Captain America

CAST: Chris Evans, Tommy Lee Jones, Hugo Weaving, Hayley Atwell, Stanley Tucci; DIRECTOR: Joe Johnstone; SCREENPLAY: Christopher Markus, Stephen McFeekyl; Based on Captain America by Joe Simon; EDITING:  Robert Dalva and Jeffrey Ford; PRODUCER: Kevin Feige; MUSIC: Alan Silvestri; GENRE: Sci-Fi Action; DISTRIBUTOR: Paramount Pictures; LOCATION: USA; RUNNING TIME: 124 minutes.

Technical Assessment: 4

Moral Assessment: 3.5

CINEMA Rating: For viewers age 14 and above.

Steve Rogers wants to serve his country and enlist in the Army. However, he is not physically qualified to become a soldier and is rejected for the 5th time. After he and his best friend attend the Modern Marvels of Tomorrow exposition, Rogers tries his luck one last time. Scientist Dr. Erskine (Stanley Tucci) overhears Roger’s fervent conviction and approves his application to the US Army’s special unit, Strategic Scientific Reserve. Rogers works hard and displays common sense but always falls short to the physical demands of the training, much to the disgust of Col. Chester Phillips (Tommy Lee Jones) who believes he is simply too weak and skinny to be chosen as the super soldier experiment. But when he shows how he is willing to sacrifice himself to save the team, Erskine knows he has found the right person. The experiment transforms Rogers into a well-built muscular soldier with enhanced physical. However, Erskine is killed by a Nazi spy and the transformed Rogers is simply reduced into a performing war mascot, Captain America touring cities and camps. However, SSR officer Peggy Carter (Hayley Atwell) refuses to believe that this is Rogers destiny and helps him fly into enemy lines to save his enlisted childhood friend, now captured by Schmidt/ The Skull (Hugo Weaving). Captain America destroys the base, saves 400 soldiers, brings back hi-tech enemy weapons and proves his worth in fighting the war.

It is always inspiring to learn the back stories of popular heroes whose quests and triumphs we already know. Captain America presents Steve Rogers as a character with dreams and struggles any person can identify with. The story telling is straightforward and clear with a production design that is well-researched and thorough. The visual technique is entertaining but average. Ironically, the story development is more interesting in the first act, where Rogers struggles to be accepted in the US Army. The movie begins to lose momentum during the 2nd act where Captain America battles with the Skull because the scenes are longer than necessary and too much emphasis is given to the special effects and post production techniques. Overall, Captain America is enjoyable (especially is watched in 3D) but pales in comparison to Iron Man and Thor which completes the back story of the Avengers characters.  It gives a good back story but offers nothing new or noteworthy. It is entertaining enough to hold the audience captive for the next few minutes but not memorable enough to be talked about after wards.

Captain America emphasizes two strong points. First, heroism is not about the strength of the body but the genuineness of the desire to protect and serve up to the point of self- sacrifice. Although Rogers was physically transformed into a super soldier, it was his heart and spirit that made him a hero.  Second, the movie reminds us how every person has a place in history if only he will patiently persist and learn not to run away from pain or failure.

Although the theme and language of the movie is suitable for the family, it remains a war movie with several violent action scenes that may be disturbing to the younger audiences.

Bridesmaids

CAST: Kristen Wiig, Maya Rudolph, Rose Byrne, Wendi McLendon-Covey, Ellie Kemper, Melissa McCarthy, Chris O'Dowd, Matt Lucas, Jill Clayburgh, Rebel Wilson; DIRECTOR: Paul Feig; WRITER: Annie Mumolo; GENRE: Comedy; RUNNING TIME: 125 minutes.

Technical Assessment: 3

Moral Assessment: 2

CINEMA Rating: For viewers age 18 and above.

Some film critics claim Bridesmaids is a female version of Hangover 2, but that won’t be quite accurate since the only thing the two buddy-flicks share is the tendency to overdo the foul language and the sexuality elements in the story.  Even then, Bridesmaids pales in comparison to the sickening humor of Hangover 2; at least Bridesmaids shows the dynamics of friendship when competition sets in, whereas the latter’s plot revolves around the misdemeanors of friends who indulge in excesses for its own sake.  Director Paul Feig has made Bridesmaids fast-paced enough to keep the viewer awake and expecting comic one liners but it also has drama justified by Annie’s pathetic situation.  Character development is good, and acting is plausible.

