Incredible Hulk

Title: Incredible Hulk Cast: Edwad Norton, Liv Tyler, Tim Roth, Tim Blake Nelson; Director: Louis Leterrier; Screenplay: Zak Penn; Genre: Action, Science Fiction; Location: Brazil and New York; Running Time: 114 mins

TechnicalAssessment: 2.5
Moral Assessment: 3
PG 13

Bruce Banner a.k.a Mr Green's (Edward) continuous search for an antidote for his cure of gamma radiation brings him to Brazil where he lives as “fugitive” while in distant communication with Dr Sterns a.k.a Mr Blue (Tim Blake) with whom he exchanges over internet chatroom on experimental formula for his condition. Back in Washington, General Ross (William)’s interest to search for Bruce is revived when another case of gamma sickness is discovered in an elderly man after drinking a bottle of juice. The juice factory is traced in Brazil where Bruce as a casual worker accidentally cuts his finger and an empty bottle in the assembly line catches a droplet of his blood. This signals the search for Bruce from Brazil to New York. In the middle of the chase, Bruce reunites with his love interest, General Ross’ daughter Betty (Liv Tyler). Bruce reveals to Betty that her father wants to get him to produce more “hulks” to use as weapons. But Bruce only wants to get rid of the gamma in his body.

The film offers a combination of a narrative in an spectacular manner. The plot, while boasting of a good flow, struggles to bring out the emotion. Actingwise there could have been more than mediocre acting of lead actors in the film, the same with special effects applied for the devastation scenes of the hulk. For the most part it appears like an animation film. The rest of the technical aspects particularly the cinematography, musical scoring and sound effects contributed in making the “Incredible Hulk” a worthy film to see.



The character of Bruce in the film shows a person who cares for life and is willing to sacrifice for this cause. He does not want selfish motives of people to take advantage of any form of power to destroy lives. Friendship is also tested during difficult times when full trust, sincere support and presence are necessary. At the end of the day, a dutiful daughter can confront a father for his wrong deeds. A responsible person also knows how to control self when required especially when damages to life is at stake. Overall, the film offers positive values. However, devastation scenes maybe too strong for children 13 years and below, parental guidance is required.


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The Hottie and the Nottie

Title: The Hottie and the Nottie; Cast: Paris Hilton, Joel David Moore, Christine Lakin, Adam Kulbersh; Director: Tom Putman; Screenplay: Heidi Ferrer; Cinematography: Alex Vendler; Editing: Jeff Melmberg; Producer: Myles Nestel, Victoria Nevinny, et al; Music: David Russo;: Location: Los Angeles, California; Genre: Comedy; Running Time: 91 minutes;

Technical Assessment: 2
Moral Assessment: 2
Cinema Rating: For viewers 18 and above


Nate Cooper (Joel David Moore) is a geeky bum who realizes his one true love is the girl he had a crush on in the first grade after his current girlfriend smashes his guitar on his head. He searches for Christabel Abbot (Paris Hilton) but is horrified to find out that she will not date anyone unless her repulsive and bitchy best friend June Phiggy (Christine Lakin) finds someone special. The condition is impossible since June is not only disgustingly unattractive but possesses a vile personality. Nate tries hard to find a man for June so he can have his way with Christabel, to the extent of paying a man to date June and giving a $2000 gift certificate for a spa make-over so that she will be less nauseating to be with. But his plan backfires when the girls meet a dentist/athlete/model who takes interest in June and eventually starts to fix her.

This is a bad movie—bad plot, bad script, bad acting, bad directing. The concept is unoriginal and poorly interpreted. Hilton and Moore are tormenting to watch and hear. The script is clichéd and has the most idiotic dialogues such as, “life without orgasms is… a world without flowers”. Characters are inconsistent and have no motivation. The storyline develops into a predictably brainless twist. The director seems to care less to produce a decent film than show off Hilton’s skin and curves at every opportunity. One can go on and on with what is wrong with the film that it is better to warn viewers against wasting time and money on this movie.

