mga ligallig na kaluluwa o espiritu ng demonyo ang mga namiminsala. Bigla na lang may mga taong nagbubuwis ng buhay para lang maipakita ang kamalasan. May kakahayahan na makapanghalay ang demonyo habang nasa anyong tao o kaya ay bilang espiritu sa realidad o panaginip. Sa layunin na makapanakot ay pinagalaw ang mga bagay kahit walang tao, bumubukas at sara ang mga pintuan, may mga lumilitaw na imahe ng batang babae at lalaki, at mga tunog ng iyak ng bata at paghiyaw ng babae. Establisado ang pagkakaroon ng temang may kaugnayan sa kadiliman ang pelikula. Ang lumang condominium ay tila di ana angkop tirahan dahil madumi at kawalan ng ayos. Hindi masyadong gumamit ng mga nakakatakot na imahe o make-up. Medyo palaisipan naman na sumabog ang kalan sa isang kuwarto at namatay lahat ng nasa loob pero ang kwarto lamang nila ang nasunog.. Wala namang dating ang pagganap ni Christine Reyes, walang naipakitang takot sa mga ekesanang hinihingi ito. Gayon din si Carlo Aquino kulang din ang ipinakitang damdamin sa pagganap bilang police photorgrapher at asawa ni Grace lalo na mayroon pala siyang nakaraan sa mahiwagang bahay.

Maliban sa mga pananalita ng kapitbahay nina Grace na dinadaan sa panalangin ang mga kababalaghan at kamalasan na nakasanayan na niya sa ilan taon ng paninirahan niya sa condominium ay wala nang iba pang mapupulot na aral sa pelikulang Tumbok. Maganda naman ang samahan ng mag-asawa. Pero nakakabahala na natapos ang pelikulang nagpapatotoo sa mga tinatawag na malas at swerte. Karumaldumal ang ilang eksena ng pagpaslang. Iilan lamang ang tauhan ng pelikula subalit walang naipakitang positibong image --- mag-asawang nagbubugan at humantong sa patayan, estudyanteng maiingay at walang galang, pulis opisyal na nagbabanta kapag nalaman ng publiko ang pangit na katotohanan sa serbisyo, at kasero na kampon ng demonyo at nanghahalay ng tumitirang babae sa paupahan, ina nais mamatay ang anak na iniluwal sa paniniwaang kampon ng demonyo, at istambay sa daan na bigla na lang mananaga ng mga inosenteng dumadaan sa kalye.. Sa kabuuan ay halos walang naihaing moral ang pelikula.

Thor

CAST: Natalie Portman, Anthony Hopkins, Chris Hemsworth,Idris Elba, Ray Stevenson, Kat Dennings, Stellan Skarsgård,Rene Russo, Jaimie Alexander; DIRECTOR: Kenneth Branagh; WRITER: Ashley Miller; PRODUCER: Marvel Studios; GENRE: Action/Adventure; LOCATION: U.S.A.; RUNNING TIME: 130 minutes

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers age 14 and above.

Hammer-wielding Thor (Chris Hemsworth) is heir to the throne of his father King Odin (Anthony Hopkins). When he learns that their family palace in Asgard has been ransacked by their enemies, the frost giants, Thor, a rather gung-ho kind of royalty, defies his father’s orders and packs his brother Loki and a handful of buddies along to give the frost giants a lesson. But stands to learn his lesson, too, as Odin is just as determined to teach him one for his brazen disobedience. He banishes Thor to Earth, along with his hammer, his favorite weapon of destruction, but on Earth, Thor loses his nobility status and becomes just an ordinary guy. Worse, his magical hammer is stuck in rock, which means it will only yield to his touch when he stops being a (as Odin says) “vain, greedy cruel boy.” On Earth he meets scientist Jane Foster (Natalie Portman)—that and Odin’s death spell the beginning of change for Thor.

