Get Smart

Title: Get Smart; Cast: Steve Carell, Anne Hathaway, Dwayne Johnson, Alan Arkin, Terence Stamp; Director: Peter Segal; Producers: Michael Ewing, Alex Gartner, Andrew Lazar, Charles Roven; Screenwriters: Tom A. Astle, Matt Ember; Music: Trevor Rabin; Editor: Roger Mussenden; Genre: Action/ Comedy; Cinematography: Dean Semler; Distributor: Warner Bros. Pictures; Location: Canada; Running Time: 110 min.;

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

Maxwell Smart (Steve Carell) is the top analyst in CONTROL, a secret intelligence agency presided over by The Chief (Alan Arkin) and set up to annihilate an unscrupulous rival agency, KAOS. CONTROL loses many of its agents when KAOS attacks the former’s headquarters. Just then, Max is promoted from analyst to field operative, and is hence to be known as “Agent 86”. He gets a spy buddy in the person of Agent 99 (Anne Hathaway); the two are assigned to hunt down KAOS’ operative Sigfried (Terrence Stamp). Giving them home base assistance is Agent 23 (Dwayne “The Rock” Johnson) as they venture out as an odd pair flushing out KAOS’ nuclear weapons from their lair. The Agent 86-Agent 99 partnership is spiced up when the bright but bumbling 86 gets the hots for the bright and composed 99, and she eventually responds—but warns him not to trust anyone including herself for she could be a double agent.


Get Smart is the big-screen version of the late-60s TV series designed to spoof James Bond. While younger viewers may not be familiar with the tv version, and it may be too old to be remembered by older moviegoers, Get Smart nonetheless offers a funny and delightfully silly take-off of its boob-tube predecessor. In fact, as a movie, it can stand on its own, even though today’s moviegoers couldn’t care less where it’s coming from. Carell’s comedic timing is perfect as a spoofy and extremely lucky agent, with looks to match; he’s actually an urbane and much better-looking Ben Stiller. Hathaway’s character, on the other hand, is tailor-made for her—the tough nut beneath the fragile-looking, appealing female—we can’t imagine Angelina Jolie as Agent 99 and getting away with it. The plot is quite simple to follow, thus the action and the funnies, if sometimes a bit physical, are not shoved under a tiresome, convoluted web of a story.


What harm can be done by a spy movie that seeks to make you laugh more than it wants to make you think? Likewise, is there much good it can do even though it pits the bad guys against the good guys? Get Smart is entertainment, an enjoyable comedy with action and dialogue that might even elicit a belly laugh or two from the audience. The emphasis is on comedy, so that even the romantic element (between Agents 86 and 99) is played down and hardly felt, in fact. If the whole family can watch only one movie this week, let it be … maybe Kung Fu Panda; otherwise, Get Smart is okay for viewers aged 14 and above.

Altered

Titled: Altered; Cast: Adam Kaufman Catherine Mangan, Paur McCarthy-Boyington, Brad William Henke, Mike Williams, James Gammon, Misty Rosas; Director: Eduardo Sanchez; Producers: ; Screenwriters: Jamie Nash, Eduardo Sanchez; Music: Tony Cora, Exiquio; Editor: Michael Cronin; Genre: Horror; Cinematography: Steve Yedlin; Distributor: Rogue Pictures; Location: Florida, USA; Running Time: 90 min.;

Technical Assessment: 3
Moral Assessment: 2 ½
CINEMA Rating: For viewers 14 and above

Three friends, Cody (Paur McCarthy-Boyington), Duke (Brad William Henke) and Otis (Mike C. Williams), succeed in capturing an alien in the middle of the forest . Not knowing what to do, they take it to the house of a common friend Wyatt (Adam Kaufman). Later on, it is revealed that all of them were abducted by the same aliens 15 years ago, and Cody’s brother Timmy failed to return. With the alien in captivity in Wyatt’s garage,Cody wants to kill it in revenge for Timmy but Wyatt argues that this will only bring the other aliens after them. But the captured alien succeeds in taking over Wyatt’s girlfriend, Hope’s (Catherine Mangan) mind and then infecting Cody with its bite, causing him to start mutating. With tension between the members of the group rising, Wyatt thinks that the aliens, who left him altered in some way during their abduction before,have returned for him, despite his attempts to hide and run away.