The Hottie and the Nottie aims to be a movie talking about beauty being skin deep, friendship through thick and thin and true love. The problem is none of these themes are actually seriously developed because the film just kept on raving about Hilton’s beauty and sex appeal and planting offensive and sick jokes about a woman’s ordeal when she is not as pretty and attractive as her co-star. Inconsistencies are extensive. As a movie about learning to look beyond looks, Nate only takes interest in June as soon as she transforms into someone prettier. Conveniently, June only becomes personable when her looks improve as though being nice were attached to looking nice. The seemingly tight and loyal friendship between Christabel and June is questionable because if Chris really cared about her less attractive friend, wouldn’t she have brought her to a dermatologist or cosmetologist and offer to help her look at least hygienic and agreeable. Instead she parades poor June to her suitors only to highlight their contrasting looks and make her appear a caring, down-to-earth friend. And as a story about finding true love, it merely obsesses about sleeping with the attractive hot girl even if one has to lie, intimidate, bribe or coerce. The movie is offending as it bullies people who fall behind the standards of beauty and treats them as a cruel joke. There are plenty of scenes and dialogue about alcohol and sex. This is not recommended for viewing at all.

Serbis

Title: Serbis; Cast: Gina Pareno, Jacklyn Jose, Coco Martin, Kristofer King, Julio Diaz, Dan Alvaro; Genre: Drama; Director: Brillante Mendoza; Screenplay: Armando Lao; Producer: Ferdinand Lapuz; Location: Manila; Running Time: 90mins

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


Patuloy na itinataguyod ni Nanay Flor (Gina Pareno) ang kanilang negosyong lumang sinehan na nagpapalabas ng mga lumang “bold” na pelikula sa kabila ng samu’t saring problema nito. Kasama niyang namamahala ang anak na si Nayda (Jacklyn Jose) at manugang na si Lando (Julio Diaz). Sa sinehan na sila nakatira kasama ang iba pang kaanak: sina Allan (Coco Martin) at Ronald (Kristofer King) na projectionist. Labis na dinaramdam ni Nanay Flor ang panloloko sa kanya ng kanyang asawa, kasabay ng pagpasan niya sa problema ng lahat ng kanyang kaanak na tauhan na rin sa sinehan. Si Allan ay makakabuntis na makakadagdag sa pasakit ni Flor. Lingid din sa kanyang kaalaman ang nangyayaring pagse-“serbis” ng mga kalalakihan sa mga parokyanong bakla ng sinehan. At dahil sa sinehan na nakatira ang buong pamilya at kaanak na nagpapatakbo ng sinehan, namumulat ang mga batang apo ni Nanay Flor sa mga bisyo at kalaswaan.

Isang "cinema verite" ang Serbis na makatotohanang naglalarawan ng tila pinaglipasan na ng panahon na kultura: ang mga sinehan at teatro. Naging lugar na lamang ito ng madidilim na sikreto ng nakaraan at kasalukuyan. Pinamahayan na rin ang sinehan ng mga baho, problema at bisyo ng isang pamilyang nasadlak sa kadiliman. Mahusay ang pagkakagawa ng mga eksena na parang nanonood ka lamang ng tunay na buhay. Kung kaya’t naparangalan ng rin ang Serbis sa ibang bansa. Matapang nitong tinalakay ang maraming sakit ng lipunan na naglalarawan sa kalagayan ng mga bansang nasa “Third World” katulad ng Pilipinas. Walang itulak kabigin at hindi matatawaran ang galing ng lahat ng nagsiganap. Maraming biswal na simbolismo na epektibong naisalarawan ang dilim, kasalanan at kasamaan na naikulong sa isang lugar.

