ASSESSMENT ONLY
Cast: Nicholas Cage, Kristen Bell, Bill Nighy, Freddie Highmore, Donald Sutherland, Eugene Levy, Nathan Lane, Matt Lucas, Sterling Beaumons, Madeline Carolle, Charlize Theron; Director: David Bowers; Producer: Maryann Garger; Screenwriters: Timothy Harris, David Bowers; Music: John Ottman; Editor: Robert Anich Cole; Genre: Children, Science Fiction, Adventure Comedy; Cinematography: Pepe Valencia; Distributor: Summit Entertainment; Running Time: 85 mins.:

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

BRIEF FILM SYNOPSIS

Few characters have made as powerful or as lasting an impression on international popular culture as Astro Boy. The little robot first appeared in 1951 as a character in the celebrated artist and animator Osamu Tezuka’s legendary manga(Japanese comic book) and became an instant icon. He was subsequently featured as the star of his own television series in both black-and white and in color, eventually airing in over 40 countries. Astro Boy created the standard for a new form of animation that has become world famous as anime.

Now for the first time, Astro Boy is brought to life on the big screen. Created with breathtaking computer animation from Imagi Studios, the film Astro Boy is a thrilling tale of a true hero.

Set in futuristic Metro City, Astro Boy is about a young robot with incredible powers created by a brilliant scientist named Dr. Tenma (Nicolas Cage). Powered by positive “blue” energy, Astro Boy (Freddie Highmore) is endowed with super strength, x-ray vision, unbelievable speed and the ability to fly. Embarking on a journey in search of acceptance, Astro Boy encounters many other colorful characters along the way. Through his adventures, he learns the joys and emotions of being human, and gains the strength to embrace his destiny. Ultimately learning his friends and family are in danger, Astro Boy marshals his awesome super powers and returns to Metro City in a valiant effort to save everything he cares about and to understand what it means to be a hero.

Patient X

Cast: Richard Gutierrez, Cristine Reyes, TJ Trinidad, Miriam Quiambao; Director: Yam Laranas; Producers: Jose Mari Abacan, Veronique Del Rosario-Corpus, Vincent G. Del Rosario III, Yam Larnas; Screenwriters: Yam Laranas, Aloy Adlawan; Music: Nani Naguit; Editor: Chuck Gutierrez; Genre: Horrors; Cinematography: Yam Laranas; Distributor: GMA Films; Location: Manila; Running Time: 100 mins.;

Technical Assessment: 2
Moral Assessment: 1.5
CINEMA Rating: For viewers 14 and above

Dalawampung taon na ang nakalilipas nang masaksihan ni Lukas (Richard Gutierrez) ang pagpatay sa kanyang pamilya ng mga aswang dahil lang kinukuha ng mga ito si Guada (Cristine Reyes). Hindi na nahuli ang mga ito ngunit makakatanggap bigla si Lukas ng balitang ang isa sa kanila ay nahuli ng isang pulis (TJ Trinidad) na pinatay rin ng mga aswang ang buong pamilya. Magbabalik si Lukas sa kanilang lugar upang makita ang mukha ng taong pumatay sa kanyang pamilya. Nakakulong sa isang silong ng ospital ang nahuling suspek. Laking gulat niya nang makita niyang ang nahuli pala ay si Guada na bagama't dalawampung taon na ang nakalipas ay hindi nagbago ang anyo. Anumang gawin ay hindi mapatay-patay ang tulad ni Guada. Ito ang pilit na aalamin nila Lukas habang si Guada ay pilit na kinukuha ng mga kasamahan niyang aswang. Ngunit pawang napapalapit si Lukas kay Guada dahil sa naging mabait ito sa kanya. Isa pa, sinasabi ni Guada na ayaw na niyang pumatay ng tao kung kaya't hangga't maaari'y ayaw na niyang sumama sa mga kasamahang aswang. Subalit hindi titigil ang mga ito sa pagpatay sa mga tao sa ospital hangga't hindi nakukuha si Guada. Dito magsisimulang malito si Lukas kung pakakawalan ba niya o hindi si Guada.