Altered pales in comparison with its director’s hit horror flick, The Blair Witch Project. This time, there is a certain amount of gore and a real alien is seen in the movie. The attempt is not a total failure though for it is able to evoke a certain amount of fear from the audience. But the script is a bit talky for a horror film and the excitement fails somewhere in the middle. The film is able to catch up towards the end. However, the “altered” subplot or main plot remains to be ambiguous in the entire storytelling. The acting is commendable and all characters are consistent up to the very end. Given the apparent limited resources of the film, it is impressive that it is able to come up with effective visual effects and true-to-form aliens.


Altered is another horror, sci-fi thriller focusing on the presence of aliens on earth. This time, they are more than just external forces but they have turned into internal monsters that haunt every human being they encounter. Self-preservation and survival is a human instinct and there is still no clear cut moral argument as to how humans should treat aliens. In case human life is in danger, it may be morally acceptable to kill a creature that harms, but how can we be certain that humans have not also violated the aliens in any way? It is remarkable to note how the characters in Altered have turned into savages both for survival and revenge. In the end, Altered is about the various “aliens” inside every human being. Some may have destroyed us, the more sophisticated ones may have altered us, but ultimately, with faith and perseverance, we all can win over these aliens since the human being, still, is made superior over any other creatures. The very young audiences should be guided while watching, given the horror, gore, violence, sexual content, alcoholism and strong language used in the film.

The Happening

Title: The Happening. Cast: Mark Wahlberg, Zooey Deschanel, John Leguizimo, Ashlyn Sanches, Betty Buckley, Spencer Breslin, Robert Bailey, Jr., Frank Collison, Jeremy Strong, Alan Ruck, Victoria Clark Director and Writer: M Night Shayamalan Location: United States, India Running Time: 90 minutes

Technical Assessment: 3

Moral Assessment: 2
CINEMA rating: For viewers 18 years old and above

The Happening opens with workers at a construction site falling one after the other to their deaths. Elsewhere, in New York’s Central Park, the leaves stir in a lingering breeze that emits an eerie wailing sound; promenaders lose control of their movements and memory, stopping dead and walking backward on their tracks without knowing or remembering why. Then, apparently in a trance, they kill themselves. News of the weird happening reaches the classroom of Philadelphia high school teacher Elliot Moore (Mark Wahlberg). They are discussing the mysterious and sudden disappearance of millions of honey bees when the school administration calls a meeting to send the students home as the New York tragedy, feared to be another terrorist attack, seems to be creeping into Philadelphia. Elliot, his wife Alma (Zooey Deschanel), a friend and fellow teacher Julian (John Leguizamo), and Julian’s daughter Jess (Ashlyn Sanchez) flee to safer grounds on a train. Trouble brews as the train, brimming over with anxious passengers, stops at a deserted station where the train personnel admit they have lost contact with everyone.

Seeing “Directed by M Night Shayamalan” on the screen as the film opens makes the viewer expect a superior mystery thriller. After all, the director has made a name for himself crafting off-the-beaten-path stories of terror bearing a profound and relevant message: Signs, The Village, etc. The first ten minutes or so of The Happening delivers the chills, like a blast of cold air when you open a freezer, but beyond that it seems to thaw out. Sights and sounds are effective—the leaves fluttering ominously in the wind and wailing manifest the power of the unseen to terrify. The broken bodies on the ground, a hairpin stabbed into a woman’s jugular—such things have their shock value, but their impact is short-lived. Wahlberg is a great actor, but the character he’s portraying is too bland for his talents. As for the other actors—they simply do what their part asks for, which isn’t much.

Would you bother to see a mystery thriller that fails to mystify or thrill you most of the time? Then lower your expectations. Since The Happening is not supposed to be an ordinary “scary movie” but one that is hoped to stimulate and engage your intellect into pondering life’s deeper riddles, you would at least expect to learn something worthwhile out of it. Surely The Happening is trying to say something; it just didn’t seem to know how to say it—which leads you to conclude that it doesn’t know what it wants to say. When the movie says the mass suicides are induced by an invisible airborne “natural compound” (that once inhaled makes you want to savagely kill yourself), is it warning us against abusing our environment? Not clear. When after running for their lives the Moore couple (wanting to die together) expose themselves to the deadly wind and survive, is the movie saying “love conquers all”? Not sure. When the creative juices are running dry but the director wants to continue piggy-back riding on past success, what happens? The Happening turns out to be not much of a happening.

