Friday, August 29, 2008

For The First Time

Cast: KC Concepcion, Richard Gutierrez, Nor Domingo, Jake Cuenca, Carla Humphries, Denise Laurel, Candy Pangilinan, Beatriz Saw; Director: Joyce E. Bernal; Producer: Malou N. Santos; Screenwriter: Vanessa Valdez; Editor: Marya Ignacio; Genre: Romance/ Drama; Cinematography: Shayne Clemente; Distributor: ABS-CBN Film Productions; Location: Manila; Running Time: 110 min.;

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

Si Pia (KC Concepcion) ay isang real estate executive sa kompanya ng kanyang Daddy (Philip Salvador). Hirap si Pia na patunayan ang sarili sa kanyang ama at matindi ang pressure na binibigay sa kanya nito. Sa gitna ng pagkaabala sa trabaho, itinuloy ni Pia ang bakasyon sa Santorini, Greece upang makapag-isip-isip kung dapat pa niyang ituloy ang pagtatrabaho sa ama. Sa di inaasahang pagkakataon ay magku-krus ang landas nila ni Seth (Richard Gutierrez), ang mayamang playboy na naging ex-boyfriend ng kanyang mga kaibigan kung kaya’t matindi ang pagkainis niya rito. Pero dahil si Seth ang may-ari ng kanyang tinutuluyang hotel sa Santorini, napilitan siyang pakisamahan ito. Isinumpa ni Pia sa kanyang sarili na hindi siya pwedeng main-love kay Seth dahil bukod sa ito ay certified babaero, hindi si Seth ang tipo ng lalaking magugustuhan ng kanyang Daddy para sa kanya. Pero sa pagdaan ng mga araw sa Santorini, sa gitna ng romantikong lugar, ay tila magbabago ang ihip ng hangin sa dalawa. Si Pia na kaya ang huling babae sa ni Seth. Mapanindigan kaya ni Pia and sumpa sa sarili?

Isang karaniwang kuwentong pag-ibig ang For the First Time na inilagay lamang sa ibang lugar. Matagumpay ang pelikula sa pagdadala sa manonood sa matulaing lugar ng Santorini, Greece. Napakaganda ng tanawin na tila nanaisin ng sinumang makakapanood ng pelikula ang puntahan ang lugar na ito. Pasado ang pag-arte ni KC Concepcion kahit pa ito ang una niyang pelikula at hindi maitatangging napakaganda ng kanyang rehistro sa kamera. Si Richard Gutierrez ay wala namang bagong ipinakita. Hindi gaanong ramdam ang kilig sa dalawa at tila mababaw ang kuwento sa kabuuan. Masyadong mataas ang antas ng pamumuhay ng mga karakter sa pelikula na hindi arok ng masa. Ito ang klase ng buhay na papangarapin lamang ngunit hindi ang lahat ay mabibigyan ng pagkakataong maranasan. Labas tuloy ay isang artipisyal na daigdig ang ipinakita ng pelikula at malayo sa katotohanan. Hindi rin gaanong nakakadala ang daloy ng emosyon ng mga tauhan. Salamat na lamang sa ilang epektibong patawa ni Candy Pangilinan at nagkaroon kahit paano ng buhay ang pelikula.

Makapangyarihan ang tunay na pag-ibig lalo pa’t wagas and hangarin nitong alalahanin ang kapakanan ng minamahal. Ito ang nais sabihin ng For the First Time sa kabuuan. Pero sa likod Pero sa likod ng mensaheng ito ay makikita ang mga karakter na bulagsak sa salapi, walang pakialam sa paligid at sadyang napakadali ng buhay. Bagay na hindi magandang halimbawa sa sinumang kabataang makakanood. Hindi malinaw ang naging pagbabago ng karakter ni Seth. Sadyang nakakailang at mahirap paniwalaan ang paghingi niya ng tawad sa lahat ng babaeng kanyang nasaktan. Pawang peke ang dating nito. Si Pia naman ay pinapatunayang pilit ang sarili sa ama gayong malinaw na hindi buo ang kanyang loob na kontrolin ang kanyang emosyon. Talaga bang hindi na uso ang pag-akyat ng ligaw sa mga kabataan at ang pakikipag-relasyon ba’y talagang palihim na sa mga magulang? Nakakabahala ang ganitong umuusbong na kultura. Hindi gaanong napalalim ng pelikula ang maraming dahilan ng paghihiwalay ng mga relasyon at pagkawasak ng pamilya. Pawang ang mga ito ay normal lamang at karapat-dapat na tanggapin bilang bahagi ng buhay-pamilya.

Thursday, August 28, 2008

Smother

Cast: Diane Keaton, Liv Tyler, Dax Shepard, Mike White, Don Lake, Sarah Lancaster; Director: Vince Di Meglio; Producers: Johnson Chan, Bill Johnson, Tim Rasmussen, Jay Roach; Screenwriters: Tim Rasmussen, Vince Di Meglio; Music: Manish Raval, Tom Wolfe; Editor: Kelly Matsumoto; Genre: Comedy; Cinematography: Julio Macat; Distributor: Inferno Distributor; Location: Beverly Hills, California, USA; Running Time: 120 min.;

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

This particular day starts badly for Noah Cooper (Dax Shepard). He gets fired from his work as a sports therapist. He calls up his school-teacher wife Clare (Liv Tyler), informs her about it and observes that she should hold on to her job- one of them must be working- and heads for home. When he arrives, he finds a houseguest, Myron Stubbs (Mike White) cousin of Clare, a movie scriptwriter who has been invited to stay, as his parents have told him to leave their house. Other things begin to deteriorate his day further. Suddenly, his domineering mother Marilyn (Diane Keaton) shows up at his door, with her five pet dogs. She has left Gene, her husband (Ken Howard), his dad, and looking for a place to stay. Noah is all for helping her find a place, but Clare insists on accommodating her in the house, that mom stays with them. Noah finds himself facing not only what are before him, but also the necessity of getting a job; and especially, to heed the eagerness and insistence of Clare that it is a high time that they work on having a baby. Could he manage: to find that job, have a child with Clare, and cope with a mother “who knows better, and should be listened to and heeded?”

The main characters in the story, that of Noah, Marilyn and Clare provide a presentation of what could happen in families around the world. There are mothers who think they are “always right”, and “themselves” and would not accept a “not true!” in return. Though not as adept, Shepard and Tyler managed as Noah and Clare to provide what was needed for their roles. The story provides a plot that brought the various scenes, episodes including the sidelight together to portray a complete story.

“Smother” is classified as a comedy because it is meant to provide an easy-to watch and laugh at silly or not right family situations, meant for a wide range of viewers. But because of how the story is presented- it appears that the comic situations, including the serious occasions, appear to be meant for the more mature audience than younger viewers. CINEMA, though, is rating this film for 18 years old and above for certain reasons. After 30 years, or so, of staying married, Noah’s father and mother abruptly split up. No closure is shown; hopefully-in real life- such a story would find a positive resolution. A second scene, in a carpet bazaar, where Noah gets employed: for laughs, the bazaar boss goes quietly close behind the back of an elderly lady shopper and performs lascivious acts on her while she is bending down to look at some merchandise. There are some scenes of nudity and some dialogue referring to sexual matters made in anger or fun. Noah verbally worries about his mother’s health, not that she would live longer but his fear was that she would live longer, after the kind of mother she had been to him all his almost 30 years of life. But he discovers that his mom really loves him: “he is the best thing in her life”. Discovery and realization comes at the end, for Noah and Clare, and Noah and Marilyn.

