Aladdin

DIRECTOR: Guy Ritchie  LEAD CAST: Mena Massoud, Naomi Scott, Will Smith, Marwan Kenzari, Navid Negahban, Nasim Pedrad  SCREENWRITERS: John August, Guy Ritchie  PRODUCERS: Jonathan Eirich, Dan Lin  EDITOR: James Herbert  MUSICAL DIRECTOR: Alan Stewart  CINEMATOGRAPHER: Alan Stewart  GENRE: Fantasy, Animation  DISTRIBUTOR: Press Play Pictures  LOCATION: Jordan, England  RUNNING TIME: 127 minutes.

Technical assessment: 3.5 

Moral assessment: 3.5

CINEMA rating: V13 (Viewers 13 and below with parental guidance) 

MTRCB rating: G 

Aladdin (Mena Massoud) steals for a living in the merchant city of Agrabah. One day, he finds Jasmine (Naomi Scott), a princess disguised as a commoner, arguing with a vendor after she gets the vendor’s farm produce without paying and giving them away to two hungry children.  Aladdin helps her escape. Thus begins a love story that sees Aladdin sneaking into the palace to see Jasmine, where he gets kidnapped by the evil Jafar (Marwan Kenzari), advisor to Jasmine’s father the Sultan (Navid Negahban). Jafar sends Aladdin—nimble and bold—to find the magic lamp. Aladdin gets the lamp and hands it to Jafar.  Instead of rewarding Aladdin as promised, Jafar throws Aladdin to a ravine. The cunning Abu, Aladdin’s monkey, steals the lamp and gives it back to Aladdin.  Out comes the Genie (Will Smith) who grants Aladdin’s wish to become a prince so he could be with Jasmine. But there’s Jafar, who wants both the lamp and the Sultan’s throne.  

Big shoes to fill for Will Smith who takes on the role originally played by Robin Williams in the popular animated film in 1992. Smith plays the human parts of the Genie here, but his hip Genie is CGI and his blue presence  dominates the screen, even eclipsing Massoud’s Aladdin. We see the familiar elements: the lamp, the jewels, the carpet, the desert—but the CGI doesn’t show the shining-shimmering-splendid whole new world.  Lighting could have sprinkled magic to the set, but as it is, many scenes are either dark or bland. Naomi Scott is great, but her voice is reminiscent of Hollywood pop instead of the solid timbre we’ve come to associate with Princess Jasmine (missing Lea Salonga who sang A Whole New World in 1992).  Instead of giving us a variety of songs, the movie over-extends a few musical performances.  Compensating for these technical shortcomings, however, is the heart and spunk in the support cast: Abu the monkey, Baba the Sultan, the flying carpet, and Dalia the maidservant, making Aladdin an entertaining experience on the whole.  Incidentally, Aladdin turns out to be a huge success at the box office worldwide, grossing a total of $462 million against a production budget of $183 million.

Hollywood brings us another woman power movie in Aladdin. Writer-director Guy Ritchie gives Jasmine a brand new solo titled “Speechless”.   “I won't be silenced / You can't keep me quiet / Won't tremble when you try it / All I know is I won't go speechless, speechless.” Here’s a young woman who has the grit and fortitude to be sultan but does she have the gender for the role?  See what her father ultimately does.  Hers is a story of a character unfolding to reach her full potentials—definitely a good role model for young girls, especially her love and respect for her father.  Parental guidance alert on Aladdin’s character: stealing is bad, there is no such thing as a petty thief, or petty theft, and there is no adventure in stealing. Still, we recognize that at the heart of the film is the story of two men: the evil Jafar and the orphan Aladdin. Both are after the lamp. One wants it for power, the other for love. Aladdin foregoes the riches and makes as his final wish freedom for his friend the Genie. Now that’s compassion, earning a just and satisfying ending.—MOE

  

Between Maybes

DIRECTOR:  Jason Paul Laxamana  LEAD CAST:  Gerald Anderson, Julia Barreto  SCREENWRITER: Jason Paul Laxamana  PRODUCER:  Olivia Lamasan. Carlo L. Katigbak  EDITOR:  Mai Clapardo  MUSICAL DIRECTOR:   Paulo Protacio  GENRE: Romance Drama  CINEMATOGRAPHER:  Carlos Mauricio  DISTRIBUTOR:  Black Sheep Productions  LOCATION:  Japan, Philippines  RUNNING TIME:    107 minutes