Walang dudang maganda ang intensiyon ng pelikula. Wala rin dudang magaganda ang kuha ng kamera at may mga eksena talagang madadala ang manononood sa katakutan. Ngunit hindi pa rin maitatanggi ang napakaraming butas sa kuwento ng pelikula. Nariyang hindi malinaw kung si Guada ba ay kakampi o kaaway. Hindi rin malaman kung paanong naging malapit si Lukas kay Guada at kung paanong ang damdamin sa isang tao ay magbago sa loob lamang ng ilang oras o minuto? Hindi rin katanggap-tanngap ang maraming kamalian sa detalye tulad ng hindi pagtawag ng mas malaking puwersa gayong nalalaman nilang hindi tao ang kanilang kaaway kundi halimaw? Paanong ang isang pasyente ay maiwan sa gitna ng halos abandonado ng ospital? Ilan lamang ito sa mga katanungang iniwan ng pelikula. Sayang at maayos sana ang pagkakadirehe at ang pag-arte ng mga tauhan ay maayos naman. Ngunit kulang na kulang sa bigat at lalim ang kuwento. Maging ang kuwento ng mga aswang ay mababaw din. Walang bagong matututunan sa pelikula kundi ang kung paano patayin ang mga aswang. At maging ito ay hindi kagulat-gulat at kataka-takang hindi nila agad nalaman sa kuwento.

Ang mga aswang ba'y mga halimaw o tao ring likha ng Diyos? Ito ang katanungang gugulo sa isip ng manonood sa kanilang panonood ng Patient X. Ipinakitang nais nang magbago ni Guada ngunit hindi niya magawa dahil kailangan niyang mabuhay. Anong klaseng nilalang ang kinakailang pumatay para mabuhay? Paanong nagkakaroon ng puso ang mga katulad nila? Paano silang nagkakaroon ng damdamin gayong walang awa naman nilang kinakatay ang mga taong kanilang inaatake? Nagiging hati rin ang puso ng mga tao kung ang mga ganitong uri ba'y nararapat patayin. Kung nag-aanyong tao lamang sila ay hindi sana mahirap sagutin. Ngunit paano kung ito ay iyo nang maging kaibigan, o asawa? Sa mga ganitong uri ng sitwasyon, hindi man lang naramdaman ang pananalig ng tao sa Diyos na dapat sanang ginamit din nilang sandata sa paglaban at pagkitil sa mga kampon ng demonyo. Ngunit hindi. Nanatiling umaasa sila sa kanilng lakas kahit pa ang kanilang kaaway ay alam nilang may sa demonyong taglay. Dapat gabayan ang mga batang manonood upang sila'y mapaliwanagan na ang mga ito'y kathang isip lamang at hindi kailanman magiging mas makapangyarihan ang masama sa kabutihan.

The Hurt Locker

Cast: Jeremy Renner, Anthony Makie, Brian Geraghty; Director: Kathryn Bigelow; Producers: Kathryn Bigelow, Mark Boal, Nicolas Chartier, Greg Shapiro; Screenwriter: Mark Boal; Music: Marco Beltrami, Buck Sanders; Editor: Chris Innis, Bob Murawski; Genre: Action/ Suspense; Cinematography: Barry Ackroyd; Distributor: Summit Entertainment; Location: Iraq; Running Time: 131 mins.;

Technical Assessment: 4
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Sgt. William James (Jeremy Renner) is an unorthodox and reckless soldier who joins the Bravo Company as the team leader of Explosive Ordinance Disposal (EOD) unit during the US-Iraq war in 2004. His teammates include tough and uncompromising Sgt. Sanborn (Anthony Makie) and the younger self-centered Eldridge (Brian Geraghty). James's impulsiveness irritates and causes tension within his team. However, James becomes compassionate with an Iraqi boy nicknamed Beckham and raises hell and gets Eldridge shot in the leg when he thinks Beckham was the dead boy implanted with unexploded bombs. The team is called for a final mission two days before they return to their country. They are asked to assist a situation where a helpless man strapped with time bombs is forced to wander into the military checkpoint, but James is unable to diffuse the bomb in time and is force to flee just as the bomb explodes. At this point, Sanborn breaks down and informs James he can no longer stomach the pressure of being in the EOD. After some time, James is seen bidding goodbye to his baby boy and saying that there is only one thing he really loves.

The Hurt Locker is based on the chronicles of freelance writer Mark Boal who was embedded with a US Bomb Squad in the Iraqi war of 2004. Director Bigelow transforms these accounts into a riveting film that realistically captures the psychological and physical dangers of war. The camerawork is excellent and captures the drama of the moment. The characters develop strongly and push the plot effectively. Over-all, this is an excellent anti-war movie because it does not merely moralize about the evil of war but more successfully demonstrates its horrors with the psychological fixation to violence and danger one develops.