The Gravedancers


Cast: Marcus Thomas, Clare Kramar, Dominic Purcell, Josie Maran; Director: Mike Mendez; Producers: Al Corley, Lawrence Elmer Fuhrmann Jr., Bill McCutchen, Eugene Musso, Bart Rosenblatt; Screenwriters: Brad Keene, Chris Skinner; Music: Joseph Bishara; Editor: Mike Mendez; Genre: Drama/Horror/Thriller; Cinematography: David A. Armstrong; Distributor: After Dark Films; Location: North Carolina, USA; Running Time: 95 min;

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

Harris (Dominic Purcell), one of the three long time friends with Sid (Marcus Thomas) and Kira (Josie Maran), misses the funeral of their friend Devin who died in a car accident. Harris thinks that they should pay their last respect to Devin together in front of the grave in the cemetery, an idea which Sid and Kira do not initially agree with, but they eventually do. The solemn purpose to pay respect turns out to be a singing and dancing spree with loud music after reading a poem they see at the grave. Unfortunately, the poem read by Harris is like a magical spell that awakens dead spirits especially those in the ground where they danced. Since then all of them including Sid’s wife Allison (Clare Kramar) experience strange eerie occurrences in their respective places. With the help of a paranormal investigator they realize that they are being haunted by the angry spirits they bothered by desecrating their graves with their dancing spree at the cemetery. How will they get over these harrowing experiences?

As a horror thriller film, The Gravedancers successfully delivers and keeps the interest of the viewers from beginning to end of the film. It has a very good plot that was treated with careful special effects, musical scoring and sounds. The actors gave their distinct justification of the characters they portrayed in the film: that of tactless Harris, focused Sid, disturbed Kira, and concerned and frightened Allison, which is also to the credit of the director. It is not the usual screaming horror film but one that gets established as the film progressed to the end. Overall, the film has very good technical qualities.

The film conveys strong messages to respect the dead not necessarily in the context of religious belief, rather on the paranormal dimension. It underscores how irresponsible actions desecrating graves can make the person’s life miserable and even brings death. It aggravates when selfish motives like that of the paranormal team member cheated in the operation got in the way, but at least she regretted doing so when she realized the worst results of her cheating. In a sidelight, the film shows valuing relationships of friendship and marriage. It will be noticed that in the entire run of the film there was no reference to the Church’s intervention; but rather solely on human ability and paranormal science. In reality, when things go beyond human understanding, people seek enlightenment and draw strength from Divine providence to fight evil forces.

Friday, August 22, 2008

Loving You

Cast: John Prats, Polo Ravales, Ehra Madrigal, Kris Bernal, Aljur Abrenica, Jean Garcia, JC de Vera, Yasmien Kurdi; Director: Don Cuaresma; Producer: Roselle Monteverde-Teo; Screenwriter: Fairlane Raymundo; Genre: Romance-Drama; Distributor: Regal Entertainment; Location: Manila; Running Time: 110 min.;

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For viewers age 13 and below with parental guidance

Magkakabarkada mula pagkabata sina Jepoy (JC De Vera), Lane (Yasmien Kurdi), Bry (Ehra Madrigal), Tom (Polo Ravales) at Tonee (Kris Bernal). Muling titibay ang kanilang samahan nang sila ay magtrabaho sa iisang call center. Sina Jepoy at Lane ay kakatapos lamang mag-break bilang magnobyo bagama’t mahal pa rin nila ang isa’t-isa. Sa call center ay parehas silang magkakaron ng panibagong pag-ibig. May pag-asa pa kaya silang magkabalikan? Si Bry naman ay niloko ng kanyang kalive-in at ang tanging naging sandigan ay ang kanyang suking taxi driver (John Pratts) na malaki ang pagkagusto sa kanya. Si Tonee na totomboy-tomboy ay mai-inlove naman sa kasamahang si Ryan (Aljur Abrenica) na mahuhuli naman niyang may kinakasamang bading (John Lapuz). Si Tom naman ay pilit na dinadala ang relasyon kay Cyril (Jean Garcia) ang kanyang dating guro na malaki ang tanda sa kanya. Saan kaya sila dadalhin ng kani-kanilang mga problema sa puso at pagmamahal?

Walang bagong inihain ang Loving You maliban sa makabagong milieu ng call center. Ngunit ito ay nanatili lamang backdrop at hindi lubusang nagamit sa pelikula. Ang mga kuwentong pag-ibig ay pawang mga gasgas na at alam na ng mga manonood ang patutunguhan. Sa sobrang dami ng karakter ay sumasabog ang kuwento ng pelikula. Walang pinaka-sentrong karakter o kuwento na maaring sundan. Hindi gaanong dama ang mga eksena mapa drama man o komedi. Sayang at may potensiyal sanang maging maganda ang pelikula sa tradisyon ng mga pelikulang pang-kabataan tulad ng Bagets, Pare Ko, Jologs at marami pang iba. Ang manipis na kuwento ay mas pinanipis pa ng mga hilaw na pag-arte ng mga artista. Tanging ang mga beteranong sina Jean Garcia at Tonton Gutierrez ang kakikitaan ng sinseridad. Ang lahat ay pawang mga pa-cute lamang.

Maraming ipinakitang nakakabahala sa pagpapahalagang moral ng mga kabataan ang pelikula. Pangunahin na rito ay pagpapakitang katanggap-tanggap at nakakaigaya ang pakikipaglive-in at pagsasama ng labas sa sakramento ng kasal. Pawang kaswal lamang ang sex sa pelikula na maaring gawin kahit anong oras kahit saan. Maging ang pagkakaroon ng mga tomboy at baklang mga magulang ay ipinakita lamang at hindi ipinaliwanag o dumaan sa proseso upang lubusang maunawaan ng mga manonood. Mababaw ang naging pagtingin at pagtrato ng pelikula sa konsepto ng pag-ibig. Gaano man nila piliting palalimin, hindi maitatangging naging ubod ng pusyaw ng pagtalakay nito. Ang pag-ibig at pakikipagtalik ay itinuturing nilang iisa. Maging ang infatuation at crush ay pinalalabas na true love. Pawang binubuo lamang sa hangin ang pagkakagustuhan. Maghalikan lamang at maghawakan ng kamay ay sila na. Walang pagpapahalaga sa pagbuo ng pamilya, wala ring sakripisyo. Tanging mababaw na romansahan na nagkukunwaring malalim ang makikita sa pelikula. Walang anumang aral sa pag-ibig. May mangilan-ngilang kurot ukol sa pagpapatawad at pamilya ngunit hindi ito ang pangunahing pinatunguhan ng kuwento.

Star Wars- The Clone Wars

Cast: (VOICE)- Matt Lanter, Ashley Eckstein, Dee Bradley Baker, Tom Kane, Nika Futterman, Ian Abercrombie, Corey Burton, Catherine Taber, Matthew Wood; Director: Dave Filoni; Producers: Catherine Winder, George Lucas; Screenwriters: Henry Gilroy, Steve Melching, Scott Murphy; Music: Kevin Kiner; Editor: Jason Tucker; Genre: Animated Science Fiction; Distributor: Warner Bros. Pictures; Location: USA, Singapore; Running Time: 98 min.;

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For viewers age 13 and below with parental guidance

Clone Wars takes place in between Episode 2: Attack of the Clones and Episode 3 Revenge of the Sith. The movie opens with the Republic clone troopers led by Jedi generals Anakin (Matt Lanter) and Obi-wan (James Arnold Taylor) fighting the droid army. Complicating matters is Master Yoda’s decision to assign a PADIWAN (apprentice), Ahsoka Tano (Ashley Ekstein) to serve under Anakin. They are quickly assigned to rescue Jabba’s kidnapped son so they can form an alliance with the Hutts as latter control a safe trade passage crucial for winning the galactic war. Unknown to them, the kidnap is staged by Sith Count Dooko (Christopher Lee) and his apprentice Asaji Ventress (Nika Futterman) to discredit the Jedis and win the Hutt’s support. Much of the film follows Anakin and Ahsoko’s attempt to rescue the baby Hutlet and forge a treaty with Jabba.