Technical assessment:  3.5

Moral assessment:  3

CINEMA rating:  V 14

Rinding-rindi na ang dating child actor na si Hazel Ilagan (Julia Barreto) kapuputak ng kanyang ina gawa ng katamaran niyang mag-audition para makakuha ng papel sa pelikula.  Feeling niya ay itinutulak lamang siya ng kanyang inang stage mother (Yayo Aguila) para magpatuloy ang kanilang maginhawang lifestyle noong siya ay tanyag na batang artista at kumikita ng malaking salapi.  Sa kagustuhan niyang tumakas sa situasyon, naglayas siya at tumungo sa Japan, sa isang di-kilalang bayan—Saga—para matahimik at walang makakilala sa kanya.  Magkukrus ang landas nila ni Louie Puyat (Gerald Anderson), isang special case immigrant ay mag-isang namumuhay nang matahimik bilang empleyado sa isang restaurant.  Bagama’t sa simula ay may inis sa pagitan ng dalawa, unti unti silang magkakalapit hanggang humantong sa kagustuhan ni Hazel na manatili na lang sa Japan kasama ni Louie.

Bagama’t hindi maikakailang kathang isip lamang ang romansang Between Maybes gawa ng labis na makinis na pagtitiyap ng mga pagkakataon, buong husay na ginampanan ng dalawang millennial actors ang kani-kaniyang papel.  Naging malaking pang-akit ang Japan bilang setting ng pelikula, ngunit sa halip na gamitin lamang ang lugar “para maiba naman”, magaling na naihabi ng direktor sa daloy ng kuwento ang ilang bagay sa kultura ng mga Hapon, tulad ng payak at mapayapang pang-araw-araw na pamumuhay, at ng mapagpitagang paghahanda ni Louie ng tsaa.  Kapuri-puri din na—dahil sa matalinong paghubog ng karakter ng mga tauhan—napaikot ni Laxamana ang kuwento mula sa simulang tila ubod ng kababawan hanggang sa pagtatapos nito na nagpapakita ng kahinugan ng isip sa pagpapasiya.

Hindi lamang isang drama ng romansa ang Between Maybes: may pahatid itong mensahe para sa pamilyang Pilipino tungkol sa maaaring kahinatnan ng mga batang pinatitigil sa pag-aaral dahil higit na mapapakinabangan bilang artista.  Naging ehemplo si Hazel para sa mga magulang na nagsasamantala sa tagumpay ng anak upang masunod ang pansariling luho: hanggang Grade 4 lamang ang narating ni Hazel, at dahil sa maagang tagumpay at kabulagan ng mga magulang ay naging isa siyang tipikal na spoiled brat, mapagmataas, walang modo, at nahirati sa pagsamba ng mga tagahanga.  Nang mag-isa siya sa Japan, naroon pa rin ang mala-prinsesa niyang attitude: akala niya’y puwede niyang utusan kahit sino; sa laki ng kanyang ulo, hindi siya makapaniwalang hindi siya kilala ni Louie, walang recall sa binata ang kanyang mga commercials bilang isang child actor.  Sa kabilang banda, naroon si Louie, may lungkot ang pagkabata, ngunit kontento at nabubuhay sa sipag at tiyaga: magalang, mapagbigay, at tumutulong nang walang pagsasamantala.  Hindi marahil pakay ng Between Maybes, pero naipakita nito na kailangan nating higit pang pahalagahan ang pagkabata ng ating mga anak—pagkat sila ay mga kaloob sa atin ng Lumikha –TRT

Five feet apart

CINEMA rating:  PG13

Technical assessment: 3

Moral assessment: 3.5

Stella Grant (Haley Lu Richardson), a teenage patient of cystic fibrosis (CF) is restricted with routine regimen and to observe at least 6-feet apart from fellow CF patients to lessen the risk of cross infection for their life-threatening illness. Stella adheres to this restriction and makes herself engaged instead into social media where she shares awareness about CF. At the hospital she meets Will Newman (Cole Sprouse), also a CF patient who is on medication trial but unlike Stella, Will is not diligent about the restrictions of their sickness.  Stella reminds him to observe the rules which Will agrees on the condition that they draw each other closer thus they shorten distance from six to five feet apart.  The two of them start falling for each other and secretly go on dates. When Stella’s best friend Poe (Moises Ramirez) dies, she is saddened that she never gets to hug him because of the required distance. She realizes not to let her condition waste her life, not being able to touch the people she loves. Wearing gloves so she can hold hands with Will, their next date brings them to the pool edge where she falls and is brought to emergency.