Kung-fu Panda

Title: Kung Fu Panda; Lead Cast: Jack Black, Dustin Hoffman, Angelina Jolie, Lucy Liu, Jacky Chan, Ian Mcshane; Director: Mark Osborne, John Stevenson; Story: Ethan Reiff, Cyrus Voris; Screenplay: Jonathan Aibel, Glenn Berger; Cinematography: Yong Duk Jhun; Editing: Clare De Chenu; Producer: Melissa Cobb; Music: John Powell, Hans Zimmer; Location: China; Genre: Animation Action-Comedy; Distributor: Dreamworks Animation; Running Time: 88 minutes;

Technical Assessment : 3.5
Moral Assessment : 3
Cinema Rating : For ages 13 and below with parental guidance

Po (Jack Black) is a sloppy, overweight but loveable Panda who dreams to be a kung-fu master one day. However, he seems to be stuck in a noodle shop run by his father, surprisingly a gentle goose, Mr. Ping (James Hong). He lives in a peaceful and loving village which is threatened when rumors circulate about the escape of the vicious snow leopard villain Tai Ling (Ian McShane). Kung-fu masters of the Jade Palace immediately announce the need to fulfill the ancient prophecy and select a Dragon Warrior. Naturally, the top five martial arts students vie for the title and set off to an elimination round. Po hero-worships the “Furious Five” composed of Tigress (Angelina Jolie), Crane (David Cross), Mantis (Seth Rogen), Viper (Lucy Liu) and Monkey (Jacky Chan) and wastes no time to witness the competition. By an extreme clumsiness and unfortunate luck, Po ends in the middle of the courtyard and is declared by aging Master Oogway to be the Dragon Warrior. Master Shifu (Dustin Hoffman) reluctantly takes on the task to train the supposed savior of their village but the battle Po must first win is with himself and his insecurities as well as the resentment of the five star students who have no respect for him at all.

Kung Fu Panda is undoubtedly predictable and an old formula for an action-comedy movie but it pulls it off successfully with ease and delight. The film is a visual feast with a barrage of vibrant color and amazingly detailed Chinese landscapes. The action sequences themselves are enjoyable with a brilliant choreography and impressive animation. The screenplay has the perfect amount and pace of humor, wisdom and story-telling that adults will find the movie interesting while kids will just be engrossed with the spectacle.

The movie conveys several lessons and values. One, Po discovers that to achieve success there is no secret ingredient or secret formula, just enough honesty and sincerity coupled with determination and passion. At the end, only one’s self will help one triumph. Two, Mr. Ping emphasizes that to make something special, you yourself have to believe it is special. Appreciation has to come first from within because the value of something is determined by the value one gives it. Three, the movie also talks about having and fulfilling a destiny. While some are born to have distinguished roles in the future, one still has to wholeheartedly accept the responsibility, strive to learn and master what is needed to be able to fulfill the task and have the passion and fortitude to see it through no matter how hard or painful. Some elements of the movie, particularly the action sequences, may be worrisome for parents. It is better to have a responsible adult accompany and guide very young audiences.

Sex and the City

Title: Sex and the City Cast: Sarah Jessica Parker, Nixon, Kristin Davis, Kim Cattral, Chris Noth, Jennifer Hudson Director: Michael Patrick King Producers: Eric M. Cyphers, Michael Patrick King, John P. Melfi, Sarah Jessica Parker, Darren Star Screenwriters: Michael Patrick King, Candice Bushnell Music: Aaron Zigma Editor: Michael Berenbaum Genre: Romantic Comedy Cinematography: John Thomas Distributor: Cinestar Location: New York, USA and Los Angeles, California Running Time: 150 min.

