Righteous Kill

Cast: Robert de Niro, Al Pacino; Director: Jon Avnet; Producers: Rob Cowan, Avil Randall Emmette, John Avnet, Lati Brobman, Alexander Michan, Daniel Rosenberg; Screenwriter: Russell Gewirtz; Music: Ed Shearmur; Editor: Paul Hirsch; Genre: Action/ Crime; Cinematography: Denis Lenoir; Distributor: Overture Films; Location: USA; Running Time: 100 min.;

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

After 30 years as partners in NYPD, highly decorated Detectives David Fisk a.k.a Turk (Al Pacino) and Thomas Cowan aka Rooster (Robert De Niro) should be ready for retirement, but aren’t. Before they can hang up their badges, they are called in to investigate the murder of a notorious pimp, which appears to have ties to a case they solved years ago. Like the original murder, the victim is a suspected criminal whose body is found with a four line poem justifying the killing. When additional crimes take place with the same nature and trademark poem, it becomes clear Turk and Rooster are looking for a serial killer, one who targets criminals that have managed to go around the defective judicial system. The serial killer’s mission is to do what the cops can’t do on their own—take the culprits off the streets for good. The similarities between the recent killings and their earlier case raise a nagging question: Did they put the wrong man behind bars?
Righteous Kill can be a run-of-the-mill, forgettable crime thriller but the presence of De Niro and Pacino has made all the difference. As expected, the tandem of the two award-winning Hollywood veterans has pulled the entire feature off from start to finish. The storytelling has succeeded in misleading the audience’s gut feel, a true mark of a suspense-thriller. The secrets and revelations are sustained to the end. Although the script has the tendency to be a bit talky and dragging for the genre, it can be forgiven for as long as De Niro and Pacino are the ones seen delivering the kilometric lines.
Is there really such a thing as a “righteous kill”? The movie tells the audience how erroneous the judicial system can get even in a supposed to be progressive and sophisticated state as New York. Given such reality, one may resort to extra-judicial means like a modern-day Robin Hood and in the tradition of Dirty Harry. However, there really is no way an end can justify the means. A crime is a crime however one puts it. Righteous Kill does not condone crime in any form. Looking at the film in its entire context, justice prevails in the story amidst the dilemma of jeopardizing friendships and treasured relationships. Righteous Kill does not glorify criminals however noble their purpose and no matter how dark their past has been which has turned them into dark human beings. But then, audiences should be cautioned and guided on the presence of drugs, alcohol, racism and some scenes connoting hatred to Catholic clergy and the desecration of the church and its sacrament of reconciliation as these scenes may further cultivate the “mean world syndrome” among the young and vulnerable minds.

Babylon A.D.

Cast: Vin Diesel, Michelle Yeoh, Melanie Thierry, Gerard Depardieu, Charlotte Rampling; Director: Mathieu Kassovitz; Producers: Alain Goldman, Mathieu Kassovitz; Screenwriters: Eric Besnard, Maurice G. Dantec; Music: Atli Orvarsson; Editor: Benjamin Weill; Genre:Sci-Fi/ Action/ Adventure; Cinematography: Thierry Arbogast; Distributor: Twentieth Century Fox; Location: Eastern Europe, Alaska, Canada, New York; Running Time: 90 min.;

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

Toorop (Vin Diesel) is a veteran turned mercenary hired by an aging wealthy ally Gorsky (Gerald Depardieu) to smuggle a young girl Aurora (Melanie Thierry) and her guardian nun Sister Rebeka (Michelle Yeoh) out of Mongolia, via Russia and Eastern Europe (after the breaking up of the USSR) to New York. They have to pass through dangerous train depots and border checkpoints, board an old Russian submarine and traverse with snowmobiles a vast expanse of security drone-policed arctic tundra of Alaska and Canada. Toorop does not exactly know the purpose of his mission but surmises Aurora must be carrying a deadly virus or something important. Aside from the dangers they face in the devastated places they pass through, they are relentlessly being pursued by an armed group headed by a High Priestess (Charlotte Rampling) of a religious cult. There are attempts to kidnap Aurora. She seems to know things she has never experienced though the only world she has known is the orphanage-convent where she grew up. Aurora also reveals she is pregnant with twins though she has had no sexual experience. Not knowing exactly the facts of his task, Toorop is distrustful of all. Aurora is unpredictable. What awaits the trio in New York if they ever get there?