Five Feet Apart is both an informative and touching story about cystic fibrosis disease and the struggle of people suffering from this illness. There is creativity in the title and including Stella’s vlogging activity in social media for raising awareness about cystic fibrosis as a genetic disorder.  The director did a good job in his melancholy yet hopeful treatment of the film. Richardson stands out in her acting and she effectively engages the viewers in sympathizing with the character of Stella. The final scene with her thought of Will is a very touching moment of the film. The production establishes well the hospital setting.  The rest of technical aspects such as sound, lights and music are all appropriate. The editing is likewise commendable for the smooth transition of scenes from hospital to dating venues. While similar themes have been dealt on in many films, Five Feet Apart differs in the characters’ light treatment of their life-threatening illness.

No matter how depressing and life-threatening the situation—choose life. This is the message of the film Five Feet Apart. Despite the reality of the life-threatening illness, Stella remains hopeful and enthusiastic about living life.  Illness, marital problem of parents, and sudden death in the family may lead some people to depression but the film presents an optimistic character. This may serve as an inspiration especially for viewers in similar situation. The film puts to good use the presence of social media as a companion in Stella’s journey, and as information tool to raise public awareness about cystic fibrosis as a genetic disorder. The film is also a good reminder for sick people to be cooperative with their treatment and not to give their caregivers a hard time. Along with the main message of choosing life, the film is also about compassion, diligence, love, and sacrifice.—IBD

https://www.youtube.com/watch?v=24YrEAGF32M

DIRECTOR: Justin Baldoni  LEAD CAST: Haley Lu Richardson, Cole Sprouse, Moises Arias  PRODUCER: Cathy Schulman, Justin Baldoni  SCREENWRITER: Mikki Daughtry, Tobias Iaconis  MUSIC: Brian Tyler, Breton Vivian  CINEMATOGRAPHER: Frank G. DeMarco

EDITOR: Angela M. Catanzaro  PRODUCTION COMPANY: CBS Films, Welle Entertainment, Wayfarer Entertainment  DISTRIBUTOR: CBS Films, Lionsgate  COUNTRY:  United States  LANGUAGE: English  RUNNING TIME: 116 minutes

The sun is also a star

Technical assessment: 2.5 

Moral assessment: 3 

CINEMA rating: V13 

MTRCB rating: PG 

Natasha (Shahidi) a no-nonsense Jamaican teenager aspiring to be a scientist is making a last ditch attempt to prevent her family from being deported the following day. Meanwhile Daniel Bae (Melton), an American-Korean who dreams to be a poet but needs to be a doctor to please his parents, is scheduled for an interview in Dartmouth.  The two cross paths when Daniel saves Natasha from being run over by a car. The initially awkward meeting turns into an opportunity for Daniel to prove to Natasha that he can make her fall in love with him in an hour. The hour turns into a day and the experiment becomes real as the two fall for each other while learning and dealing with their family issues.  

The premise of accidental meeting between opposite strangers who find their stark differences cause the inevitable pull into that “meant to be” situation is generally overused and specifically uninspired in this version.  The success of “accidental love” relies on the naturally undeniable chemistry of the lovers achieved through a down to earth relatable characterization. You feel them. You root for them. Their presence makes you smile. This saccharine overdosed interpretation does the opposite. You don’t believe them. Their presence makes you cringe. The use of coincidence as a plot device is just too much even for those willing to suspend disbelief for the sake of the remarkable performances of Shahidi and Melton. The weak screenplay and weaker directorial choices are further obscured by interjections of songs in the attempt to elevate the gooeyness of the love story. While the original book offers debate about human existence from philosophical and scientific explanation, the movie simply makes these ornamental conversations. 