Technical Assessment: 3

Moral Assessment: 2.5

CINEMA Rating: For mature viewers 18 and above

Sex In the City (The Movie) takes off where the HBO series left five years ago. It begins with Carrie Bradshaw (Sarah Jessica Parker) giving a fast-paced rundown of her and her friends’ journey in searching and finding love. Five years hence, writer and shoe addict Carrie has been steadily dating her on and off boyfriend, Mr. Big John (Chris Noth) and is about to move in together to an upscale 5^th Avenue Penthouse. Flamboyant PR consultant Samantha Jones has moved to LA to manage her boyfriend Smith’s Hollywood career. Classic Charlotte (Kristin Davis) has adopted a Chinese girl and is living her fairytale marriage with lawyer husband, Harry. And no-nonsense lawyer Miranda (Cynthia Nixon) has moved to the suburbs with her plain Joe husband Steve and son Brady. Despite their career and personal preoccupations as well as the distance between their homes, the girls always find time to get together as they have done for the past 20 years. This time, they attend an auction of a famous girl’s prized pieces of jewelry after she has been thrown out of the house by her billionaire boyfriend--a predicament which Carrie fears and later on voices out to John. They agree that getting married will make their arrangement more secure; soon after, wedding plans are drawn. But the wedding gets cancelled --how ar ethe women going to take the situation?

Fans of the original HBO series will find the movie take a little too overstretched and slow-paced at times. There are several extended scenes which only prolong the movie. The storytelling is a little scattered and the plot a bit loose compared to the tight 30-minuters of the series. However, one will still recognize the familiar elements of the show: the high and colorful fashion, the witty retorts and funny quips and the strong characterizations not just of the four girls but of their respective partners and supporting casts as well. The theme is timeless and universal so that even though the protagonists are 40-something women, audience will still rage, cry, laugh and root for their happy endings. The scoring, though a little corny, still delivers the emotion of the scene. Production design is stupendous and classy especially with Patricia Fields’ couture that not only spells style and creativity but also deepens the characterization as well. Editing and camera works are proficient. Unfortunately, in the effort to lower the ratings to accommodate the younger audience and be able to screen in more cinemas, the splicing of scenes is at times too abrupt and distracting.

What about the message of the movie? First, the positive side: For the movie version, the girls are tamer and more mature in dealing with relationships. They have learned the values of fidelity, commitment and sacrifice. Each story tries to convey a value of relationship and love. Miranda’s story talks how marriage should not be a reason to try hard in sustaining the romance. Samantha shows that at times, one needs to take care of the self before she can take care of others. Charlotte’s story demonstrates how one needs to trust that good things will happen despite the odds. And Carrie’s tale reminds us that weddings are not about the fancy details and elaborate arrangements but about two people in love and willing to spend the rest of their lives together. You get married for the right reasons (even in an “unlabeled” gown) and stay married despite the difficulties and inconveniences. One will also admire the bond of the girls’ friendship and how they are all supportive and forgiving of one another.

Now for the not so positive side: as always, the dialogues and scenes are laden with “sex”, although the lovemaking scenes are tamer and monogamous. Audiences with our culture will be uncomfortable with the “live-in” arrangements of Carrie and Samantha and with the suggestion that marriage is unnecessary when the relationship is going well. Some people may also find sexual humors offensive and crude. Over-all the movie is definitely more subdued but still, it definitely caters to older and more sophisticated, mature viewers.

Caregiver

Title: Caregiver Cast: Sharon Cuneta, John Estrada, John Manalo, Makisig Morales, Boots Anson-Roa, Jhong Hilario, Rica Peralejo, Mickey Ferriols, Lotlot de Leon, Monique Wilson, Anita Linda Director: Chito Roño Producer: Star Cinema Screenwriter: Chris Martinez Genre: Drama Distributor: Star Cinema Location: London, England Running Time: 110 min.

Technical Assessment: 3.5

Moral Assessment: 3

CINEMA Rating: For viewers age 13 and below with parental guidance

Tinalikuran ni Sarah (Sharon Cuneta) ang pagiging guro upang makasunod sa asawang si Teddy (John Estrada) sa London at maging caregiver doon. Iniwan ni Sarah sa Pilipinas ang anak na si Paulo (John Manalo) nang mabigat ang loob. Pagdating sa London ay pagsusumikapan nilang mag-asawa na maka-ipon upang agad makuha si Paulo at mamumuhay sila bilang isang pamilya sa London. Ngunit hindi ito agad mangyayari dahil sa sanga-sangang problemang haharapin ni Sarah kapiling si Teddy. Unti-unti ring mamumulat si Sarah sa napakaraming realidad ng buhay sa London. Ang hirap ng trabaho bilang caregiver at ang asawang nakalugmok sa mga bigong pangako at wasak na pangarap.