Based on a little known novel titled Babylon Babies by an equally obscure Frenchman Maurice G. Dantec, Babylon A.D. does not have high expectations right from the start. Its own director Matthieu Kassovitz has aired his own misgivings about how his film has been “emasculated” by some at Twentieth Century Fox. And probably this could give us an inkling of why the plot is underdeveloped with loose ends unresolved and questions unanswered. The script is underwritten. The narrative, as well as action sequences, gets confusing at times. The story is set in the future but one does not know just how far out in the future. Some images of places and cities are post-apocalyptic especially those in Eastern Europe but some are highly stylized versions of the present like those of New York. Though uniformly grim and stark, some visuals show a measure of good production design. It seems some such visuals have survived the extensive editorial pruning, like the heavy duty cars being hoisted and transported over the landscape by helicopters and the portrayal of social decay amid the depressing sight of vast hopeless looking crowds milling around aimlessly in the chaos of devastated cities. Vin Diesel tries to adequately act out his role but he is bogged down by the deficiencies in the plot and script.

The word “Babylon” usually calls to mind a certain ancient civilization and culture that was characterized by decay and moral decadence, among other things. So the title of the film right away may suggest to the viewer a counterpart culture in our time. And indeed, the spectator has been prepared, so to speak, to expect what one finds in the film: excessive violence, foul language, moral disintegration following the destruction of cities by wars and whatever catastrophies (the film does not specify). This is a sci-fi action picture but there is an attempt to integrate religious sentiments into the story as found in the occasional showing of Christian icons and the insinuation of a virgin birth through Aurora and possibly the coming of the “messiah” whom a fanatical religious group wants to appropriate for itself. But these are clumsy attempts at trying to put some meaning and substance into this film where there is none and where good values are practically nil. There is also a hint of the manipulation or “designing” of the mind and person of Aurora by her pseudo scientist father resulting in unexpected bizarre results. The film shows that men cannot and should not tinker with the human person. Only God creates man.

Congkak "Sungka"

Cast: Erin Malek, Erynne Erynna, Ruminah Sidek, Raja Gosnell, Riezman Khuzaimi; Director: Ahmad Idham; Producers: David Teo, Erynne Erynna; Screenwriter: Ahmad Idham; Editor: Ahmad Mustadha; Genre: Horror; Cinematography: Indra Che Muda; Distributor: Metrowealth Production SDb Bhd; Location: Malaysia; Running Time: 82 min.;

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

Kazman (Riezman Khuzaimi) is a responsible husband to wife Sufiah (Nanu) and father to siblings Eli (Nur’Arina) and Lisa (Erynne Erynna). Despite Sufiah's objection, Kazman still buys a house near a river. As soon as they move in, people in the neighborhood warn them about the mysterious house. It does not take long that all members of the family start to experience a strange presence and hear sounds including those of the invisible "congkak" playmate of the youngest child Lisa. When Sufiah thinks the "congkak" board is an evil matter, she throws it out of the house and into the river to get rid of it and to free Lisa from a mysterious friend. Unfortunately getting rid of the "congkak" board does not end what the family thinks is the cause of the horrible presence in their newly acquired property but only signals the worst that is yet to come like the disappearance of the two daughters. A concerned old folk Pak Tua a.k.a Uncle (actor's name) volunteers to help them and seeks their cooperation in the name of Allah, the Merciful God. Will they ever be at peace in this house?

“Congkak” is actually a board game with parallel holes and played with tiny pieces of stones by two players. But the film is not about this game but rather about a family in a newly acquired house haunted by a ghost that looks like a monster. There are loopholes in the story because except for the information that no one has occupied the house for the last 20 years, it is not clear why the house is being haunted and what is the reference to the "congkak" game. Somehow, one cannot help thinking that the director seems to just put the effects and sounds together to jolt the viewers from their seats. A ghost with a monster-like face is a bit off and unrealistically presented as a friend to a child. Actingwise, some of the actors perform well especially (Riezman Khuzaimi) and (Erynne Erynna). Overall, it is technically an overdone horror film.

Though the film's Malay context of being paternalistic may not be applicable, in a major family decision like acquiring property, it is really good to consider the views of the members especially those between husband and wife. It is very sensible for this film to show the concern and presence of mind of a father in time of a family crisis. In the same way it is commendable that a concerned neighbor capable of helping the disturbed family to drive away the bad spirit does not have second thoughts of taking a risk to do that. More importantly, the film shows that a strong faith in merciful God Almighty is the best weapon to fight evil spirits.

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.

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.

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.

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.