Malinaw ang layunin ng Serbis: ang isalarawan ang nakaririmarim na kalagayan ng isang naiibang uri ng pamilyang nasadlak sa kahirapan. Ipinasilip ng Serbis ang isang mundong hindi madalas na makita ng Pilipinong manonood. Isang lugar na alam nating nariyan ngunit hindi binibigyang pansin. Sa kabila ng mga bisyo, kalaswaan at kasamaan, isang bagay ang labis na pinahahalagahan ng mga karakter sa pelikula: ang pamilya. Bagama’t hindi perpekto at puno ng depekto, dalisay pa rin ang pagmamalasakit at pagmamahalan sa isang pamilya. Tahimik din nitong ipinakita ang kakayahan ng isang taong kumawala sa isang masalimuot na sitwasyon kung kanyang nais. Nakababahala nga lamang dahil hindi malinaw kung para saan ba ang pagtakas. Sa pagbabagong tungo sa kabutihan o sa higit pang kasamaan? Sadyang nakababahala ang biswal at grapikong pagpapakita ng mga eksenang hubaran, seks at homosekswalidad. Bagama’t hindi sinasabi ng pelikula na ito ay mabuti, maari pa rin itong makaapekto sa sensibilidad ng mga manonood. Ang pagkakaron ng batang karakter bilang saksi sa lahat nang bisyo at kasalanan sa lugar ay isang epektibong device na nagsasabing malayo pa ang ating lalakbayin sa pagbabago sapagkat iminumulat na natin ang ating mga kabataan sa isang mundong nagdidilim na ang pamantayang moral at bumababaw ang pananalig sa Diyos.

Made of Honor

Title: Made of Honor; Cast: Patrick Dempsey, Michelle Monaghan, Kevin McKidd, Sidney Pollack; Director: Paul Weiland; Producers: Neil M. Moritz; Screenwriters: Adam Sztykiel, Deborah Kaplan, Harry Elfont; Music: Rupert Gregson-Williams; Editor: Richard Marks; Genre: Romance/ Comedy;
Cinematography: Tony Pierce-Roberts; Distributor: Columbia Pictures; Location: New York , USA and Scotland; Running Time: 91 min ;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

For the last ten years after college, Tom Bailey (Patrick Dempsey) and Hannah (Michelle Monaghan) have become best friends. They enjoy each other’s company, laugh at the same jokes, tell each one choice personal experiences. This platonic friendship has endured in spite of their divergent interests and lifestyles. Tom, the handsome and wealthy inventor of the collar for take-out coffee cups, is an inveterate womanizer who attracts and beds a different girl every night (and never the same girl for two successive nights according to his rules), while Hannah is an art restorer who observes all these in bemusement but commenting and is the only good-looking girl in New York he hasn’t slept with. Both seem content with the way things are until Hannah goes to Scotland for six weeks on a business trip. Tom misses Hannah and realizes he is in love with her; he plans to tell her when she returns. But when she does, she brings along Colin (Kevin McKidd), a rugged man, a natural athlete who owns the biggest distillery in Scotland and is of royal lineage. They announce they’re engaged to be married and Hannah, unsuspecting of Tom’s real feelings, asks Tom to be her maid of honor. Tom accepts the invitation and accompanies Hannah to Scotland with the hope that he can think of something to prevent the wedding from pushing through.


It’s true that the good looks and personality of lead actors are a big come-on for the movies and the movie producers are banking on Patrick Dempsey and Michelle Monaghan to do that for Made of Honor but regretfully, as this movie shows, these are not enough. The picture calls to mind the well remembered My Bestfriend’s Wedding because of the similarity in the plot. However, Made of Honor is a bit of a let down because the very predictable plot is also underdeveloped, and so are the characters. There is not much that the viewers can savor between the beginning and the expected ending. Even the cliché of a dashing horseback rescue is not that exciting. The implausible situation is forced or thrust into your face right from the start, for how can a man be a maid of honor? Attempts at humor are crude like Tom’s father negotiating a pre-nuptial agreement with his future 6th (or 7th?) wife as to the number of times she should have sex with him in a week. The acting of the leads is adequate but there is really not much they can do. There is also some chemistry between them so they are able to sustain a light, cheerful mood. Some Scottish wedding traditions presented add to the happy ambience.


A romantic comedy like Made of Honor is meant to be light and entertaining and not to be taken seriously. So at times, negative values are overlooked or accepted due to the fact that they are presented in the guise of jokes or attempts at humor. Such is the matter-of-fact depiction of certain sex practices like the promiscuity of Patrick Dempsey’s character Tom Bailey and the ease of divorce and repeated marriages of Tom’s father. These practices are shown as an accepted way of life in this movie and glossed over by the other characters who are amused by them. These attitudes and practices are contrary to Christian as well as Filipino traditional values. Young people who see this movie should be carefully guided by parents/guardians as ideas these can subtly and insidiously influence the young viewers’ thinking and behavior.