Bagama’t hindi maikakailang formula at de-kahon ang Caregiver, nakapagbigay pa rin ito ng bagong pananaw ukol sa kalagayan ng mga kababayan nating Overseas Filipino Worker (OFW) sa London. Bago ang konseptong caregiving at hindi pa ito masyadong natatalakay sa pelikula man o telebisyon. Naging matapang ang pelikula sa hamong ipakita ang isang aspeto ng pagiging OFW na hindi pa masyadong talamak sa pag-iisip ng mga manonood. Mahusay ang pagkakaganap ng mga tauhan mula sa mga bidang sina Sharon Cuneta, John Estrada, John Manalo hanggang sa mga artistang may maliit lamang na papel tulad ni Anita Linda. Natural ang mga linya at tamang-tama ang timpla ng mga eksena. Hindi man ganoon kabigat ang dating sa mga manonood, hindi pa rin maitatangging nadala ng Caregiver ang mga manonood sa isang lugar at buhay na malayo sa ating ulirat.

Ipinakikita ng Caregiver ang napakaraming sakripisyong pinagdaraanan ang mga nakikipagsapalaran sa ibang bansa kapalit ng pangakong higit na magandang buhay. Hindi nga lahat ng umaalis at nangingibang-bayan ay nagiging matagumpay. Hindi lahat ng pangarap ay natutupad at nasasagot ng paga-abroad. Sa katunayan, karamihan sa mga tunay na problema ay hindi nag-uugat sa pera kundi sa kaibuturan ng pagkatao na nananatili saan mang lugar mapunta, kumita man ng malaking halaga. Kapuri-puri ang katauhan ni Sarah na naging matapang sa gitna ng maraming pagsubok. Naging masunurin sa asawa si Sarah hanggang sa mamulat sa katotohanang may sarili siyang pag-iisip na dapat ding igalang. Isa rin siyang mapagmahal na ina na pinagsusumikapang ipaliwanag at ipadama sa anak ang kahalagahan ng pagtitiis at pagtupad sa pangako. Hindi rin matatawaran ang pagbibigay ng pelikula ng dignidad sa isang trabahong madalas ay minamaliit at pinandidirihan: ang pagiging caregiver. Gaano man kaliit o kababa ang isang hanapbuhay, nagiging mataas ito at kapuri-puri kapag binigyang dignidad at halaga mismo ng mga taong nasa trabahong ito. Ang taong nagmamalasakit sa trabaho ay nagmamalasakit sa kapwa. Nakakabahala lamang ang mensahe ng pelikulang walang asenso sa Pilipinas kung kaya’t mas pinipili ng mga Pilipinong magpakababa sa ibang bayan upang guminhawa lamang sa buhay. Bagama’t may bahid ito ng katotohanan, hindi ito ang ganap na katotohanan, at dapat pa ring malaman, unawain at maramdaman ng mga kabataan na ang sariling bayan ang siyang dapat unang paglingkuran.

21

Title: 21

Cast: Tim Sturgess, Kevin Spacey, Kate Bosworth, Laurence Fishbourne, Aaron Yoo, Liza Lapira, Jacob Pitts, Jack McGee, Josh Gad, Sam Golzari, Helen Carey, Jack Gilpin, Donna Lows, Butch Williams Director: Robert Luketic Producers: Dana Brunette, Kevin Spacey Screenwriters: Peter Steinfeld, Alan Loeb Music: James Newton Howard Editor: Elliot Graham Genre: Comedy Cinematography: Russel Carpenter Distributor: Columbia Pictures; Sony Pictures Releasing International Location: Boston, Las Vegas, USA Running Time: 95 min.