There seems to be two strong agendas in the film: the unjust predicaments of immigrants forcefully deprived of their chance to be better on the one hand, and the racial discrimination on the other. While Natasha believes that her future depends on holding on to a foreign country she considers home, Daniel wears his Korean ancestry with pride. It is very easy for this generation to stereotype success with Western culture and with what is measurable. As if these hold the exclusive franchise to all great things. But the movie proves it wrong. Natasha accomplished something in Jamaica while Daniel proved that he can be successful when he follows his passion. While the movie is decent and charming, audiences predisposed to young romance will find it enjoyable.--PMF  

DIRECTOR: Ry Russo-Young;  LEAD CAST: Yara Shanhidi, Charles Melton; PRODUCER: Elysa Koplowitz Dutton, Leslie Morgenstein; SCREENWRITER: Tracy Oliver;  BASED ON: The Sun is Also A Star by Nicola Yoon;  MUSIC: Herdis Stefansdottir; GENRE: Romance;  COUNTRY:  USA; LANGUAGE: English  RUNNING TIME: 100 minutes 

Long Shot

Technical assessment: 2.5

Moral assessment: 2.5 

CINEMA rating: V16 

MTRCB rating: R13 

Fred Flarsky (Seth Rogen) is an uncompromising journalist in a progressive newspaper. So uncompromising that he quits his job when an abominable media mogul with questionable ethics takes over the paper. His friend takes him to a party to cheer him up. There he chances upon Charlotte Fields (Charlize Theron), now state secretary and future presidential candidate, but in the past was, in fact, his babysitter. Fields hires Flarsky as her speechwriter. On the campaign trail, they fall in love. But Charlotte’s stand on the environment threatens the business interest of the current president—who by the way isn’t running for reelection because he’s going back to the movies—and his cohorts, including the media mogul who blackmails Charlotte by releasing a video that will compromise Fred’s reputation if she doesn’t soften her stand on climate change mitigation. In the end, she follows her convictions, becomes the first female president of the United States, and Fred the first gentleman. 

Though not her best, Theron’s acting gets us on her side. But where’s the romance, where’s the chemistry between her and Rogen? Raunchy yes, but romantic, no. Whatever sweet reverie the story ushers us into is quickly doused by bawdy language and coarse bed scenes. The camera does not attempt to create a starry mood at all. Which perhaps is intentional, as an allusion to the muck in politics. Long Shot wades into themes of ecology and women empowerment, but loses its way because it can’t decide whether to dissect Charlotte’s uphill battle to create a seat on the table that’s dominated by men or to portray her as an unlikely pair to Fred whose priority is obviously not to match her glamour. 

While it is good that parts of the film try to challenge women stereotypes, it fails to make a convincing case because it is constrained by the rom-com formula. Its potentially good premise is drowned in the plot. One good thing in Long Shot, though, is that in the end, Charlotte stands up for her cause and does not allow herself to be manipulated by people in power and by her ambitions. But here’s a subtlety that a less vigilant audience may miss. There’s substance abuse in the movie that peels off Charlotte’s inhibitions so that she succeeds in negotiating the release of hostages.  There’s also premarital sex between Charlotte and Fred.  Championing cause for the environment while polluting the environment of the temple of the Holy Spirit through drug abuse and illicit sex?  A no-no for Catholics.  At the risk of extrapolating too much, CINEMA dares say: integrity and honesty should be integral in the character of everyone, especially those who wield power or wish to serve the people and promote the common good.—MOE

Director: Jonathan Levine  Lead Cast: Charlize Theron, Seth Rogen, June Diane Raphael, O'Shea Jackson Jr.   Screenwriters: Dan Sterling, Liz Hannah  Producers: A.J. Dix, Evan Goldberg, Beth Kono, Seth Rogen, Charlize Theron, James Weaver  Editors: Melissa Bretherton, Evan Henke  Musical Directors: Marco Beltrami, Miles Hankins   Cinematographer: Yves Bélanger  Genre: Romantic Comedy  Distributor: Pioneer Films  Location: Canada, Colombia   Running Time: 120 minutes 

Avengers: Endgame

Technical assessment:  4  

Moral assessment:  3.5 

MTRCB rating: PG 

CINEMA rating: V13  

Three weeks after Thanos (Brolin) snaps his finger and disintegrates half of life, Captain Marvel (Larson) rescues Tony Starks (Downey) and Nebula from outer space and reunites with the remaining avengers on earth—Romanoff, Captain, Rocket, Patriot, Banner and Thor. Together find Thanos, hoping to retrieve the Infinity Stones and undo the destructions. However, Thanos reveals he has destroyed the stones and gets beheaded by a frustrated Thor. Five years hence, Scott Lang escapes the quantum realm and convinces the Avengers to travel back in time and retrieve the stones. They recruit Banner—who  successfully merged his intelligent side with Hulk’s body—and Thor—now an overweight alcoholic still reeling from his failure to save humanity. Stark refuses to help as he is now a father of 5-year-old Morgan. But after talking to his wife Pepper (Paltrow), he decides to perfect the time travel technology and joins the team to retrieve the Infinity Stones in various times before Thanos does.  This brings certain closures and  requires painful sacrifices from our heroes. 