The movie is presented with good stylish animations and enjoyable CGI’s, although the characters feel stiff and look like the miniature dolls sold as merchandising. The sceneries are almost breathtaking and action is dynamic enough to keep the audience glued for an hour and a half. This animated version has plenty of moments with some cute and funny punch lines thrown here and there in between incredible action sequences. Unfortunately there is nothing new presented for a storyline save for more scheming of the Sith against the Republic, more explosions and special effects. While the editing is witty, engaging and thrilling and helps to keep the flow smooth and understandable even for non-Star Wars fans. However, the musical scoring falls a little short to support the sequences but since this is an animated version one can let this cheesiness pass.

What does it mean to be a good leader? The film makes several points on the teacher-student / master-apprentice relationship. First, the importance of listening which should be a two-way deal. Students need to listen to the wisdom of their teachers while teachers in turn need to be attuned to the creativity and freshness of their students’ opinion. Second, respect is earned by “walking the talk”. Anakin could have never gained Ashoko’s trust and loyalty if he had not shown courage and dedication to do what is right. Likewise, Ashoko’s perseverance and loyalty not only won Anakin’s respect but also his fondness and protection of his teenage apprentice.

The movie is safe and decent with numerous violent sequences, though non-graphic, given the premise of war and action animation. Parents are cautioned to guide their very young children when watching the film.

Big Stan- The Gigolo is Back


Cast: Rob Schneider, David Carradine, Jennifer Morrison, Scott Wilson, Henry Gibson; Director: Rob Schneider; Producers: Mark A.Z. Dippe, David Hillary, Timothy Wayne Peternel, John Schneider, Rob Schneider; Screenwriter: Josh Lieb; Music: John Hunter; Editor: Gregor Babor, Richard Halsey; Genre: Comedy; Cinematography: Victor Hammer; Distributor: Metro-Goldwyn-Mayer MGM; Location: Stockton, California, USA; Running Time: 100 min;

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

Wealthy Stan Minton (Rob Schneider), a crooked real estate agent is arrested for fraud and convicted. By some manipulation, Stan is able to get the judge to give him an allowable six months break before he begins his prison term. His greatest fear of being in prison is what the prisoners could do to him, and he knows that he would not be able to defend himself. So he scouts for someone who could train him to take care of himself in whatever situation the prisoners would put him in. Stan meets a mysterious master of Martial Arts (David Carradine) and recruits him to train him to be a tough and expert fighter, capable of taking on whoever and however many would want to do him harm. The result is a Stan who goes to prison, is one who could out-do and defeat who ever tries to put one over him. Stan not only gains the respect of all the inmates; he is also able to transform his rowdy, violent and hardened prison mates into an orderly and civil community. This unexpected change however, upsets the prison warden’s plan of having the prison complex sold for his profit. It was the warden who had Stan transferred to his jail to serve his prison term there, at the same time help the warden to plan and arrange the sale. To make the prison compound available to prospective buyers, the warden wants the prisoners incited into a melee of fighting, killing each other and totally damaging the entire place. Stan is commanded to reverse what he has done, or else…!

Rob Schneider supported by David Carradine: both come up with their part of the story with effective and natural acting. The first half of the film centers on them as one teaches the other all that are needed to become an effective martial arts expert. All the things Stan had to practice to make him a fit man, and durable, may not be true to real life like: being burned; swallowing garbage, and animal food; eating live snake and scorpions, among others being kicked and walloped. There are funny and laughable moments. Other scenes may be reminiscent of those shown in comedies which Rod Schneider had starred in.

Stan gets transformed from a guy who was worried about his own safety and well-being, into someone who learned to care about his inmates, and the whole prison community. He learned to appreciate and cared about his wife and how she felt and what she wanted. Despite these positive issues and matters are present in the movie story, it is a film that should be rated for adults only. Certain questionable subject matters are not clearly represented. For instance, the subject of prison rape is bandied around and some flashes of these are suggested visually. Nudity and some sexual situations are also presented. When Stan had convinced all his prison inmates to stop raping each other, he tells them however, that consensual homosexual relationship is alright, which is not really accepted by society.

Sunday, August 3, 2008

Meet Dave


Lead Cast: Eddie Murphy, Elizabeth Banks, Gabrielle Union, Ed Helms, Austin Lynd Myers, Scott Caan, Director: Brian Robbins; Screenplay: Bill Corbett, Rob Greenberg; Cinematography: J. Clark Mathis; Editing: Ned Bastille; Producer: Jon Berg, David T. Friendly, Todd Komarnicki; Music: John Debney; Location: New York; Genre: Family - Comedy; Distributor: 20th Century Fox; Running Time: 90 minutes.

Technical Assessment: 2.5
Moral Assessment: 3
Cinema Rating: V-13

Dave Ming Chang (Eddie Murphy) is a human-shaped alien spaceship from the planet Nil which crashes in Manhattan three months after the “orb” falls on earth. Apparently, the Nils, a Lilliputian race, has sent a team to the planet to retrieve and activate the orb to suck the ocean’s energy and save their dwindling power supply. The commanding team operates Dave from the inside with the captain (Eddie Murphy) functioning as the brains and voice of the space ship. However, the team, including power-thirsty No. 2 (Ed Helms), sweet natured cultural officer No. 3 (Gabrielle Union) and the rest of the crew know nothing about the planet and its inhabitants and try their best to make their human-like space craft fit in. The captain decides to befriend a young boy Josh (Austin Lind Myers) and hang time with him and his newly widowed mom, Gina (Elizabeth Banks). Slowly, the team learns certain human qualities which begin to change their views on life and relationships. However, No. 2 is disgusted that they are getting sidetracked from their mission and organizes a coup. Meanwhile, New York police officers Dooley (Scott Caan) and Knox (Mike O’Malley) are sent out to investigate Dave’s the crash site by the Statue of Liberty. Dooley suspects aliens have landed on earth and start a witch hunt for Dave.

The movie has a potentially good plot but the humor is flat and dull. Most of the comedy comes from Dave trying to blend with the earthling; unfortunately, Murphy is either out of timing or overacting, which either way makes him only look ridiculous. The rest of the actors provide exaggerated performance and histrionics that reduce them to caricatures. The CGIs are disappointing and slightly better than those used in a 70s TV sci-fi show. The screenplay lacks strength and charm expected of a Murphy comedy. Over-all, the production is passable but as die-hard Murphy fans in the theater prove, the movie can be funny despite a mediocre script and poor directing.

While Meet Dave takes digs at earthlings’ lack of discipline (ignoring traffic signals, for instance), it imparts one valuable lesson: being less than average physically does not determine one’s worth as a person. Great things can be done even by the least popular, most deprived, or most disadvantaged as long as one’s integrity is intact. One’s worth is not measured by the size of his physical or material assets but by the greatness of his heart. Dave reminds Josh that his being small and his being different does not make him less of a person because he has saved two worlds out of the generosity of his spirit.