Technical Assessment: 3.5

Moral Assessment: 2.5

CINEMA Rating: For viewers 14 and above

Ben Campbell (Jim Sturgess) is in his last year at the Massachusetts Institute of Technology. He now has set his mind to become a doctor and applied for enrollment at the Harvard Medical School. His problem is to find the means to come up with his tuition fees of $300,000. He works hard at his job and looks for other opportunities. But this is a slow and hard way to save. Besides he has his classes, school projects and study to attend to. Out of the blue he is invited by his math professor Micky Rosa (Kevin Spacey) to join his secret small group of students who visit Las Vegas on weekends to play Black Jack, an easy game to play and to win a lot of money in the casinos without fail. Mickey knows that Ben is the smartest in his math class and a genius above his team of players. At first he refuses the invitation. But when the professor sends group member Jill (Kate Bosworth) to convince him “how his life could change for the better”, Ben finally gives in. He is taught their means of communication: a way of counting cards on the table, the use of signs, signals, body movements, and so on. Once ready and prepared, Micky leads Ben and the team to hit Las Vegas.

21 is an unusual story because it presents a professor of mathematics who recruits his best math students and trains them to play cards to win. The story is exciting to watch. There are comic moments to laugh at, although more appealing for the viewers would be the scenes around the gaming tables, waiting to see what is going to happen, how would the game end up? This includes trying to interpret the meaning of every signal being sent by a teammate to another without giving themselves away. They have been trained not to recognize or acknowledge each other within the casino limits. The small ensemble cast work very well together. Outstanding, among them, as expected are veteran actor Kevin Spacey and newcomer Jim Sturgess. As a story, there are moments when a scene or sequence does not seem connected to another, like an abrupt ending, or how is the game played, what is involved.

What happens when the best students are trained and taught to use their brains to take advantage of others? Because of their concentration on the game, and winnings, the bright math students neglect their studies, for one. The develop a liking for what they're doing. Their values change. In particular, Ben who said to Jill that he would quit the game the moment he had the cash needed for his tuition, did not want to quit anymore. He has changed from a shy simple young man to someone who now loved the con man he has become. He lies to his mother about getting a scholarship, neglects his girlfriend, and messes things up with his two project buddies.

Indiana Jones and the Kingdom of the Crystal Skull

Title: Indiana Jones and the Kingdom of the Crystal Skull Cast: Harrison Ford, Cate Blanchett, Karen Allen, Shia LeBeouf, Ray Winstone, John Hurt, Jim Broadbent. Genre: Action-adventure. Director: Steven Spielberg. Writers: David Koepp, George Lucas. Distributor: Paramount Pictures. Location: Peru. Running time: 124 minutes.

Technical: 3.5
Moral: 3
CINEMA rating: PG 13

Years ago, Indiana Jones (Harrison Ford) is supposed to have seen in a humongous warehouse a crate that contains hyper-magnetic material. Now the Soviet femme fatale Irina Spalko (Cate Blanchett) who is as beautiful as she is heartless, takes Indy and his sidekick Mac McHale (Ray Winstone) to this warehouse to find this crate. The mysterious crate leads the trio and Irina’s coterie of equally vicious Russians to the Amazonian wilderness, picking up along the way Indy’s “support group” Marion Ravenwood (Karen Allen), motorcycle buff Mutt Williams (Shia LeBeouf), and aging Professor Oxley (John Hurt) who is most useful in deciphering cave drawings, explaining things nobody knows about, and carrying the crystal skull they have found in a crypt. The crystal skull is supposed to be one of the 13—the other 12 are concealed in an ancient subterranean city of gold beneath a pyramid in Peru—and supposedly represents one-thirteenth of all knowledge that is knowable by man. Like all other power-charged antiquities, the crystal skull must be returned to its original home, otherwise…

Indiana Jones and the Kingdom of the Crystal Skull is the fourth IJ adventure…, and while it may not surpass or even equal Raiders of the Lost Ark (the first of the Indiana Jones series, 1981), it’s hard to say if Crystal Skull couldn’t be the best had it been the first Indiana Jones movie. That usually happens with cinematic greats that have Numbers 2, 3, 4 or more following them, like Rambo, Lord of the Rings, Harry Potter, etc.—the public normally judges the first as the best, then the interest wanes. When the novelty fades, Number 2, 3, etc. have to try twice as hard to keep viewers high. Viewers want more of the same, the excitement of the first. But what human reaction to pleasure doesn’t reflect the same addictive pattern? The first almost always sets the standards for sequels, but producers can’t seem to sustain the level of creativity because their chief motivation now is to cash in on the financial success of the original.