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.

Harold & Kumar

Title: Harold & Kumar; Escape from Guantanamo Bay Cast: John Co, Kal Penn, Rob Corddry, Dannel Harris, Roger Bart, Neil Patrick Harris, Paula Garces Directors: Jon Hurwitz, Hayden Schlossberg Producers: Greg Shapiro, Nathan Kahane Screenwriters: Jon Hurwitz, Hayden Schlossberg Music: George S. Clinton Editor: Jeff Freeman Genre: Comedy Cinematography: Daryn Okada Distributor: New Line Cinema Location: Amsterdam, Netherlands Running Time: 140 min.

Technical Assessment: 2
Moral Assessment: 1 ½
CINEMA Rating: For mature viewers 18 and above


Buddies and boardmates, Harold (John Co) and Kumar (Kal Pen) are preparing to leave for Amsterdam to look for Harold’s girlfriend-to-be, Maria (Paula Garces). Trouble for them begins when Kumar refuses, at a security check-point in the airport, to allow a random search before boarding their airplane. Just as they are about to board, however, the two friends meet once Kumar’s girlfriend Vanessa (Dannel Harris) and her fiancé Colton (Eric Winter). On the plane, Kumar, unable to endure the long journey calmly, decides to take some drugs he has on him. Using the “bong” (a container) to facilitate his taking in the weed, a big commotion of fright that there is a bomb on board takes place. Harold and Kumar are arrested as terrorists and imprisoned in Guantanamo Bay . Experiencing atrocious forms of punishment, the two manage to make good their escape. There follow some unusual encounters: finding themselves in a women’s sauna, where the two escapees are challenged before they would be helped and protected; and then they are re-arrested. However, they are finally vindicated by a lawman who believed and helped them.

The movie presents two bumbling simpletons as the center of the story. The happenings and sequences are sometimes unclear. There are barely a few laughable situations. Most of the scenes are either corny or objectionable.

Harold and Kumar is filled with the issues on nudity sexual situations, the use of drugs, violence, objectionable language, etc. Harold an Indian, and Kumar, a Korean, are right away judged as terrorists, a sign of some discrimination. Migrants may be looked upon with suspicion, which instills fear and insecurity. A filthy prison condition projects the immoral acts of cops and guards towards their prisoners. This maltreatment of prisoners shows their abuse of power. The movie appears to focus on sex, suggesting it as a pleasure for men and women. Camera angles focused on naked bodies; sex as the center of their conversation; images of the inside of prostitution establishments; and when the purpose/s of showing the scenes become vague, are questionable to the intention of the movie. Using drugs is shown several times by different characters. In almost all dialogues each of the characters mentions the word “fuck” and use other objectionable words and phrases. Harold and Kumar is rated for adults, 18 years old and up; however, there are better films to watch.

What Happens in Vegas

Title: What Happens in Vegas
Cast: Cameron Diaz, Ashton Kutcher, Rob Corddry, Lake Bell, Jason Sudeikis
Director: Tom Vaughan
Producers: Michael Aguilar, Dean Georgaris, Shawn Levi
Screenwriter: Dana Foz
Music: Christophe Beck
Editor: Matt Friedman
Genre: Comedy/ Romance
Cinematography: Matthew F. Leonetti
Distributor: Twentieth Century Fox Film Corporation
Location: New York, USA
Running Time: 99 min.

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: For viewers age 13 and below with parental guidance

Jack Fuller (Ashton Kutcher) is a first class bum who can’t even keep a job at his own father’s company. He’s also a commitment-phobe, and a party animal who likes being around attractive, unattached women. After being fired by his own father, Jack packs off to Vegas with his best friend Hater (Rob Corddry). Joy McNally (Cameron Diaz), a Wall Street whiz kid, is dumped by her fiancé, and decides to drown out her sorrows in Vegas, dragging along her gal pal Tipper (Lake Bell). Jack and Joy literally bump into each other in—of all places a hotel suite: the Front Desk clerk apparently mistakenly gave them the key to the same room. Since both are trying to escape being dumped, Jack and Joy soon get drunk, and while very very drunk, get married Vegas style. They of course regret it the morning after, and vow to make life miserable for each other getting a divorce, until one quirky twist of fate—or the slot machine—gets them fighting tooth and nail over how to split the three million dollar jackpot.