As quoted in the opening sequence, war journalist Chris Hedges correctly illustrates that the greater evil of war is not in the physical destruction but in the moral and psychological corruption it brings. Once exposed to such amount of raw, repeated and uninhibited violence, man has the tendency to feel invincible and god-like. He becomes addicted to its thrills and risks regardless of its purpose and consequences. War, therefore, can never be justified as it never becomes a strong enough reason to not only dehumanize the victims but also to corrupt those sent out to perform the acts of violence and aggression. Naturally, the movie contains disturbing images and situations of war. The themes and scenes of the film are better suited for older and more mature audiences.

500 Days of Summer

Cast: Joseph Gordon-Levitt, Zooey Deschanel, Geoffrey Arend, Chloe Moretz, Matthew Gray Gubler; Director: Marc Webb; Producers: Mason Novick, Jessica Tuchinsky, Mark Waters, Steven J. Wolfe; Screenwriters: Scott Neustadter, Michael H. Weber; Music: Mychael Danna, Ron Simonsen; Editor: Alan Edward Bell; Genre: Comedy/ Drama/ Romance; Cinematography: Eric Steelberg; Distributor: Fox Searchlight Pictures; Location: Los Angeles, USA; Running Time: 95 mins.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

In 500 Days of Summer, Tom (Joseph Gordon-Levitt) is an architect too timid to pursue his career, so he’d rather be a writer of greeting cards. Summer (Zooey Deschanel) begins work as the new assistant to Tom’s boss. He is smitten the moment he spots the pert Summer walking down the office on her first day of work, unaware she’s being noticed. Tom’s chemistry doesn’t remain one-way for long, as Summer notices and likes his looks, so one day she makes her move over the copying machine. In no time at all he falls in love with her, but while she has let him deep into her world, sees no one else but him, and says she is perfectly happy with their relationship, she wants nothing permanent—only to enjoy her life and her youth. Summer’s apparently casual attitude towards love baffles and then frustrates Tom. Sometime around the middle of 500 days serious trouble begins which later on leads to a break up. But Tom wouldn’t fall out of love and is in fact determined to get her back.

500 Days of Summer opens on Day 488 and then jumps back and forth, with each episode annotated and marked as “Day…” It is an ingenuous approach to telling a story that allows an incisive look into how love relationships “go wrong”. Billed as a “romantic comedy” this one is anything but light and laughable. In fact, through the recollection of events in a non-linear fashion, the viewer is enabled to seriously analyze how a past event affects and effects a present malady—something which involves the viewer in the characters’ lives. By Day 500 it becomes clear why things turn out the way they do, and we can only hope the characters in the story see it as clearly as we do. Screenwriters Scott Neustadter and Michael H. Weber certainly show a good grip on a love affair’s twists and turns, which good actors Deschanel and Gordon-Levitt give justice to. The combination of those factors must have delighted director Marc Webb.

500 Days of Summer is a movie that begins by telling us how the love story will end and is about how clueless the lover is till the end. MTRCB rates it PG 13—CINEMA would be inclined to label it an adult film, due to its attempt to treat the theme deeply. The presence of a pre-adolescent girl as a “love adviser” to an older man doesn’t make it innocent or acceptable. Sex is a given here (and in fact is the main factor in the attraction between the lovers)—and, like an airborne virus, is not a good thing for young people to “catch”. There is a big lesson here about the need to be attentive to signs and signals, especially where it concerns emotions. People like to see what they want to see when it comes to love, and that is what 500 Days of Summer tries to say. Things and people are not always what they seem: while some people may be easy to read, others may be the opposite of the image they project. People hide behind masks without even being aware of it. Experience tries to teach us, but does experience season us? Perhaps the hero here will know after 100 days of .. uh…autumn?