The movie is almost wholesome and decent save for some mild and minor profanities and coarse humor and scenes. Parents should be cautioned to accompany and guide their very young children when watching the movie.

The Bank Job



Lead Cast: Jason Statham, Saffron Burrows, Stephen Campbell Moore, Daniel Mays; Peter De Jersey, David Suchet; Director: Roger Donaldson; Screenplay: Dick Clement and Ian La Frenais; Cinematography: Michael Coulter; Editing: John Gilbert; Producer: Steven Chasman, Charles Rovenl; Music: Peter Robinson; Location: London; Genre: Action Drama; Running Time: 110 minutes.


Technical Assessment : 3.5
Moral Assessment : 2
Cinema Rating : V-18


Just when Terry Leathers (Jason Statham) was having a bad day with some thugs who want their money back fast, he meets his ex-girlfriend Martine Love who tells him of a possible way to hit it big time. The proposal is to round up Terry’s boys and rob the safety deposit boxes of the Lloyd Bank along Baker Street. Terry and group pull off the robbery despite some close calls and hitches, including having their walkie-talkie conversation monitored by police. After the heist, the group safely retreats to their hideout and are about to part their loot when they realize that they have been set up by Martine and now possess several documents which will seriously incriminate high profile “villains” and put them all at risk. Apparently, Martine has to retrieve the scandalous photos of London’s princess taken by Michael X (Peter De Jersey). But in the process, Terry and company are also able to get other compromising documents including the list of corrupt police in the payroll of pornographer Lew Vogel (David Suchet) and photos and film of politicians’ sexual tryst. Now, they must not only evade police but also the people whose secrets they posses while cutting a deal with Martine’s contact.

The movie is based on a real London Bank robbery in 1971 where after being hyped by media was suddenly given a news blackout. The production is smooth and flawless, keeping the drama and suspense tight and clean. The exhilarating plot development is intensified by brilliant cameraworks and skillful editing. The production design is creatively authentic and stylish. Statham is suave and charismatic as a bad guy turned hero. Overall, the movie is technically and artistically superb with the right amount of grit, cunning and drama.

Evil begets evil. Even the smallest misdeeds can lead one to be tangled in a bigger and deeper mess. No one should believe that a simple offense, even those done in private, will not have any social repercussion. No one gets away with crime as justice always has a way of coming back. Unfortunately though, the movie has Terry and some of his group members get away with their crimes because seemingly theft and deception are a lot tamer than murder, torture and pornography. Hence, since Terry’s crimes are tamer that the other villains, he comes off as the “good guy” despite what he has consciously done and laws he has deliberately broken.

The movie should be strictly for mature viewers because of several scenes with sex, nudity, cursing and bad imitative behavior. The fact that the robbers were allowed to get away free, richer and almost heroes might also send a misleading message especially to impressionable young audiences.

Saturday, August 2, 2008

Concerto



Cast: Jay Aquitania, Meryll Soriano, Shamaine Buencamino, Nonoy Froilan, Elijah Castillo, Alyssa Lascano, Yna Asistio; Director: Paul Alexander Morales; Producer: Digital Spirit Production; Screenplay: Paul Alexander Morales; Cinematography: Regiban Romana; Editor: Laz'andre; Music: Jed Balsamo; Running Time: 90 minutes; Location: Davao; Genre: Drama

Technical Assessment: 4
Moral Assessment: 4
Rating: For viewers 13 and above

Sa pagtatapos ng Ikalawang Digmaang Pandaigdig, may isang pamilyang lumikas at napilitang mamundok sa Davao. Malapit ito sa kampo ng mga Hapon. Si Ricardo (Nonoy Froilan), ang padre de pamilya, ay dating puno ng militar na pinahirapan ng mga Hapon. Upang makapamuhay nang mapayapa, kinaibigan ng kanyang asawang si Julia (Shamaine Buencamino) ang ilang mga Hapon na nasa malapit na kampo. Ang kanilang anak na lalaki na si Joselito (Jay Aquitania) ay marunong magsalita ng Hapon kung kaya't naging madali sa kanya ang pakikipag-kaibigan sa mga ito. Sapagkat may likas na angking talino sa musika, naging labis ang kasiyahan ng pamilya nang muli nilang makuha ang naiwan nilang piano. Ang mga anak na babae na sina Nina (Yna Asistio) at Maria (Meryll Soriano) ang siyang nagsilbing taga-aliw sa mga Hapon bilang mga pianista. Isang concerto ang ginanap sa kanilang tahanan para sa mga kaibigang Hapon bago tuluyang pumutok at matapos ang digmaan.

Maayos at malinis ang pagkakagawa ng Concerto. Tunay sa pamagat nito, talagang para kang nanonood ng konsiyerto sa pelikula. Nakakaaliw ang musika na talaga namang nagpatingkad sa isang kuwentong-digmaan. Mahusay ang pagkakalahad ng kuwento. Payak ngunit malaman at punong-puno ng damdamin. Pawang walang itulak kabigin sa galing at husay ang mga nagsiganap. Natural ang kilos ng lahat at pawang mukhang mga hindi umaarte. Totoong-totoo pati ang mga karakter na Hapon. Maliit man o malaking eksena ay nagawang kapani-paniwala ng direktor. Sana'y mas marami pa ang makapanood nito sa mga sinehan at maging isang instrumento upang buhayin ang naghihingalong pelikulang Pilipino.

Ipinakita sa Concerto ang kahalagahan ng pagkakaroon ng isang buo at nagkakaisang pamilya sa gitna ng unos at giyera. Maraming pagsubok ang maaring pagdaanan sa iba't-ibang panahon pero ang wagas na damdamin at matibay na paniniwala sa Diyos ang mga subok na sandata upang maalpasan anumang hirap at pasakit. Kapuri-puri ang isang pamilyang sabay-sabay na nagdarasal sa gitna ng kaguluhan ng paligid. Kitang-kita sa pelikula kung paanong ang pakikipag-kapwa at pananampalataya ay nakatulong ng labis sa pagpapanatili ng kapayapaan sa gitna ng digmaan. Tunay na walang mabuting naidudulot ang giyera. Ngunit gaya ng ipinakita sa pelikula, ang digmaan ay isang pagkakataong nagpapalabas ng pinakamabuti o pinakamasama sa tao. Maaaring maging instrumento ang giyera upang mas mapabuti at mapatibay ang isang pamilya, ang pagkakaibigan. At isa rin ang sining at musika sa maaaring magtawid sa tao sa anumang paghihirap. Ang sining at musika ay biyaya ng Diyos na marapat lamang gamitin sa kabutihan at maging simbolo ng Kanyang kadalikaan sa panahon man ng digmaan o kapayapaan.

Mamma Mia!



Lead cast: Meryl Streep, Pierce Brosnan, Amanda Seyfried, Colin Firth, Stellan Skarsgard, Julie Walters, Dominic Cooper, Christine Baranski, Ashley Lilley, Rachel McDowall, Philip Michael; Director: Phyllida Lloyd; Screenwriters: Catherine Johnson/based on the original musical book by Ms. Johnson/originally conceived by Judy Craymer based on the songs of Abba; Cinematographer: Haris Zambarloukos; Editor: Lesley Walker; Music: Benny Andersson and Bjorn Ulvaeus/some songs with Stig Anderson; Genre: Musical, romantic comedy; Location: Greece, USA, England; Runtime: 108; Producers: Judy Craymer/Gary Goetzman; Distributor: Universal Pictures.