In mythology, as one of the movie’s posters proclaim, Thor is god of thunder. It seems apt that Thor the movie’s soundtrack is as thunderous as they come, even ear splitting in certain battle scenes. While Thor and Odin are supposedly Nordic gods—and every square centimeter of Hemsworth’s face, from any angle, under any lighting, leaves you no doubt as to the authenticity of his noble Nordic looks—but director Kenneth Brannagh casts the cinematic Thor and company as aliens from a non-heavenly realm, perhaps aware that mythology is lost to the majority of moviegoers these days. Portman’s role here is rather a letdown after her Black Swan soared to higher heavens—but she did aim to be credible as a scientist. Editing is good, it must be said, and the CGI leaves nothing more to be desired. Particularly giddying but pleasantly so are the scenes that enable the viewer to zoom through intergalactic space. Makes you feel really smaller than a dust particle in the whole of creation.

When Thor becomes small, that’s when he becomes really big. When Thor learns to bow his head in weakness, that’s when he gains true power. When he loses his weapons as a warrior, that’s when he’s most heroic. There’s a line by Erik, speaking to Thor that goes "When you learn you don't have all the answers, you ask the right questions" which seems to be the message behind the paradoxes in Thor. Despite its violence, its being a glamorized fluffy action movie, Thor has something weighty to say. Weighty as in biblical. There goes another paradox. And hey, Thor’s fave weapon is a hammer—isn’t that also carpenter’s tool? Go figure.

Pak! Pak! My Dr. Kwak!

CAST: Bea Alonso (Dr. Cielo), Vic Sotto (Dr. Kwak, Angelo), Zaijan Janranilla (Angelito), Xyriel Manabat, Pokwang, Jose Manalo, Wally Bayola, Zanjoe Marudo; DIRECTOR: Tony Y. Reyes; PRODUCER: ABS CBN & M-Zet’s Productions; GENRE: Comedy/ Drama/Fantasy; DISTRIBUTOR: Star Cinema; LOCATION: Philippines

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

Si Angelo (Vic Sotto) ay isang pekeng manggagamot. Nagpapalit-palit siya ng anyo at lugar dahil sa banta sa kanyang buhay sa minsang hindi niya napagaling na pasyente. Mapapadpad ang grupo nila sa isag bagong lugar kung saan naroon si Dra. Cielo (Bea Alonzo). Bagama't may pagtingin si Dra. Cielo kay Angelo, magiging kontra ito sa mga gawaing pangagamot ni Angelo dahil sa ginagawa nitong pananamantala sa mga tao. Sa pagpipilit ni Dra. Cielo na patunayang pekeng doktor si Angelo ay darating si Angelito (Zaijan Jaranilla), nisang anghel na pinababa mula sa langit dahil sa misyong pagbaguhin si Angelo. Gagawa si Angelito ng mga himala para kay Angelo sa kondisyong gagawa ito ng kabutihan kapalit ng mga milagro. Maging matagumpay kaya ang kanyang misyon kay Angelo?

Wala namang masyadong bagong putaheng inihain ang Pak! Pak! My Dr. Kwak! Nakita na natin ang maraming kuwento ukol sa huwad na faith healers pati na ang tungkol sa mga anghel na pinababa sa lupa dahil sa kapilyuhan. Sinubukang bigyan ng pelikula ng bagong-bihis ang mga gasgas na konseptong ito sa pamamagitan ng pagbibigay ng bagong koneksyon sa mga lumang elemento. Pero ang kinalabasan ay tila pilit pa rin. Maging ang mga special effects ay hindi rin naging kapani-paniwala. May ilang mga nakakatuwang eksena pero karamihan sa kanila ay ibinabalik lamang ang nakagawian nang "toilet humor" kundi man slapstick. Nariyan pa rin ang mga karaniwang pormula sa pagpapatawa tulad ng sampalan, pambabatok, mga bastos na patawa kundi man nakakapandiri. Karaniwan na rin at walang bagong ipinakita ang mga komedyante sa pelikula. Si Sotto ay ganoon pa rin ang atake samantalang si Alonzo naman ay parang naligaw sa maling pelikula. Walang naramdamang kilig sa dalawa. Sa patawa nama'y hindi rin ito masyadong naging matagumpay. Marahil, kung ginawa na lamang nilang drama ang pelikula baka naging mas epektibo pa ito.