Ang Laro ng Buhay ni Juan

Cast: Ray An Dulay, Angeli Bayani, Nico Antonio, Richard Quan, Ace Ricafort, Perry Ecano; Director: Joselito Altarejos; Producer: Beyond the Box; Screenwriters: Joselito Altarejos, Peping Salonga, Lex Bonife; Genre: Drama; Distributor: ; Location: Manila; Running Time: 100 mins.;

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For mature viewers 18 and above

Nakapagdesisyon na si Juan (Ray An Dulay), na kilala rin ng karamihan bilang Erwin, na bumalik na sa kanyang probinsiya sa Masbate upang alagaan ang kanyang inang maysakit at tuluyan nang talikuran ang buhay sa Maynila. Magpapaalam siya sa kanyang mga kapitbahay at sa kanyang kinakasamang si Noel (Nico Antonio). Bagama't lantaran ang pakikipag-relasyon ni Juan sa kapwa lalaki, ay hindi naman lantaran ang kanyang trabaho bilang live sex performer sa isang tagong gay bar sa Maynila. Ang araw ng kanyang pag-alis papuntang Masbate ay ang huling araw na rin ng kanyang trabaho. Matapos ang gabi ng kanyang huling live performance at makuha ang kaukulang bayad dito, ay nakapagdesisyon na siyang talikuran ng permanente ang ganitong uri ng trabaho. Matapos niyang magbakasakali sa Maynila ng tatlong taon ay kung anu-anong trabaho na rin ang pinasok niya ngunit hindi niya nakuha ang suwerteng inaasam. Ngayong buo na ang loob niyang talikuran ang mapaglarong siyudad, manalo na kaya siya sa kanyang pagtaya sa bagong kapalaran?

Payak kung maituturing ang kuwento ng pelikula na sinundan lamang ang isang araw sa buhay ng isang taong nais magbagong-buhay. Ngunit ang kapayakang ito ang nagpahatid at naglahad ng epektibong kuwento ng mga taong ang buhay ay nakatago sa dilim. Kitang-kita ang pagkakaiba ng buhay ni Juan sa araw at gabi. Isang tipikal na kuwento ng mga taong nasadlak sa kahirapan at may hanapbuhay na hindi nila kayang ipagmalaki. Maganda at totoong-totoo ang eksenang ipinakita sa pelikula. Malinaw ang pagkakalahad ng kuwento na hitik sa simbolismo. Mahuhusay din ang mga nagsiganap na bagama't mga hindi kilala at hindi malalaking pangalan sa industriya ay nagawang magampanan ang kanilang papel nang makatotohanan. Maganda ang direksiyon ng pelikula sa kabuuan dahil na rin sa naging matapat ito sa mga katotohanan ng lipunan na bihira na lang mapansin ng karamihan.

Marami ang katulad ni Juan – mga nagbakasakali sa Maynila ngunit hindi nagtagumpay. Dalisay kung titingnan sa kabuuan ang pagkatao ni Juan. Bagama't nakipagrelasyon sa kapwa lalaki, ipinakita naman na tapat siya kung magmahal at mapagmalasakit sa kapwa. Sa kabila ng kanyang hanapbuhay bilang live sex performer ay mabuti pa rin siyang anak sa kanyang ina at mabait din siya sa kanyang mga kapitbahay. Yun nga lang, sadyang mapaglaro ang tadhana sa mga tulad ni Juan kung kaya't nasasadlak sila sa mga hanapbuhay na hindi nila buong-pusong ginusto. Dapat silang unawain sa halip na husgahan. Ngunit nakababahala pa rin na nagiging katanggap-tanggap na sa lipunan ang pagsasama ng dalawang lalaki na parang mag-asawa. Hindi kailanman magiging panghabang-buhay ang ganitong relasyon at makasisira ito sa pagbuo ng pamilya. Hindi rin dapat gawing dahilan ang kahirapan upang masadlak sa prostitusyon at gawaing nakasentro sa tawag ng laman. Pero kung tutuusin ay biktima lamang ang mga katulad ni Juan ng sitwasyon. Katulad ng ipinakita sa pelikula, hindi ang mga gaya niya ang tunay na masasama kundi iyong mga taong pinagsasamantalahan ang kasawian ng iba. Labis na nakakababaha rin ang ilang ipinakitang eksena ng hubaran sa pelikula lalo na ang pagtatalik ng lalaki sa kapwa lalaki. Bagama't malinaw sa konteksto ng pelikula na ito'y isang naiiba at madilim na mundo, maari pa rin itong magpadumi sa utak ng manonood at makaimpluwensiya ng pag-iisip ng mga kabataan. Kaya't nararapat lamang ang pelikula sa mga manonood na may gulang na 18 pataas.