Indiana Jones and the Kingdom of the Crystal Skull is no exception, but it has its share of action and inaction, so to speak. First, the lack of action: Indiana Jones is synonymous with action-adventure, thus, expect viewers to be impatient—if they don’t doze off, that is—with the dialogue earlier on in the movie. We suspect, however, that the footage devoted to talking heads is their way of shortening running time—instead of acting out the background, they make the characters tell the story.

Now the action: wow, it can only happen in the movies! The vine-swinging would shame Tarzan. The race on the edge of the cliff will keep you on the edge of your seat. It’s assuring to know senior citizens (Ford and Hurt) can see that much fantabulous action without as much as dislocating a kneecap. It’s amazing to see a fragile-looking Russian lady can fence, shoot, fight, leap, kick and drive like an ex-Le Mans racer and still keep her bangs impeccably intact. It’s comforting to believe your puny boat can plunge down three gigantic waterfalls in three minutes and still run with all passengers cool and collected in their seats—are they wearing seatbelts? But of course, action-adventure flicks especially in the era of CGI must defy logic and break the laws of physics—otherwise they wouldn’t be credible as such. So, enjoy the engineering marvel that is the underground kingdom—and the cliffs and the waterfalls, creations that fill you with awe.

On its first screening day, Indiana Jones and the Kingdom of the Crystal Skull was the only movie showing at all Power Plant cinemas; still it was full house, with a number of shrieking kids among the audience. We wonder if this was true of all theaters showing it; if so, Indiana Jones can give Spiderman a run for his money. (Spiderman is Number One among Filipino audiences’ all-time favorites). MTRCB has given a “GP” (General Patronage) rating to the movie, and CINEMA agrees it’s entertaining and wholesome enough; however, due to certain images and incidents that could frighten young children, CINEMA rates it as PG 13, meaning even children below 13 may watch but with parental guidance. The movie requires a certain degree of sophistication to be fully appreciated, so it’s up to the parents or accompanying elders to simplify the background and the details for the children, and to explain culture-related issues so as not to engender biases and prejudice in young minds. (Example: The Russians are bad guys.)

Forbidden Kingdom

Title: Forbidden Kingdom Cast: Jacky Chan, Jet Li, Michael Angarano, Liu Yifei, Collin Chou Director: Rob Minkoff Producer: Casey Silver Screenwriter: John Fusco Music: David Buckley Editor: Eric Strand Genre: Fantasy Action Cinematography: Peter Pau Distributor: Viva International Pictures Location: Ancient China Running Time: 153 min.

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Jason (Micheal Angarano) is a young timid boy from Boston who loves Martial Arts. He frequents Old Hop’s (Jacky Chan) pawnshop/video store in the Chinatown area to rent kung-fu movies. On one of his trips, a group of bullies manhandle him and force him to lead them to the Old Hop’s store for them to rob. In the mayhem, Old Hop gets shot and turns over a mysterious staff to Jason for him to “return to its rightful owner”. Jason runs for his life and falls off the roof just to wake up transported back in time to ancient China where the supernatural Jade Warlord (Collin Chou) rules with oppression. Jason learns that he is the “seeker” and reluctantly fulfills the ancient prophesy to find the Monkey King (Jet Li) and return his staff. Unfortunately for him, he has to deal with the Jade Warlord and his formidable army. He is aided and tutored by a wine-loving poet and comical fighter Lu Yan (Jackie Chan) and the pensive Silent Monk (Jet Li). They are also joined by the exquisite orphaned Golden Sparrow (Liu Yufei) who vows revenge for her parents’ death and kills her enemies with hairpins. Together, they must free the Monkey King so he can fight the Jade Warlord and return peace to the empire.

The movie is delightful to watch with its breathtaking scenery, creative sets and costume design, graceful and impressive martial arts sequences and a few funny quips every now and then. The plot seems to be a
combination of borrowed themes from other Hollywood fantasy movies and Ancient Chinese legend but with a competent direction and straightforward storytelling, audience can follow the story effortlessly. Although Chan and Li play supporting roles to American teenager Angarano, there are still enough fight sequences and comic moments where the two martial art legends are pitted against each other. Overall the movie may not be memorable compared to other Chinese epics but is enchanting enough for the audience to want to watch it again.