Avengers: Endgame completes the narrative arcs of the 22-movie long individual journeys of its characters. While we can take Endgame as a standalone film, understanding it from 2008 Iron Man (and we are almost sure most viewers saw the previous films) allows viewers to appreciate the struggles and triumphs of its characters. And this is the greatest strength of the moviethe slow unfolding of individual stories tightly woven into the main conflict and the antagonist’s own arc (even Thanos is given a backstory). The other elements—the imaginative design, the gripping action scenes, the impressive CGIs, the emotional score and the seamless editing—are subservient to and supportive of the storyline, pushing it forward, bathing it in drama and comedy as needed and underlining its message with powerful punches in the soul. By the time fans watch Endgame, they would have been so emotionally invested that each triumph (like when the disappeared heroes return) is a celebration, each death is a heartbreak and each conclusion is bittersweet.   

Taking the film as a whole, we can talk about sacrifice and selflessness. Natasha kept the team together in the beginning and let herself go in the end to save humanity. Starks, the conceited self-serving genius millionaire whom Cap said in the very first Avenger can never sacrifice for others, ultimately did. The battlecry, “Whatever it takes!” resonates real struggles ordinary people fight everyday. Thanos is not the just the intergalactic Titan but a representation of people and situations that oppress. Avengers showed that it is not the superpowers per se that can defeat the oppressor but teamwork, selflessness and embracing one’s higher purposes even if you can turn your back on it. Individually, we learn from Captain America’s willingness to live an ordinary life instead of remaining the superhero the world worships. We see how Peter Quill will not give up on his one true love even if she does not recognise him. We see how Thor grieved and became depressed because from successive failures to save Asgard from Hela (in Ragnarok) and the world from Thanos (in Infinity Wars) and relinquished his throne to a person he felt deserved it more.—PMF

Avengers: Endgame (2019)                                                             

DIRECTOR: Anthony Russo, Joe Russo

CAST: Robert Downey Jr., Chris Evans, Mark Ruffalo, Chris Hemsworth, Scarlett Johansson Jeremy Renner, Don Cheadle, Paul Rudd, Brie Larson, Karen Gillan, Danai Gurira

Bradley Cooper, Josh Brolin

SCREENPLAY BY: Christopher Markus, Stephen McFeely,

BASED ON: The Avengers by Stan Lee, Jack Kirby

PRODUCERS:  Kevin Feige

GENRE: Action, Adventure, Fantasy

MUSIC BY:  Alan Silvestri

EDITED BY: Jeffrey Ford, Matthew Schmidt

CINEMATOGRAPHY: Trent Opaloch

PRODUCTION COMPANY:  Marvel Studios

DISTRIBUTED BY: Walt Disney Studios Motion Pictures

COUNTRIES: United States   

LANGUAGES: English

RUNNING TIME: 3 hours 1 minute

The Curse of La Llorona

Director: Michael Chaves   Lead Cast: Linda Cardellini, Raymond Cruz, Marisol Ramirez, Patricia Velasquez, Roman Christou, Jaynee-Lynne Kinchen  Screenwriters: Mikki Daughtry, Tobias Iaconis  Producers: Gary Dauberman, Emile Gladstone  Editor: Peter Gvozdas  Musical Director: Joseph Bishara  Cinematographer: Michael Burgess  Genre: Horror  Distributor: Warner Bros.  Location: California, US  Running Time: 1 hr 33 min

Technical assessment: 3

Moral assessment: 3

CINEMA rating: V14

MTRCB rating: PG

A portrait of three mothers. The first is moved by survival. The second by revenge. The third by remorse. Anna (Linda Cardellini), a caseworker for social services, rescues two boys from their home. They were locked up by their mother Patricia (Patricia Velasquez) who claims she is protecting her children from the evil spirit La Llorona. At the orphanage, the two boys are found dead, and Patricia blames Anna. Vindictive, Patricia summons La Llorona to go after Anna’s children Chris and Sam (Roman Christou, Jaynee-Lynne Kinchen). Anna seeks the help of Father Perez (Tony Amendola). The priest tells her the tale of La Llorona (Marisol Ramirez), the weeping woman in Mexican folklore who killed her children in a fit of jealousy to spite her husband. Her guilt has transformed her into a malevolent wraith claiming the lives of children. Only one person can help Anna and her children: Rafael Olvera (Raymond Cruz), a curandero, a faith healer.