About the first 45 minutes feels like a not-so-funny TV sit-com, and as far as romantic comedies go, What Happens in Vegas offers nothing really that novel. For that length of time the acting matches the script and the screenplay, and though Diaz is always pleasing to the eye, somehow the viewer gets the feeling this role is so “beneath her”. Rom-coms are not really that great nor are they expected to be, as far as depicting reality goes, but in What Happens in Vegas, the protagonists even come across as one- dimensional caricatures drawn by a writer and moved by a director who’d try anything to make people laugh. (Example: there’s a character named Richard Banger. “Oh, Dick Banger, ha ha ha,” says Jack. Dick Banger retaliates, “And you are Jack off!” The viewers will probably laugh, for a while, and then forget. Things change midway and get more real when Kutcher and Diaz succeed in getting the viewer to care about their characters as people—when Jack and Joy fall in love, that is. But even with that, it’s not likely you’ll want to keep this movie in your DVD list of “must-watch-over-and-over-again.”

The one shining lesson for viewers in What Happens in Vegas recalls an old Filipino adage about marriage not being like eating rice that you could just spit out when your mouth can’t stand the heat. It’s trying to say something, too, about money not being the most important thing on earth, although it’s glossed over by trivialities—and the amount of footage devoted to fighting over it. Okay, okay, romantic comedies aim to make you laugh, not to make you think. Fine, so just read between the lines and draw your own conclusions.

Deception

Title: Deception
Cast: Hugh Jackman, Michelle Williams, Maggie Q, Natasha Henstridge
Director: Marcel Langenegger
Producers: Robbie Brenner, David L. Bushell, Christopher Eberts, Hugh
Jackman, John Palermo, Arnold Rifkin, Marjorie Shik
Screenwriter: Mark Bomback
Music: Ramin Djawadi
Editors: Douglas Crise, Christian Wagner
Genre: Action-Thriller
Cinematography: Dante Spinotti
Distributor: Twentieth Century Fox Corporation
Location: New York, USA
Running Time: 110 min.

Technical Assessment: 2
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Jonathan McQuarry (Ewan McGregor) is a shy corporate auditor working on class A accounts but leading a lonely and dull existence. Meanwhile co-employee and high profile lawyer Wyatt Bose (Hugh Jackman)starts spending time with him to make him feel a little more welcome. Wyatt introduces Jonathan to an exclusive sex club, The List, where professional women working 18 hours a day look for intimacy through a “no string attached-one-night-stand” with members they fancy as a way to ease work tension and tiredness. However, “The List” has a strict set of rules: no exchanging of names, no business or personal talk and definitely no developing of intimate relationships. When Wyatt is called for a business trip in London , Jonathan meets “S” (Michelle Williams) whom he instantly falls for. And as soon as Jonathan starts to break rules, club members turn up dead with him as the main suspect. He scrambles to clear his name and soon discovers Wyatt’s deception.

The production wasted a good ensemble of performers with a storyline full of holes and a flat and unintelligent screenplay. The early scenes would make you think there is some huge twist at the end where unfortunately there is nothing more than just a ridiculous conclusion. The cinematography tries to be unique and reflective by using desaturated colors for effect but it instead it comes out dark and gloomy. Even the strong performances of Mcgregor and Jackman could not save the poorly written script. The direction is mediocre and is obviously done by a
newcomer. Overall, the movie is not enjoyable to watch and not worth the time and money.

"Intimacy without intricacy" is how one character explains the movie, as though sex were the ultimate fulfillment of life. But the protagonist soon realizes that one’s emptiness can only be filled not by vices and short-term pleasure but by a real and pure personal relationship. In this
world, emptiness comes to everyone. There are holes and walls in our lives that prevent us from living fully but if we are able to find love and real relationship, holes can be mended and walls can be broken to allow us to experience the beauty of life. The movie painfully tries to convey this message. However, with the weak script and meager creativity, it does not come across clearly. Scenes, themes and language are not suitable for the youth.