Technical assessment: 3
Moral assessment: 3
CINEMA rating: V 14


Twenty-year old Sophie (Amanda Seyfield) is getting married soon. Dreaming of a white wedding, however, she insists on being given away by her father. The problem is, she doesn’t know who her absentee-father is. Her single-mother Donna (Meryl Streep) raised her singlehandedly, running “Villa Donna”, a modest inn on a Greek island. Days before the wedding she discovers—and shares with her bosom buddies—Donna’s diary which speaks of three amorous encounters around the time she was conceived. She is determined to realize her dream of walking down the aisle with her father, and so, unknown to Donna, she invites the three men: Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgard) to the wedding. If her own mother Donna can’t tell which of the three men has sired her daughter, how will Sophie be able to determine who her real father is? Who will finally give Sophie away?

The plot is thinner than crepe dough but Mamma Mia is undoubtedly enjoyable, thanks mostly to the great acting, and the lilting, foot tapping ABBA songs that have a way of burrowing into your memory. Because this is adapted from the Broadway musical of the same title, expect the characters to burst into song at the oddest moments, and forgive the production if the song is not the accurate expression called for by the situation. If the frothy story is good enough for Meryl Streep and Pierce Brosnan and is set on a Greek island, why complain? Just sit back and gorge on the eye candy that it is. If you want heavier stuff, see The Dark Knight, but if your bones are aching and your head is almost bursting from stress, then drop the aspirin and go see Mamma Mia. Seyfried is a real pro at singing, and delivers a star-making performance, a far cry from her roles in Mean Girls, Veronica Mars, and Big Love. Streep is obviously enjoying the sing-and-dance routine, at which she isn’t so bad, especially since the numbers rely more on fab costumes than on fancy choreography. Cinematography is a bit rocky: long shots with a little more action would have been better than close-ups, as in that part where Streep and Brosnan belt out “The Winner Takes it All”—it simply draaaags.

Not only is Mamma Mia’s plot thinner than crepe dough, the whole movie is in fact is like Cherry Crepes—looking yummy, brightly colored, sweeter than candy but hardly nourishing. Its one message is “go with the flow”: nothing is worth fretting about—it’s okay to change your mind, call off or stage a wedding at whim, stop asking who your father is. Very Greek-island living--just be accepting of the way things are, and everything will turn out all right after dancing to a couple of songs—with a literal Greek chorus in the background. As long as you know this type of feel-good movie can be addictive, you can go ahead and enjoy it for the therapeutic escape it can offer. At least, it’s way cheaper than a visit to the doctor.

The Dark Knight



Lead Cast: Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Michael Caine; Maggie Gyllenhal, Morgan Freeman; Director: Christopher Nolan; Story: Christopher Nolan, David Goyer; Screenplay: Jonathan Nolan, Christopher Nolan; Cinematography: Wally Pfister; Editing: Lee Smith; Producer: Christopher Nolan, Charles Roven, Emma Thomas; Music: James Newton Howard, Hans Zimmer; Location: USA; Genre: Action; Running Time: 155 minutes; Distributor: Warner Bros.

Technical Assessment : 3.5
Moral Assessment : 2.5 (for violence)
Cinema Rating : V-14

Gotham City has a new hero, one who need not hide in a mask and lurk in the shadows as an uncontrollable vigilante. He is the newly appointed District Attorney Harvey Dent (Aaron Eckhart) who is determined to rid the city of mobsters and criminals within the boundaries of law and justice. He is able to round up 500 mob and thugs with the help of Lt. James Gordon (Gary Oldman) and Batman /Bruce Wayne (Christian Bale). This prompts the mob leaders to take the offer of the criminally insane anarchist and mass murderer Joker (Heath Ledger) to kill Batman. Joker attempts to lure Batman to reveal his true identity by killing high ranking and innocent citizens of Gotham everyday. The conscience-stricken Batman contemplates to prevent any more murders and asks Dent to call a press conference so he can reveal his true identity. However, during the press conference, as the crowd clamors for Batman to step up and face the consequences of his actions and before Bruce Wayne can come forward, Dent confesses he is the Batman. Dent, escorted by a police caravan, is transported to jail. Joker attacks the caravan en route to kill Dent but is captured and incarcerated by the police. However, being always one step ahead and with the help of corrupt police officers, Joker kidnaps Dent and Rachel, Dent’s fiancée and Bruce Wayne’s friend and former sweetheart. They are put in separate places laden with explosives. Unfortunately, only Dent is rescued. Rachel dies and half of Dent’s face gets badly burned. The experience corrupts Dent and transforms him into the vindictive Two-face. Now Batman must fight Joker’s murderous madness, Two-face’s vendetta and the lawlessness he seemingly inspired in the streets of Gotham.

This version of Batman departs from the customary comic-book archetypes and Tim Burton’s theatrical directorial interpretation. This time Batman is a darker and grimmer production that moves closer to real people. The Nolan brothers have successfully integrated the comic-book storyline with a more mature plot development, favoring drama over dash and allowing people to sympathize with characters’ flaws, transformations and weaknesses. No back-story was provided for Ledger’s Joker character but he portrays it with such chilling menace that no explanation is deemed necessary to understand his twisted logic and evil character. Also outstanding were the portrayals of Oldman and Eckhart. Technically, the movie leaves you at the edge of your seat with one explosive action sequence after the other and an exhilarating editing technique. The camerawork could have slowed down as viewers sometimes feel continuously moving even during serious dialogues and non-action scenes. However, the movie still feels a little long and overstretched with one too many scenes that serve no purposed save to explain side stories or provide more action.

Integrity and selflessness seem to be just romantic but forgotten virtues especially during times of fear and chaos. When one’s survival is threatened, what does one do? The movie suggests that most people would betray, harm or even kill someone else just to save their own life. Self preservation seems to be the ultimate objective of living, as the Joker tries over and over to prove that even the most decent and upright man can be corrupted when put under extreme pain and despair. But characters such as Commissioner Gordon, Rachel Dawes and Lucius Fox illustrate how selflessness, uprightness and dispensing justice within the boundaries of law are the best way to bring about order and stability in society. The scene where passengers of two ferry boats loaded with explosives were forced to blow the other in order to save themselves stresses that even sinners / criminals can learn to sacrifice themselves to do what is right.
These times, most societies are put to test with the many pressures and challenges in all fronts – economic, political, social, and psychological. Relationships and dignity are threatened by so many self-serving ideologies. We are almost always challenged to choose to save our own skins at all costs or to think of the good of others at the cost of our happiness, desires or comfort. Perhaps when one day people can think and care less of themselves can we finally start having a harmonious, peaceful and progressive society.

The film conveys this valuable message but unfortunately gets drowned by intense action and psychological violence, explosions, mayhem and aggressive behavior of the main characters. Most scenes may not be appropriate for young audience and parents should be cautioned against allowing their teenagers to watch the film alone.