The movie talks about friendship, perseverance and unity. At first the main characters have a low regard for each other but eventually learn to appreciate, respect and care for one another all in the effort to accomplish a common goal. It shows also how people, once consumed with the moral obligation and desire to do what is right can be willing to risk and sacrifice himself. The movie also makes a stand against revenge and hate. There are several words of wisdom offered by Chan’s character which will be remembered and can be used for one’s daily life choices. Although the movie is light and seemingly harmless, the charmingly choreographed fight scenes are violent although bloodless. There are a few cuss words and sexual reference although not portrayed explicitly. Substance abuse is apparent with Chan’s character. Viewers below 13 should be guided by mature adults.

Ikaw Pa Rin

Title: Ikaw Pa Rin Cast: Ai-Ai Delas Alas, Robin Padilla, Eugene Domingo, Riza Santos, Deejay Durano, Nanette Inventor Director: Wenn Deramas Producer: Vic del RosarioScreenwriter: Mel Mendoza-del Rosario Genre: Comedy Distributor: Viva Films Location: Philippines Running Time: 110 min.

Technical Assessment: 3
Moral Assessment: 2 ½
CINEMA Rating: For viewers 14 and above

Si Boy (Robin Padilla) ay isang matapat na bumbero na parating inaasahan sa kanilang lugar dahil sa kanyang pagiging bayani sa oras ng pangangailangan. Sa kabila nito, si Boy ay iniwan ng kanyang nobya matapos siyang bigyan ng isang anak. Nag-aalala si Boy na ang kanyang anak (Rhap Salazar) sa kawalan ng ina ay pawang nagiging alanganin ang kasarian. Si Baby (Ai-Ai delas Alas) naman ay isang beterenaryo na malas sa pag-ibig hindi pa nakakaranas na seryosohin ng mga lalaki, subalit mayisang inaasam: ang maging ina. Magku-krus ang landas ni Boy at Baby kung saan ililigtas ni Baby ang buhay ni Boy. Dahit sa laki ng kanyang pasasalamat sa doktora, nagbitiw si Boy ng salita sa publiko, na anuman ang hilingin nito ay ibibigay niya. Sinagot ito ni Baby na ang hiling niya'y si Boy ang maging ama ng kanyang anak. Napasubo si Boy at dahil nakataya ang kanyang salita, ngayon siya’y naguguluhan kung paano niyang tutuparin ang kanyang pangako kay Baby sa kabila ng pagtutol ng lahat.

Bago ang tambalang Ai-Ai delas Alas at Robin Padilla. Ngunit hindi bago ang klase ng komedya na ipinakita ng pelikula. Gasgas at pawang hindi nakakaaliw ang karamihan sa eksena. Salamat na lamang at may Eugene Domingo na patok pa rin sa pagpapatawa. Predictable din ang kuwento at walang gaanong surpresa sa mga manonood. Maraming eksena ang hindi epektibo at pawang hindi kailangan sa pagpapausad ng istorya. Sa kabila nito, maayos naman ang pagganap ng mga artista kahit pa pawang karikatura ang kanilang mga tauhang ginampanan.

Umikot ang kuwento ng Ikaw Pa Rin sa pagnanais ni Baby na magkaron ng anak sa kahit paanong paraan. Hindi ito magandang mensahe at halimbawa para sa mga kababaihan na pawang ibinababa ang kanilang pamantayan para lamang matupad ang kanilang inaasam-asam. Bagama’t may pambawi naman ang pelikula nang sina Baby at Boy ay dumaan sa normal na proseso ng ligawan, hindi pa rin maiaalis sa kuwento na ang dalawa ay nagtalik na nang hindi pa sila naikakasal. Pinalabas din ng pelikula na tama at dapat ipagdiwang ang pagbubuntis sa labas ng kasal na pawang nakakabahala. Ang tanging magandang aral sa Ikaw Pa Rin ay ang pagpapakabayani at pagmamahal nang wagas na hindi tumitingin sa panlabas na kaanyuan. Nararapat pa ring gabayan ang mga batang manonood upang hindi maging taliwas ang kanilang pagpapahalaga sa kababaihan at pagpapamilya.