Ploning

Title: Ploning Cast: Judy Ann Santos, Gina Pareño, Mylene Dizon, Eugene Domingo, Tony Mabesa, Meryll Soriano, Ces Quesada, Crispin Medina, Tessie Tomas, Spanky Manikan, Ketchup Eusebio, Boodge Fernandez, Cedric Amit, Ogoy Agustin Director: Dante Nico Garcia Producer: Panoramanila Screenwriters: Dte Nico Garcia, Benjamin Lingan Music: Jesse Lasaten Genre: Drama Distributor: Panoramanila Location: Philippines Running Time: 110 min.

Technical Assessment: 4

Moral Assessment: 4

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

Binaybay ni Muo Sei (Boodge Fernandez) ang isla ng Cuyo, Palawan lulan ng isang bangka upang hanapin ang hindi mawari kung tao o bagay na kung tawagin lamang niya ay Ploning. Dahil illegal ang sinasakyang bangka, mayroon lamang siyang isang buong araw upang hanapin ang Ploning sa isla. Sa kanyang paghahanap ay unti-unting lilinaw na ang tinutukoy niyang Ploning ay isang dalaga (Judy Ann Santos) na noon ay kilala sa isla bilang matulungin, masayahin at misteryosa. Si Ploning ay anak ng isang mayamang negosyante (Tony Mabesa). Siya rin ang masugid na tagasuporta ng nagluluksa sa kalungkutan na si Intang (Gina Pareño) na siya ring ina ng kanyang kasintahang matagal ng nawalay buhat ng pumunta ng Maynila, si Tomas. Sa gitna ng pagiging mabuting anak, kaibigan, kasintahan, ay naging ina-inahan din si Ploning ng batang si Digo (Cedric Amit) na anak ng paralisado ng si Juaning (Eugene Domingo). Labis ang kalungkutan ni Digo nang malamang may balak si Ploning ng pumunta ng Maynila upang sundan si Tomas. Nakakuha ng bagong karamay at kakampi si Digo sa katauhan ng bagong saltang nurse sa baryo na si Celeste (Mylene Dizon) na diumano’y may nakilala sa Maynila na Tomas ang pangalan at ito raw ay taga-Cuyo. Si Celeste rin ang magiging susi ng lahat ng misteryo at lihim na itinatago ni Ploning. Sino si Muo Sei sa buhay ni Ploning?

Isang napakagandang pelikula ng Ploning na bihira nang makita sa mga klase ng pelikula natin ngayon. Ipinakita ng Ploning hindi lamang ang magagandang tanawin sa Cuyo, Palawan kundi pati na rin ang mayaman nitong kultura at dialekto. Buong-buo ang kuwento na umiikot sa maraming buhay sa isang isla na tila nilimot na ng panahon. Sa kabila ng maraming karakter ay hindi nawala ang sentro kay Ploning. Pinatingkad ang simpleng produksyon ng napakahusay na pagganap ng mga tauhan lalo na sina Judy Ann Santos, Gina Pareño, Eugene Domingo, Mylene Dizon, Spanky Manikan at maging ang mga baguhang sina Cedric Amit at Boodge Fernandez at Ogoy Agustin. Mahusay ang sinematograpiya at komposisyon na halatang pinagbuhusan ng panahon. Tamang-tama ang daloy ng emosyon at timpla ng bawat eksena. Maging ang mga simbolismo ay naging napakaepektibo sa paglalahad ng kuwento.