Annie (Kristen Wiig) is a thirty-something on the road to self-destruction.  Depressed and broke since she gave up her cake shop, she now seems to flit from day to day without a clear goal in life.  Worse, she fools herself that she’s okay, even if she’s no more than a “f—k buddy” to a grubby looking guy (Jon Hamm) who won’t let her sleep over after sex.  Despite all that, her best friend, bride-to-be Lillian (Maya Rudolph), asks Annie to be her Maid of Honor.  Flattered and thrilled Annie accepts the honor and meets the other bridesmaids, newly wed Becca (Ellie Kemper) back from a honeymoon in Disneyland,  foul-mouthed and ill-mannered Megan (Melissa McCarthy),  a dissatisfied mother Rita (Wendi McLendon-Covey), and the rich, beautiful and perfect Helen (Rose Byrne).  As the wedding day comes near it appears that the wedding is not about the bride but about the rivalry between Lillian’s impeccable and ever-reliable friend Helen and Annie, her lifelong best friend and now Maid of Honor.  Seeing her BFF status threatened, Annie crumbles in spite of the offer of a stable future from caring cop Rhodes (Chris O’Dowd); she makes a mess of herself and the wedding plans, thus earning for herself the title “Maid of Dishonor”.

Is this comedy funny?  Is defecating on a bathroom sink funny?  Or doing it crumpled on the street while wearing a wedding dress (that’s not yet even paid for)?  Laughable perhaps but not funny.  But then maybe Bridesmaids is not just meant to be laughed at.  Somehow it’s got a heart.  Women may find it easy identifying with any of the characters in Bridesmaids, but if you’re for dignity in womanhood you wouldn’t want to be Annie—she who comes unglued, squanders herself on a swine and can’t see beyond her self-defeating woes.  Loyalty, compassion and understanding are shown in characters Lillian, Rhodes, Megan and Annie’s mother who see in Annie something worth nurturing and reviving.  In a particularly unnerving way Annie is told that she is her own problem and her own solution.  That is the core of Bridesmaids' message, and while the movies may only be fit for adults, the message is for women of all ages. 

 

Prom

CAST: Aimee Teegarden, Thomas McDonell, Danielle Campbell,Yin Chang, Kylie Bunbury, Nicholas Braun, Jared Kusnitz, Jonathan Keltz, De'Vaughn Nixon, Nolan Sotillo; DIRECTOR: Joe Nussbaum; WRITER: Katie Wech; GENRE: Comedy, Drama; RUNNING TIME: 103 minutes.

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA Rating: For viewers age 14 and above.

SYNOPSIS: In Disney's "Prom" every couple has a story and no two are exactly alike. Several intersecting stories unfold at one high school as the big dance approaches. "Prom" portrays the precarious passage from high school to independence as some relationships unravel and others ignite. For Nova Prescott, it's a battle of wills as she finds herself drawn to the guy who gets in the way of her perfect prom. Fellow seniors Mei and Tyler harbor secrets, while others face all the insecurity and anticipation that surrounds one of high school's most seminal events. There are hundreds of nights in high school, but there's only one prom night. 

The Adventures of Pureza: Queen of the Riles

CAST: Milai Canteveros, Jason Francisco, Martin Del Rosario, Bianca Manalo, Bekimon, Nico Antonio, Joem Bascom, Ms, Gina Pareno; DIRECTOR: Soxie Topacio; PRODUCER: Star Cinema & Cine Screen; DISTRIBUTOR: Star Cinema; GENRE: Romantic Comedy; LOCATION: Manila; RUNNING TIME: 115 minutes.

Technical Assessment: 3

Moral Assessment: 2.5

CINEMA Rating: For viewers age 14 and above.