Tuesday, July 15, 2008

Hancock


Title: Hancock; Cast: Will Smith, Charlize Theron, Jason Bateman, Jae Head; Director: Peter Berg; Producers: Akiva Goldsman, James Lassiter, Michael Mann, Will Smith; Screenwriters: Vincent Ngo, Vince Gilligan; Music: John Powell; Editors: Colby Parker Jr., Paul Rubell; Genre: Action/ Comedy/ Drama/ Fantasy; Cinematography: Tobias A. Schliessler; Distributor: Sony Pictures Entertainment; Location: Los Angeles , California , USA; Running Time: 92 min.;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers age 14 up




John Hancock (Will Smith) sleeps at park benches, swears, is rude, drinks heavily, and is in the words of a little boy an “asshole”. But he is also a superhero of sorts. He’s arrogant but he saves lives; he’s a bum but he can’t tolerate baddies. When on call he doesn’t hide and slip into a signature costume, he simply skyrockets himself, crashing through windows, making a mess of the traffic, leaving downtown Los Angeles like it’s been rocked by a mega hurricane. Half the people adore him; the other half has filed over 600 lawsuits against him for damaged property and injured bodies. One day he saves from sure death a dreamer of a PR man Ray (Jason Bateman) who is stupid enough to get himself stuck on the railroad track with a train zooming up. Grateful for his life, Ray brings Hancock home for a spaghetti dinner, and introduces the superhero to his son (who idolizes Hancock) his wife Mary (Charlize Theron) who can’t seem to stand the sight of the boorish superhuman around the house. What Ray really wants to do is give Hancock an image makeover—to make him look good to the public.

The movie’s trailer and poster claim there are heroes and superheroes (and more superheroes) and then there is Hancock. Or something like that. Which leads the viewer to expect a different kind of superhero—but a superhero nonetheless. So the story brings us this superhero with an issue—or rather with unresolved issues good enough to keep ten psychiatrists employed for life. This movie which is billed as an “action comedy” flick seems two movies in one, but it confuses its own plot, thus it won’t fit in a decent genre. So there are action comedies and action comedies, and then there is Hancock, a hybrid that doesn’t know how to categorize itself. Even the hero doesn’t understand his powers, much less wield them as a hero is expected to. Okay, okay, they said this was not your ordinary superhero movie—but at least give us something superior, so we don’t regret buying a ticket and having nothing left for popcorn. Don’t give us an unidentifiable species that’s half-hearted comedy turning into a half-baked Shakespearean tragedy with no rationale to engage our brains. The CGI is passable, but worthless against all the questions directed at the ethics of the hero.

Is there a race somewhere? A supercontest of sorts where superheroes out to save the world leave in their wake bigger and bigger collateral damage? Who gets to pay for all that mess this sloppy superhero creates? Just count the potholes caused by his landings. Where is this superhuman coming from? Aren’t superheroes supposed to be, at least, respectful of the citizens of this planet? Is it correct for a superhero to traumatize a kid who’s just being a kid? Is it moral to save one and let a hundred others die? Did Hancock’s makers mean to say anyone can be a superhero simply because he happens to be superhuman? What do they want our children to be? Will Smith the actor became famous for being a family-friendly rapper, a good kid in a very popular TV series. Why are they now shaking off his clean image? Do they want our kids to follow this likeable actor to perdition? Many are the ways by which the evil one will try to lure our children into decadence. Beware. If you must allow your 14-year olds to see this movie, tell them Hancock is fictitious, not to be emulated, idolized, or taken seriously.

Wanted


Title: Wanted; Cast: James McAvoy, Angelina Jolie, Morgan Freeman, Terence Stamp, Thomas Ketschmann. Director: Timur Bekmambetov; Writer: Michael Brandt, Derek Haas and Chris Morgan; Distributor: Universal Pictures; Location: USA; Running time: 110 minutes.

Technical Assessment: 4
Moral Assessment: 2.5
CINEMA rating: R 14 (For viewers aged 14 up)


In Wanted, the “Fraternity” is a thousand-year old secret society of assassins whose mission is to rid the world of bad guys. “Kill one, save a thousand” seems to be their motto. Wesley Gibson (James McAvoy) is a nondescript account manager in some New York office ruled by an obese woman with a razor tongue and indefatigable vocal chords. Besides being bullied by this slob of a boss, Wesley is also hen-pecked by his girlfriend who incessantly complains of the night trains chug-chugging by their cheap apartment. As if two ranting women were not enough, the nerdy Wesley also discovers that his best friend and office mate is also seeing his girlfriend on the side. Too naïve and cowardly to stand up for himself, Wesley seems resigned to live a life that leads nowhere. Until Fox (Angelina Jolie) enters the scene—but not to bring sunshine and flowers to Wesley’s dead-end existence. She takes him to Sloane (Morgan Freeman), the head of the Fraternity, who reveals to Wesley that he has the assassin in his genes, being the son of one of their murdered members. It is to avenge the death of his father then that Wesley is to be recruited, motivated and trained.

The plot of Wanted, if a trifle too bloody, vengeful and violent, is simple enough to follow, and seen against the backdrop of comic book fiction may even come across as credible. It’s not hard for everyman to identify with the superbly acted McAvoy character who turns from weakling to super assassin. Its credibility is further established by having Morgan Freeman in the cast—he who is gifted with a hypnotic growl and an aura of omniscience can make poison sound like milk and honey until you thirst for it. And nobody but nobody could have played Fox more believably than Jolie—wielding with elan fantabulous guns half her weight. Her legendary sex appeal needs no dominatrix costumes—it oozes through even a no-frills white mini dress that would have looked like a nanny’s apron on a less stylish actress. Her panache and her expressive face also project her as the perfect “killer of few words.” Kazakhstan-born director Timur Bekmambetov ably pulls off this thriller and succeeds in suspending the viewer’s disbelief with the use of over-the-top stunts and killer-ware: surfing atop speeding trains, guns and bullets with implausible trajectories, supercars that make James Bond’s look like a Matchbox collection.

There’s no stopping them now—action movies that rival computer games in adrenaline stimulation and ingenuity of inventions. It’s possible that even very young children who can wield the (computer) mouse will enjoy the technical aspects of Wanted. Why, even adult viewers would, as long as it’s clear to them that this movie defies the laws of physics and dabbles in gray areas of morality and mortality. Young viewers may not be able to draw the line between fact and fiction, or may be lost in seeing the boundary blurred between right and wrong. And even if there are willing parents who can guide them through this violent and deception-ridden piece of art, why titillate their imagination thus when there is so much still to learn in school and at home about real physics and real justice? For down-to-earth education-cum-entertainment that broadens their horizons, there’s Nat Geo Junior, Animal Planet or Discovery Channel. To help them with their school work, there’s Knowledge Channel. For good old Sunday afternoon family entertainment, put on The Sound of Music DVD, please.

The Warlords


Title: The Warlords; Cast: Jet Li, Andy Lau, Takeshi Kaneshiro, Xu
Jinglei; Director: Peter Chan; Producers: Andre Morgan, Huang Jianxin,
Peter Chan; Screenwriters: Xei Lan, Chun-Tin-Nam, Aubrey Lam; Music: Lean
Ko, chan Wong Wing; Editor: Wenders Li; Genre: Action/Drama/History/War;
Cinematography: Arthur Wong; Distributor: Viva Films, Morgan, and Chan
Films; Location: China; Running Time: 110 min.;

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


Qing General Pang Quingyun (Jet Li) is the only survivor of a very fierce battle fought in 1861 during the Taiping Rebellion against the corrupt Chinese Qing Dynasty. Traumatized, Pang is nursed back to health by a kind peasant Lian (Xu Jinglei). Though their meeting is short--he sleeps with her for a night-- he develops some feeling for her. Soon, Pang falls in with a group of bandits under the leadership of Zhao Erhu (Andy Lau) and his aide Jiang Wuyang (Takeshi Kamashiro). Pang saves Jiang’s life and the three men pledge eternal friendship and blood brotherhood. Pang realizes Lian is Zhao’s wife. Later, Pang persuades the bandits to join the government’s army so they will have food and arms. Actually, Pang’s plan is to take his revenge on a rival general Pang and his men are assigned to what appears as a hopeless as assault on Shi City , yet Pang comes out victorious but at great cost since he had to use a great number of men as shields. Then they are asked to blockade Suzhou City but because this takes so long, the soldiers are hungry and suffer a lot. At this point, Zhao and Pang become gradually estranged because of Pang’s decisions to ruthlessly sacrifice men to win at all costs. Will this brotherhood stand the strain of conflict? How will the illicit relationship between Pang and Zhao’s wife affect the lives of the three “brothers”?