Umikot ang Ploning sa mga iba’t-ibang pananaw at konsepto ng pagmamahal depende sa karanasan ng isang tao. Si Ploning bilang matiyagang nagmamahal ay naniniwala na ang nagmamahal ay nagtitiwala at nasasaktan. Si Celeste naman ay hindi naniniwala dito. Para sa kanya, kapag nagmahal ay hindi dapat masaktan. Maaring nag-iiba ang pananaw ngunit isang bagay ang malinaw: ang buhay ng tao ay dapat uminog sa pagmamahal upang magkaroon ito ng kahulugan. Si Ploning ay wagas na nagmamahal hindi lamang sa kanyang kasintahan kundi maging sa kanyang magulang,mga kaibigan, anak-anakan at higit sa lahat, sa Diyos. Ipinakita niya na ang tunay na pagmamahal ay wagas, lubos at hindi naghihintay ng kapalit. Kapag iba ang pinairal, tulad ni Intang, ay kawalang-katahimikan at kapahamakan lamang ang kahihinatnan. Kapuri-puri kung paanong ang mabuting halimbawa ni Ploning ay bumuhay at nagbigay pag-asa sa sanga-sangang relasyon ng mga taong nabubuhay ng payak sa isang isla na tulad ng Cuyo.

Iron Man

Title: Iron Man Cast: Robert Downey Jr., Terrence Howard, Jeff Bridges, Gwyneth Paltrow, Leslie Bibb, Shaun Toub, Faran Tahir, Clark Gregg Director: Jon Favreau Producers: Avi Arad, Kevin Feige Screenwriters: Mark Fergus,Hawk Ostby, Art Marcum, Matt Holloway Music: Ramin Djawadi, Editor: Dan Lebental Genre: Sci-Fi Action Cinematography: Matthew Libatique Distributor: Paramount Pictures Location: Los Angeles, California Running Time: 126 min.

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

Iron Man is another Marvel comics superhero adapted for the big screen. It begins with the wealthy 40-something womanizing alcoholic and genius inventor Tony Stark (Robert Downey Jr.), presenting his latest weapon, the Jericho Missiles, to the Afghans. Unfortunately, the terrorists are impressed and kidnap Stark to force him to build another diabolic weapon. Injured during the attack, Stark's life is saved by fellow detainee Yinsen (Shaun Toub). Under captivity, Stark finds time to reflect on his life and decides to build instead an indestructible suit of armor to escape his captors. Back at home, he goes through a morality shift and tries to dismantle his weapon producing company. His receives mixed reactions from his closest friends: loyal assistant and occasional girlfriend, Pepper Pots (Gwyneth Paltrow) is semi-supportive, military buddy Jim Rhodes (Terrence Howard) thinks he is losing it and business partner Obadiah Stane (Jeff Bridges) is simply furious. Stark discovers a deadly conspiracy that would destabilize the entire world and realizes the destruction and violence he has contributed through his weaponry. He vows to amend his life and fight evil.

Iron Man is one of the few action movies that actually have more soul and substance. Downey attacks his character with much conviction and blends humor and sarcasm with his crime fighting persona. Paltrow and Bridges are gems that provide the necessary sparkle to a sometimes flat and boring screenplay. There are some pacing jolts to some viewers these could be a few too many. It takes a long time to build up the story and the wait is longer for the arrival of the Iron Man suit. The action scenes are solid, but they feel a touch too thin on the ground. Over-all though, the movie is a lot of fun stopping long enough for character development to give it a good blend of spectacle and substance. What makes the Iron Man stand out from other action–hero movies is the hero’s character himself. While Spiderman’s angst and motivation are rooted in adolescent insecurity, Batman’s dilemma and motive come from revenge and Hulk’s drive comes from rage, Iron Man’s reason for transforming into a superhero is morality. He simply wants to fight evil because he wants to do something good. Iron Man/Stark makes a good role model as a superhero because he is a real person with no supernatural ability or gift, who decides to use his intelligence and resources to save the world and rid it of violence and destruction. The movie shows how a person, no matter how steeped in vice and materialism can emerge a hero as long as there is a conscious and firm decision to change. Some themes in Iron Man, though, (like womanizing and alcoholism) and violent action scenes are not suitable for the very young audience.

When Love Begins

Title: When Love Begins
Cast: Aga Muhlach, Anne Curtis, Boots Anson-Roa, Jon Avila, A.J. Dee, Christopher de Leon, Desiree del Valle, Dimples Romana, Ronaldo Valdez
Director: Jose Javier Reyes
Producer: Star Cinema
Screenwriter: Jose Javier Reyes
Music: Jesse Lasaten
Genre: Drama/ Romance
Distributor: Star Cinema Productions
Location: Philippines
Running Time: 105 min.