Nakatira si Pura (Melai Cantiveros) sa gilid ng riles kasama ang itinuturing niyang nakababatang kapatid na si Ulam (Martin del Rosario). Lahat ng trabaho ay pinapasok ni Pura para maipantustos sa pangangailangan nilang magkapatid at lalo na para sa pag-aaral ni Ulam. Sa gitna ng kabi-kabilang mga raket ay pinakamataas na pangarap pa rin ni Pura ang maging isang modelo. Ang matalik na kaibigan naman ni Pura na si Ruben (Jason Francisco) ay nagta-trabaho bilang driver ng isang sindikato. Magpupumilit si Pura nang minsang utusan si Ruben ng sindikato na sunduin ang isang paparating na modelo galing Brazil. Sa di sinasadyang pangyayari ay mawawala sa kanilang paningin ang Brazilian model at manganganib ang kanilang buhay sa sindikato kung kaya’t susubukan ni Pura na humalili sa mga dapat sana’y gagampanan ng modelo tulad ng pagrampa, pag-pose sa pictorial at iba pa. Pero mas magiging simula pa lamang ito ng mga nakaambang panganib sa buhay ng magkaibigang Pura at Ruben.

Hindi malinaw ang takbo ng kuwento ng pelikula. Lumiko-liko ito sa maraming direksyon ngunit hindi pa rin nagkaroon ng malinaw na patutunguhan. Bagama’t nakasentro ang kuwento sa buhay ni Pura, sumasanga-sanga ito sa kung saan-saan. Resulta tuloy ay pawang sabog at peilkula at di nito gaanong naaliw ang manononood. Nasayang ang husay ng mga nagsiganap lalo na ang bida na si Cantiveros at Francisco. Nagkulang sa hagod ang mga esksena na pawang minadali lang lahat. Labas tuloy ay nagkulang sa pagiging komedya ang pelikula. Sa dami rin ng gusto nitong sabihin ay hindi pa rin siya nakarating sa nais nitong paroonan. Karamihan din sa mga sangkap ng patawa na ihalo sa pelikula ay gasgas na kundi man muling ibinabalik ang ‘toilet: humor.”

Ang bidang si Pura ay larawan ng isang uliran kapatid at kaibigan.  Bagama’t  sumasabog ang kuwento ng The Adventures of Pureza: Queen of the Riles ay maliwanag naman ang mensahe nito ukol sa paggawa ng kabutihan at pag-iwas sa gawaing masama. Sa kabila ng pagkapit ni Pura sa patalim sa panahon ng kagipitan, nakuha pa rin nitong ipaglaban ang mga kaibigan at isakripisyo ang kaligtasan ng kanyang buhay alang-alang sa kapatid at mga kaibigan. Yun nga lang, nakababahala ang ginawang pagsisinungaling ng ilang tauhan sa oras ng pangangailangan. Baka isipin ng mga mas nakababatang manonood na ang pagsisinungaling ay tama. Nariyan din ang nakababahalang paggamit ng pelikula ng sinaunang “toilet humor” na ginagawang kasangkapan sa pagpapatawa ang mga bagay na dapat sana’y sa pribadong pagkakataon lamang ginagawa at pinag-uusapan. Sa kabila nito, nariyan pa rin ang pamamayani ng pakikipag-kapwa-tao, pagkiling sa mabuti, paggawa ng kabutihan at pagmamalasakit sa kapwa maging kadugo man ito o hindi. At sa pagkakaroon nito ng bidang katulad ni Cantiveros, mabibigyan ng pag-asa ang maraming mga katulad niya na kadalasan ay agad nahuhusgahan dahil sa panlabas na anyo. Pwede rin palang maging bida sa pelikula kahit hindi mestiza at ang lahat ay may karapatang mangarap, umibig at ibigin. 

Harry Potter and the Deathly Hallows (Part 2)

CAST: Daniel Radcliffe, Rupert Grint, Emma Watson, Gary Oldman, Ralph Fiennes, Jamie Campbell Bower, Helena Bonham Carter, Jason Isaacs, Tom Felton, Alan Rickman; DIRECTOR: David Yates; WRITERS: J.K. Rowling, Steve Kloves; GENRE: SciFi/Fantasy, Action/Adventure; RUNNING TIME: 130 minutes.