Originally, The Warlords was intended as a remake of the classic The Blood Brothers made by Chang Chek in 1973. But the present film ended up as a
highly budgeted war picture costing $40 million with no stunts and a
minimum of martial arts. Both are inspired by the chronicled assassination
of Gen. Maxinyi by his trusted friend Zhang Wenxiang in 1870. The Warlords also changes the names of the protagonists. The present picture is an epic war drama dressed up in impressive costumes but full of skillfully choreographed battle scenes so ultra realistic that they call to mind the gory heroism of the Spartan’s 300. Peter Chan shows the master’s hand in directing action sequences with thousands of extras wielding different weapons. Images of soldiers suffering and starving in trenches in the 30 minute Sushou sequence have strong emotional impact and may recall stories about 20th century world wars. Visuals are good and the predominance of dirty gray and brown help bring out the bleak atmosphere. Editing is tight but the music scoring is uneven. Originally in mandarin, the dubbed dialog is often difficult to follow. Though the other characters like Andy Law put in good performances, this is Jet Li’s picture. He dominates every scene where he appears and gives justice to his role as a conflicted
warrior and later as a warlord. But he does not have good chemistry with Xu Jenglei; the female protagonist. Their love scenes are very low key though their relationship is important to the outcome of the story.

Viewers who expect The Warlords to entertain them with spectacular war scenes will have their fill. Those with a scholarly bent can also gain insight into Chinese history. Moreover, the film has moral dimensions worth mentioning. For instance, the matter of adultery. Having an illicit relationship with a married person is often regarded in a matter-of-fact manner these days and just simply tolerated. But it does have far-reaching effects (the movie affirms this) that often times are not immediately discernible but these will come to pass. Jet Li’s character is that of an ambitious warrior who makes decisions to attain a goal (here, victory) without taking into account the welfare of others or the human factor. It is true that he has to make difficult decisions because the choices are difficult but this does not justify his killing a group of soldiers(over the issue of food) so others may live. He is so affected by what he does that he even sheds a tear but to him as a military man, it is victory at all costs. In the end, his realized ambition and position of importance are of no use. It is still the same rule. One cannot justify evil means even if the end or goal is good. Definitely this movie is not for the young. The violence is so preponderant that it is overwhelming. Too much exposure of young impressionable viewers to violence desensitizes them so that often their regard for the value of life is diminished.

Journey to the Center of the Earth


Title: Journey to the Center of the Earth; Cast: Brendan Fraser, Josh Hutcherson, Anita Briem; Genre: Adventure; Director: Eric Brevig; Screenplay: Michael Weiss and Jennifer Flackett & Mark Levin; Original Story: Jules Verne; Producer: Toby Emmerich; Distributor: New Line Cinema; Location: US, Europe; Running Time: 92mins

Technical Assessment: 3
Moral Assessment: 3
Rating: For viewers 13 and above



Scientist and Professor Trevor Anderson (Brendan Fraser) and his nephew Sean (Josh Hutcherson), whose father died searching for the center of the Earth when Sean was just a boy, set out somewhere in Europe to find this mystical/mythical place hidden thousands of miles below the Earth’s surface. Circumstances lead them to meet up with Hannah Ásgeirsson, the daughter of a once great scientist who also believed that the center of the Earth does, in fact, exist and Jules Verne’s novel “Journey to the Center of the Earth” was not a work of fiction. She agrees to take them to the mountain top where Sean’s father disappeared and her father did a bulk of his research. Once there, they stumble upon a cave, and by accident, they’re taken directly to the center of the Earth. From there on, they’re into one amazing ride after another as they attempt to escape the amazing yet dangerous lost world—a place loaded with prehistoric creatures, wondrous plant life and other weird phenomena.

Journey to the Center of the Earth is nothing more than a spectacle. Using 3-D technology, the film takes its audience to a fun-filled ride and adventure. The film’s premise though is a bit high-brow and alienates audiences who are not fully aware or knowledgeable of many scientific terms and jargon. Story-wise, the emotional flow is rather flat and predictable. Characters are uninteresting and their relationships are trite. The romance layer is also blunt and audiences may only remain indifferent to the love story up until the end of the movie. Although the effects are spectacular, the movie fails to suspend audience’s disbelief that such a place can actually exist. It is perhaps the fault of the director or a failure in storytelling. But then, taking the movie as a theme park ride, it is still a good watch.

In this mystical place at the center of the earth, there is no mention of whether God exists. Could it be a place where God is not needed, where monsters rule and all the nature endangers human life? The motivation of the characters to dig deep down the earth’s surface is also unclear. Are they trying to look for their loved ones who may be trapped inside? Or is it just ego trip that they can actually find a place and prove theories and speculations more than they can imagine? However, looking into their relationships and the apparent concern for each other, audiences may appreciate furthermore the company of friends, relatives and loved ones. At all times and at all costs, human life must be preserved. Humans are responsible for one another and that is one valuable lesson in the movie. Amidst monsters and dangers, there would always be good-natured creatures that will unconditionally help us go through, carry on and trust in the omnipresent goodness of God. The film is suited even for the very young, however, some images and visual effects may cause trauma if they are not guided and supervised by adults.

Friday, July 4, 2008

Urduja


Title: Urduja; Cast: Regine Velasquez, Cesar Montano, Eddie Garcia, Jay Manalo,Johnny Delgado, Ruby Rodriguez, Eppie Quizon, Michael V., Allan K.,BJ Forbes; Director: Antonio Tuviera.

Technical assessment: 3.5
Moral assessment: 3
CINEMA rating: For general Patronage


Si Urduja (Regine Velasquez) ay isang prinsesang mandirigma mula sa Pangasinan at ang tanging anak ni Lakanpati (Eddie Garcia) ng pinuno ng tribo. Tumatanda at nanghihina na si Lakanpati kung kaya’t pinahayag na nito ang kanyang kagustuhang magkipag-isang-dibdib na si Urduja kay Simakwel (Jay Manalo), isang mapusok na mandirigma, upang may humalili na sa kanya sa pamumuno. Walang puwag sa puso ni Urduja si Simakwel, subali’t desidido ang lalaking mapasa-kanya ang prinsesa at ang tronong iiwanan ng ama nito. Mauunsiyami ang balak ni Simakwel nang magtagpo ang landas ni Urduja at ni Limhang (Cesar Montano), isang matapang na piratang napadpad sa kanilang lugar. Bagama’t sa simula’y mailap si Urduja kay Limhang, unti-unti itong mapapalapit sa pirata mula nang iligtas siya nito sa tiyak na kamatayang dulot ng pana ng isang Badyao. Maraming pagsubok na daraanan si Limhang, dala na rin ng paninibugho ni Simakwel, subali’t isang mapagpitagan at masunuring anak si Urduja.