Technical Assessment: 3
Moral Assessment: 2 ½
CINEMA Rating: For mature viewers 18 and above

Nagkakilala sina Mitch (Anne Curtis) at Ben (Aga Muhlach) sa Boracay. Dito nabuo ang kanilang pagkakaibigan at pagtitinginan. Ngunit sa huling gabi nilang dalawa sa Boracay ay umalis na lang si Mitch nang hindi nagpapaalam. Walang alam si Ben sa buhay ni Mitch sa Maynila. Wala rin itong iniwang address o contact number. Sa isang hindi sinasadyang pagkakataon ay muling magku-krus ang kanilang landas. Sa pagkakataong ito, hindi na hahayaan ni Ben na mawala pang muli si Mitch. Dito niya lalong nakilala si Mitch na anak pala ng isang mayamang real estate developer (Christopher de Leon). Bata pa lamang si Mitch ng naghiwalay ang kanyang mga magulang kung kaya’t may takot na ito sa pakikipag-relasyon. Maayos naman ang pamilya ni Ben na isang abogado at environment advocate. Sa kabila ng kanilang maraming pagkakaiba at agwat ng edad ay masaya sila sa piling ng bawat isa. Ngunit magiging hadlang pa rin ang marami nilang kaibahan upang maging lubusan silang sumaya. Makakabangga ni Ben ang ama ni Mitch dahil sa isang project nito kung saan maaapektuhan ang kalikasan na siyang pinaglalaban ni Ben. Sino ang mas papanigan at pipiliin ni Mitch, ang kanyang ama o si Ben na kapwa niyang mahal?

Isang ordinaryong kuwento ang When Love Begins. Tinangka nitong maging malalim sa pamamagitan ng pagsentro sa bigat ng karakter at hindi sa mga nangyayaring aksyon ngunit naging pawang mababaw at malamlam pa rin ang kinalabasan. Sa kabila ng mga batikan at naggagalingang mga artista ay hindi nito naisalba ang mababaw at napakasimpleng kwento. Walang bigat ng damdamin, walang nakakatawang karakter o eksena at walang maiiwan sa mga manonood kundi ang kakulangan ng insipirasyon ng pelikula. Bagama’t magandang milieu ang Boracay ay naging isa lamang itong backdrop ng kwento at hindi lubusang nagamit sa pagpapayabong ng istorya. Ang karamihan sa mga pangalawang tauhan ay naging pang-display lamang. Nakapahihinayang ang pelikulang When Love Begins na naging higit pa sanang maganda kung hinaluan ito ng mga bagong elemento at bagong mga pangyayaring hindi karaniwang nakikita sa pelikula o telebisyon.

Sinasabi ng pelikula na hindi biro ang pakikipag-relasyon. Marami na ring mga makabago at nagiiba-ibang pananaw ukol dito depende na rin sa karanasan. Ngunit may mga bagay sa relasyon na hindi dapat magbago. Una ay ang wagas na pagmamahal na kayang tawirin at hamakin ang lahat maging ang prinsipyo alang-alang sa minamahal. Pangalawa ay ang katapatan at paninindigan sa pamamagitan ng commitment. Maraming sinabing dahilan ang pelikula kung bakit takot at ayaw na ng commitment ng karamihan sa mga kabataan ngayon pagdating sa pakikipag-relasyon. Nariyan ang trauma at takot na masaktan dahil na rin sa mga nakitang halimbawa sa kanilang mga magulang. Ngunit hindi ito sapat na dahilan upang ituring na casual ang isang relasyon at pahantungin pa ito sa pagiging sekswal kung wala rin namang katapatan ng pagmamahal pati na ang basbas ng Diyos. Kung ganito nang ganito ang magiging turing sa relasyon ay magiging bihira na nga siguro ang isang maayos na pamilya tulad ng pamilya ni Ben sa pelikula. Kapuri-puri naman ang pagiging magalang sa magulang ng mga tauhan at maging ang mensahe nito sa pangangalaga ng kalikasan ngunit sadyang nakakabahala ang mga eksena ng inuman, paninigarilyo, at pakikipagtalik ng hindi pa kasal.