Sa kabila ng maraming kakulangan ng pelikula sa teknikal na aspeto, hitik naman ito sa mabubuting aral. Nasundan sa pelikula ang kuwento ng dalawang tauhan na kapwa may kailangang baguhin sa kanilang mga pag-uugali. Isang pilyong anghel at isang huwad na mangagamot na puno ng galit ang puso. Nagawa nilang pagbaguhin ang isa't-isa at natuto silang maging mapagbigay at magsakripisyo para sa kanilang mga minamahal. Sa umpisa'y ipinakita kung paanong nasasadlak sa maling gawa ang isang tao at ang ugat nito karaniwan ay kasamaan din tulad ng galit at pagiging ganid. Malakas din ang mensahe ng pelikula ukol sa tunay na pagbabago na ibang-iba sa balatkayo lamang, Ang tunay na pagbabago ay nanggagaling sa puso at hindi ipinipilit dahil lamang sa makukuhang kapalit sa bandang huli. Nakababahala nga lang ang ilang ipinakitang representasyon ng mga anghel at langit na tila walang malinaw na basehan at nagmumukhang katawa-tawa ang kanilanng anyo. Nakakabahalang maniwala ang mga batang manonood na ganito nga itsura ng langit at mga anghel. Ang ilang pambabastos din sa kababaihan at may kapansanan sa ngalan ng pagpapatawa ay nakakabahala din. Pero sa kabuuan naman ay may malalim na mensahe ang pelikula ukol sa pagbabago at pagsasakripisyo at sa puntong ito ay pwede nang patawarin maging ang ilang kasalanan ng pelikula dahil ito naman ang tunay na tatatak sa isipan ng manonood sa bandang huli.

Diary of a Wimpy Kid: Rodrick Rules

CAST: Zachary Gordon, Devon Bostick, Robert Capron, Steve Zahn, Rachael Harris, Peyton List, Ben Hollingsworth, Robert Capron, Michelle Harrison, Grayson Russell; DIRECTOR: David Bowers; WRITERS: Gabe Sachs, Jeff Judah, Jeff Kinney; GENRE: Comedy, Drama; RUNNING TIME: 96 minutes.

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For viewers age 14 and above

Diary of a Wimpy Kid: Rodrick Rules takes off from last year’s surprise comedy hit about the Heffley family of three sibling brothers Rodrick (Devon Bostick) , Greg (Zachary Gordon) and toddler Manny and their parents Susan(Rachel Harris) and Frank (Steve Zahn). Rodrick as usual bullies his kid brother 7th grader Greg who has no choice but to play along with him or else. Mom knows it and would give anything to see her two boys living in peace and harmony—to the extent of paying them a dollar for each trouble-free hour they’re together. Susan and Frank one day decide they would go on holiday and leave the house to Greg and Rodrick, extracting a promise from the kids that they would behave while on their own. As soon as their parents leave their sight Rodrick prevails upon Greg to throw a party—but it would be boozeless, relatively safe. But as it turns out, a party’s being alcohol-free is no guarantee of order. The two are caught red-handed and get the appropriate punishment from their disappointed parents.

As far as its genre goes, Diary of a Wimpy Kid: Rodrick Rules plays the game by the rules, following a formula that is sure to click with its target audience—kids and families—as the first Diary… did, reportedly making a neat profit for its makers. The viewer can forget about its being fiction as it more or less fairly reflects 21st century parenting American style. You can’t fault the actors for being unbelievable—they’re such naturals given the plot and the never-a-dull-moment script. As for the other things that make a movie technically correct— Diary of a Wimpy Kid: Rodrick Rules has them all neatly pulled together. It is an entertaining movie that its makers have taken pains to keep wholesome, so much so that even the stricter critics in the US have freely given it a rating of “PG for some mild rude humor and mischief”.

If you’ve ever been a parent you’ll understand that all Diary of a Wimpy Kid: Rodrick Rules is saying is “kids will always be kids but hang on, they’ll grow up, too, and outgrow their mischievous ways”. And CINEMA agrees. Our 2.5 Moral Assessment score doesn’t mean the movie promotes destructive values—it simply means that parental explanations are in order if you allow your children to watch this movie. The parents (Susan and Frank) have good intentions and their children’s best interests at heart, although they could be mistaken for being so naïve or lenient—something that’s balanced by the father of Rowley (Robert Capron), Greg’s chubby best friend, who makes sure his son follows his rules. The movie’s many humorous moments and funny scenes are interspersed with not-so-desirable instances some youngsters might imitate but the resolution at the end gives the viewer a better picture of its optimistic message. In real life, we see worse examples, and children eventually grow up to be mature adults in spite of them.