Ang Urduja ay ang kauna-unahang “full-length animation feature film” ng Pilipinas, at bagama’t hindi pa ito matatawag na “perpekto” kung ihahambing sa mga banyagang animation films katulad ng mga ipinalalabas ng Disney, ipinakikita ng Urduja ang katangi-tanging kakayahan ng mga Pilipinong mangguguhit at “animators”. Sapagka’t ito’y isang pelikula, natural lamang na ang unang punahin ng mga tao sa Urduja ay ang mga imahen, ang kanilang nakikita; pumapangalawa lamang ang kanilang pagpuna sa naririnig, sa tugtugin, sa script, sa dialogue, sa kuwento at sa daloy nito. Akma ang pagpili kay Velasquez bilang Urduja at kay Montano bilang Limhang, lamang, may mga pagkakataong napapalakas ang tunog nila—may diperensiya kaya sa sound system? Sinubukan ng Urduja na gawing kaakit-akit sa madla ang pelikula, kung kaya’t may “kakornihan” ang script at paggamit ng makabagong idiyoma (tulad ng “hindi ko feel” atbp.)o tauhan (si Mayumi na may pagka-kiri) na nagsisilbi lamang na “panira” sa kabuuan ng pelikula. Hindi rin nakakakuha ng simpatiya ng manonood ang daga na si Kukut (Michael V.) at ang tarsier na si Tarsir (Allan K.), sapagkat ang mga boses nila’y hindi bagay sa liit at hitsura nila bilang daga at tarsier; sa halip, tunog-“kanto boys” sila.

Dapat alamin nating mga Pilipino na ang mga cartoons na ating pinapanood mula sa ibang bansa ay gumagamit ng talinong Pilipino, kung kaya’t madaling unawain kung ang Urduja man ay may “lasang banyaga”, na tila pinaghalong Mulan, Pocahontas, atbp. Hindi ganoong kahusay ang Urduja, ngunit bilang unang bunga, may pangakong kipkip ang pelikula. At kahit mestisong-hilaw pa nga minsan ang dating ng pagguhit ng mga imahen, Pilipino pa rin ang inuuwian ng buong pelikula—pansinin ninyo ang isang napaka-Pilipinong sangkap sa pelikula: ang karera ng kalabaw. Sana’y magpaka-husay pa ang mga gumawa nito; kaunti pang pagsasanay at gagaling pa sila. Ang pinakamahalaga ay ang tunghayan ng mga manonood ang lakip na mensahe ng Urduja —ang dangal ng babaeng Pilipina. Bagama’t base ang pelikula sa isang alamat (kung saan wala namang lalaking nakatapat si Prinsesa Urduja), nabuhay nito ang katauhan ni Urduja bilang isang babaeng may matatag na kalooban at paninidigan sa kabila ng kanyang pagiging masunuring anak.

Thursday, July 3, 2008

My Monster Mom


Title: My Monster Mom; Cast: Annabelle Rama, Ruffa Gutierrez, JC de Vera, Mart Escudero, Iwa Moto, Eugene Domingo, Khryss Adalia; Director: Jose Javier Reyes; Producers: Jose Marie Abacan, Roselle Monteverde-Teo ; Screenwriter: Jose Javier Reyes; Genre: Comedy; Distributor: GMA Films; Location: Philippines.

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

Nagkaanak at iniwan ng nobyo ang noon ay 16-taong-gulang na si Esmeralda (Rhian Ramos). Dahil sa murang gulang ay naduwag si Esmeralda na itaguyod mag-isa ang anak na si Abegail a.k.a Baby Girl (Ruffa Gutierrez) kaya ipinaubaya niya ang pagpapalaki sa kapatid na hindi magka-anak at naninirahan sa Amerika. Nang lumaon, nagkaanak pa si Esmeralda (Annabelle Rama) sa magkaibang ama ng dalawang anak na lalaki sina Buboy (JC de Vera) at Pipoy (Mart Escudero) na mag-isa rin niyang itinaguyod. Maayos na namumuhay ang mag-iina sa kabila ng sobrang pagbubunganga at pagtataray ni Esmeralda sa loob at sa labas ng bahay. Pangunahin kay Esmeralda kapakanan ng mga anak kaya hinihigpitan niya ang mga ito sa lahat ng bagay na lingid sa kanya ay nakasasakal na. Kinaiinisan siya ng mga kapitbahay dahil sa kanyang ugali at di maiwasan na maging usap-usapan ang pagkakaroon ng mga anak sa iba't ibang mga lalaki. Sa tuwing iiral ang pagtataray ni Esmeralda ay nakaagay lagi ang dalawang kaibigan upang payapain siya. Makalipas ang 27 taon ng pagkakalayo ay babalik ang panganay na anak ni Esmeralda na si Abigael mula sa Amerika. Sa kanilang muling pagkikita ay matutuklasan nila ang maraming bagay sa kani-kanilang pag-uugali na taliwas sa kanilang inaasahan.

Katulad ng pamagat ng pelikula, nakesentro ito sa maingay na pangunahing tauhan. Bagamat tagumpay sa paghahatid ng mga linyang patawa ang bidang si Anabelle, lalo na sa mga palitan nila ni Ruffa, ay halata namang wala nang mapipiga ang direktor sa pag-arte ni Rama kahit man lang sa "expression" ng mukha, bagama't minsan ay nakakadagdag sa patawa ang mukha nitong "deadma". Sa isang banda naman ay eksaherado ang pag-arte ng ibang mga aktor, at hinaluan pa nga ng "bading" na alalay para pampadagdag-tawa--kayo na ang humusga kung nakakatulong ito sa pagbabalanse ng mga bagay, sapagka't mantak man naming isiping walang katorya-torya ang dialogue, hindi namin maunawaan kung bakit "biling-bili" ito ng mga nanonood. Iba-iba lang siguro talaga ang panlasa ng tao. Maayos ang disenyo ng produksyon na nagpatingkad sa mga payak na eksena gayundin ang "make-up". Akma rin ang mga tunog at musika na inilapat.

Mahalaga ang kapayapaan sa loob ng tahanan upang maging bukas at maayos na makapag-isip ang mga miyembro ng pamilya. Taliwas ito sa ipinakita ng pelikulang My Monster Mom. Hindi pinapasubalian na tanging kabutihan ang hangad ng ina para sa kaniyang mga anak subalit ang lahat ng tao (di lamang mga ina) ay dapat maging responsable sa paraan ng pagpapakita ng malasakit sa kapwa. Halimbawa dapat bang unahin ng isang ina ang pakikipag-away sa halip na asikasuhin ang anak na bugbog ang katawan at sugatan? Pati mga alagad ng batas ay tikom ang bibig sa reklamo ng panunutok ng baril. Kahanga-hanga naman ang kabababang-loob ng mga anak sa paghingi nila ng kapatawaran dahil nasaktan nila ang kanilang ina gayundin ang pagtanggap nila sa pagkatao nito. Sa kabuuan ay nakakatawa at magaan ang pelikula, subalit dahil sa matalas na pananalita at di karaniwang sagutan ng ina at anak na laking-Amerika ay dapat gabayan ng mga magulang ang mga manonood na kabataan. Isaisip natin na kahit ano pa man ang kagaspangan ng ating ina, dapat pa rin natin siyang igalang at mahalin, bagay na higit pang makakatulong tungo sa kanilang pagbabagong-ugali kaysa kung tatapatan natin ng pagkabastos ang kanilang kagaspangan.

Friday, June 27, 2008

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.