Technical Assessment: 4

Moral Assessment: 3.5

CINEMA Rating: For viewers age 14 and above.

Voldemort (Ralph Fiennes) takes possession of the Elder Wand, the most powerful wand in the world that can render its wielder invincible.  Meanwhile, Harry (Daniel Radcliffe), Hermione (Emma Watson) and Ron (Rupert Grint), determined to put down Voldemort, pursue their search for the remaining Horcruxes containing pieces of Voldemort’s soul—the destruction of which would lead to his death.  The trio learn that one of them is in a vault at the goblin bank, and to find the others they need to go to Hogwarts.  But the Deatheaters and the Dementors are hovering over the place; besides, master-of-treachery Severus Snape (Alan Rickman) is now Hogwarts headmaster.  In the somber atmosphere of Hogwarts which is now on lockdown, everybody is pinning their hopes on Harry Potter who has grown from terrified lad to a powerful, self-assured wizard. 

Harry Potter and the Deathly Hallows (Part 2) crowns the ten-year saga involving eight films helmed by four directors.  The series also made its leads Radcliffe, Watson and Grint among the youngest child star millionaires in film history.  The series seems to have evolved along with the maturing of its three young lead characters—with the childish Quidditch games gradually giving way to wizardry employed in earnest by the characters who have recognized their destiny as champions of good versus evil. The film provides a satisfying conclusion to the Harry Potter series that has thrilled audiences of all ages on a magical roller coaster ride and earned over six billion dollars from box office sales alone.

What is so potent about Harry Potter and the Deathly Hallows (Part 2) is not so much the pyrotechnics (although the movie is far from short on that department) but the subtler ways through which the drama and the tension between good and evil are portrayed through an interweaving of magic and reality.  Sure there are spells and wands and goblins and giants plus one rabid dragon coming into play but when the smoke clears the glory of the human spirit shines.  Those who have read the book would know what we are alluding to, but those who have followed only the movie version may be in for startling revelations.

 

We do not mean to spill out spoilers but something must be said about this story that has taken a whole decade and almost 20 hours of screen time to tell.  For some it could present a lesson in rash judgment.  Just as CINEMA refrains from critiquing a film before we see it—that’s why what we write are called “reviews”: first we view the film, then re-view it with a more critical eye—we can also only assess the merits of an epic fantasy after it is sealed by its concluding episode.  When the first of this J. K. Rowling series, Harry Potter and the Philosopher’s Stone, came out in 2001, not a few observers thought it was but another potboiler glamorizing witchcraft and sorcery at the expense of young people’s perception of reality.  But the subsequent box-office success of the series points to a satisfied need in the viewer, something we dare not delve into in this review.  Whether it is a simple need to be entertained or one that seeks profound metaphysical answers, we can’t tell, but this concluding series begs to be viewed in the context of the whole epic narrative. 

It is nothing short of grace, quiet grace that falls like rain on parched earth, that comes upon us as we see the final minutes of Harry Potter and the Deathly Hallows.  We see Harry, Hermione and Ron almost two decades after the battle at Deathly Hallows, but instead of wishing they were back on their flying brooms we heave a sigh of relief that they are where they are.  We realize these “kids” have become part of our life.  We have seen them grow into their roles through ten years of fantasy and adventure and now that they have come of age, we wish every good thing for them as though they were part of our family.  While we found amusement in their juvenile exploits we now experience amazement in their ordinariness.  Showing the three principals wearing wedding rings and pushing baby prams, this film roots for family life as the ultimate in human fulfillment. 

The single scene that ought to redeem J. K. Rowling’s opus in the eyes of its early critics and raise its moral value a notch higher is the one shot among Hogwart’s ruins, with Harry holding the Elder Wand which is rightfully his.  Ron says, “It’s the most powerful wand in the world, it makes you invincible… what do we do with it?”  Hermione turns to Ron and exclaims, “We?”  Harry doesn't say a word but does something in reply that stuns his two companions.  

When you see the movie and come to this scene, watch your thought to see what it reminds you of.  Surprise!