Part of the Conjuring universe of horror films, La Llorona sketches a similar eeriness of dark interiors, a slithering presence, then a swoop. For the most part, silence escalates suspense. But compared with other Conjuring movies, this one does not haunt you. There is no gore, no graphic depiction of torment. There is even an attempt to inject humor with Rafael’s “ta-da” as he performs some shamanic rituals. Cardellini as Anna is engaging, her son (Roman Christou) is natural—but no one in the cast succeeds in drawing us into the horror. We don’t feel we’re in the 70s even with Anna’s flared pants; we don’t see the shift to the 1600s when La Llorona killed her children. For a horror movie to horrify, it needs to catch you off-guard, it needs to inch its way from the known to the unknown. La Llorona is static; the plot is all too familiar.

Although benign in its genre, this horror film may confuse young audiences. How do you explain La Llorona’s motivation to kill her children whom she loves the most when it is her husband she wants to hurt? It’s a twisted narrative that requires parental guidance, more so because it’s the image of a mother, the protector, that is demolished here. Deranged Patricia, another mother, makes the plot more disturbing for children when she “prays” to La Llorona for the wraith to kill Chris and Sam. Anna of course redeems the message: strong and loving, she risks her life for her children. There is one other value we find in the story, but it is nested in the controversial issue of the use of shamanic rituals. It is the constant affirmation of the Divine, faith, and God’s power to save us from evil. The curandero is a former priest. He says to Anna: I may have left the church but my faith in God remains.—MOE

Hotel Mumbai

DIRECTOR: Anthony Maras  LEAD CAST: Dev patel, Armie Hammer, Nazanin Boniadi, tilda Cobham-Hervey   PRODUCER: Basil Iwanyk, Gary Hamilton, Andrew Ogilvie, Jomon Thomas  SCREENWRITER: John Collee, Anthony Maras  BASED ON: Surviving Mumbai by Victoria Midwinter Pitt  MUSIC: Volker Bertelmann  GENRE: Suspense-Action  COUNTRY:  India 

LANGUAGE: English  RUNNING TIME: 125 minutes

Technical assessment: 3.5

Moral assessment: 3

CINEMA rating: V14

MTRCB rating: R16

It was an ordinary day’s work at for Taj Mahal Palace Hotel waiter Arjun (Patel) and chef Oberoi (Kher). As the day progresses, guests arrive. This includes Iranian-British heiress Zarah (Boniadi), her husband David (Hammer), the infant son Cameron and his nanny Sally (Cobham-Hervey) and a former Russian operative Vasili (Isaacs).  A man known as The Bull masterminds and directs his terrorist group to simutaneously attack several areas of Mumbai in the evening. This leaves the hotel helpess as the local police are not equipped to handle such situation. In the ensuing events, David and Vasili are executed by the terrorist as Arjun and Oberoi bravely guides and protects the hotel guests and helps the Special Forces to track the terrorist and end the seige.

Hotel Mumbai depicts the horrors that took place in 2008 with heart and dignity to the fallen and its hereos. The film interweaves structure, tension and drama through Maras’ direction, although at times too graphically violent for comfort. Seeing how terrorists easily kill people like swatting flies and then take a pizza break as if the former is just a slice of a day’s work transmits chilling horror. There is a noticeable dose of technical proficiency despite the formulaic presentation. Maras wastes no time to build the suspense, beginning from the very first scene as terrorists casually enter the city and blend in like casual tourists.

Sometimes, altruism comes from people whom you least expect would be willing to give up everything when they themselves have nothing. At first, we are led to believe that affluent couple Zarah and David will be the protagonists who will save others but then we realize that Arjum—who went to work shoeless—and Oberei turn out to be the ones willing to die for the sake of people they do not even know. While viewers bathe in gruesome violence scene after scene, we see two seemingly unnoticeable people bring compassion and sacrifice. Two selfless souls whose acts were enough to make us see the value of life. The violence is too intense for a young audience but the message is powerful for older and mature viewers.--PMF