Max Payne

Cast: Mark Wahlberg, Mila Kunis, Beau Bridges , Ludacris, Chris O’Donnell, ; Director: John Moore; Producers: Scott Faye, John Moore, Julie Yorn; Screenwriters: Beau Thorne, Sam Lake; Music: Marco Beltrami; Editor: Dan Zimmerman; Genre: Action/ Crime/ Drama/ Thriller; Cinematography: Jonathan Sela; Distributor: Twentieth Century Fox-Film Corporation; Location: USA;

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

Max Payne (Mark Wahlberg) works in a drab corner of a police precinct. Exuding an anti-social air about him, Payne is left alone by his officemates, knowing he has not as yet recovered from the trauma of losing his wife and his infant son. As a new colleague comes to know later, Payne had come home one evening to find his family brutally murdered in their own bedroom. Since then he has been distraught and obsessed with revenge, often venturing alone, disregarding rules and defying authority in searching for clues to lead him to the murderers. His relentless investigation gets him entangled in the underworld where he comes face to face with his enemies and realizes that he is dealing with power that is larger than life itself.

As an action film based on the 2001 video game of the same name, Max Payne went through almost seven years pre-production period but was shot only within two months. Wahlberg is a natural for the role of the distressed and hyperactive loner. In general it’s a very good cast, which makes for the convincing realism of the story. The darkness of the theme and the nature of the characters is complemented by the just-right music and effectively enforced by the cinematographic effects, the colors, lighting, shadows, the sets and locations (such as the abandoned warehouse). One noteworthy aspect of Max Payne’s visuals is the costume and the makeup—these are used with restraint, not exaggerated to define the characters or the situations. The has some loopholes, but they’re forgivable, considering the other superior elements of the movie’s technical aspect.

The theme of Max Payne may be revenge but the real issue is Payne’s inability to cope constructively with tragedy. Thus the movie speaks much of the human situation, and viewers who have ears (not only eyes) will listen to and find in its faint message the path to a solution that might in the future help prevent self-destructive situations from recurring. Payne as victim of loved ones’ loss may be emotionally-driven and seeking justice—understandable situations for humans to be in—but nothing in the past seemed to have prepare him for the brutal episode he found himself in. His single-minded compulsion at tracking down his enemies are rewarded, but at what cost? It’s important to note the extra footage after the credits; it gives you a clue as to the future Payne is facing. And perhaps, also a foretaste of a Max Payne sequel

Body of Lies

Cast: Leonardo DiCaprio, Russel Crowe, Carise van Houten, Michael Gaston, Vince Colosimo, Mark Strong; Director: Ridley Scoot; Producers: David De Line, Ridley Scott; Screenwriters: William Monahan, David Ignatius; Music: Marc Streitenfeld; Editor: Pietro Scalia; Genre: Drama/ Suspenses/ Thriller; Cinematography: Alexander Witt; Distributor: Warner Bros. Pictures; Location: Europe, USA, Middle East; Running Time: 128 min.;

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

CIA agent Roger Ferris (Leonardo DiCaprio) chases terrorists around Middle East while his boss Ed Hoffman (Russel Crowe) gives him orders from the US and watches via satellite. Their latest mission is to track down and capture Al-Saleem (Alon Aboutboul), the al-Qaida mastermind behind a recent series of attacks in Europe . Ferris hopes to infiltrate a safe house and locate Al-Saleem, so he reaches out to the head of Jordanian intelligence Hani Salaam, (Mark Strong). However, unknown to Ferris, Hoffman makes his own sideline moves that destroys Hani’s trust and nearly jeopardizes Ferris’ mission. This results in a more complicated and convoluted series of cat-and-mouse pursuit of snaring Al-Saleem.

Body of Lies could have been an intelligent film about terrorism but it falls short in so many ways as far as storyline and clarity of motives are concerned. It does not really say anything new other than intensifying and confirming the United States’ selfish interests in eradicating global terrorism. The story is too linear that it nearly defeats its suspense-thriller feel. But the display of the latest CIA satellite technology is impressive. DiCaprio and Crowe are both superb in the movie. Audiences are easily drawn to their characters forgetting the two were once mere matinee idols. Both essayed their roles with depth, maturity and ease. Nuances and ironies are clearly depicted in most scenes which somehow makes the film an engaging treat. Apparently though, some plot layers remain to be just functional and do not drive home a point, eventually leaving the film with many loose ends.

There’s a bit too much graphic violence and profanity in Body of Lies. There’s torture, war, explosions, and emotional stress in almost every scene. The film says there’s no one to trust in this world and it is not safe anywhere. Some of these may be essential to the genre; however, too much blood and violence can have a desensitizing effect on audiences, especially the young and vulnerable. The film shows how the business of espionage can dehumanize man. Throughout the film, the characters lie to each other to make a mission successful. People kill and are killed to accomplish this mission. Loyalties are confused and divided; trust is undermined. Secret agent Roger Ferris’ dedication to his job and loyalty to the State is commendable. When he’s not being a spy, he can be a good hero example with his gentle treatment of women, children and friends, but his saving grace is he knows when enough (espionage) is enough.

Appaloosa

Cast: Ed Harris, Viggo Mortensen, Renee Zellweger, Jeremy Irons; Director: Ed Harris; Producers: Ed Harris, Ginger Sledge; Screenwriters: Robert Knott, Ed Harris; Music: Jeff Beal; Editor: Kathryn Himoff; Genre: Western; Cinematography: Dean Semler; Distributor: Warner Bros. Pictures; Location: New Mexico , USA; Running Time: 110 min.;

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


Newly designated City Marshall Virgil Cole (Ed Harris) and his deputy Everett Hitch (Viggo Mortensen) arrive together in Appaloosa, a small town experiencing the abusive presence of a rancher Randall Bragg (Jeremy Irons) and his men, to enforce the law for the interest of peace and justice in the town. Shortly after the arrival of Virgil and Everett, widow Allie French (Renee Zellweger) arrives and smittens the partners, but eventually ends up with Virgil. One of the main tasks of Virgil and Everett as marshalls is to keep track of people responsible for previous crimes of murder, rape, robbery, and related human rights violations. It does not take long for the duo to solve one high profile crime which convicted Bragg. However, even before Bragg serves his jail term, Allie is used by his allies to blackmail Virgil and entire escort team to let go of Bragg.

Storywise, Appaloosa is a mediocre film since it is a hodgepodge drama, action, a dash of political satire, and a bit of love angle. The overall treatment makes the story less exciting but makes lot of sense in view of other technical aspects of the film. The well done cinematography is responsible for good compositions particularly the scenic shots of the village and complements the overall production design including make-up. Sound and good musical score also contributed to the essence of the film. Effective acting especially that of Viggo Mortensen as Everett is commendable, although the movie leaves one with a feeling that it did not ask much of such big stars as Zellweger, Irons and Mortensen.

The film is about professionalism and friendship over personal interest, giving rather than taking more for oneself, and letting go over holding on. In short, it shows a responsibility that goes with accountability and sacrifice. A person who regards a long time partnership can discipline and control himself in the midst of temptation to protect the friendship, and can ultimately risk his life for a friend. The film briefly tackles corruption and flaws in the justice system and how noble law enforcers struggle to face it off. Though within context of this virtual cowboy movie, the female character is depicted in this film as deceiving, scheming, flirtatious and weak—not the best traits a woman can have. It also shows the age when duels were in fashion, and when laws in small towns were practically enforced at gunpoint, so don’t be shocked to see so many shootings.

Tropic Thunder

Cast: Ben Stiller, Jack Black, Robert Downey, Jr., Anthony Ruivivar, Jay Baruchel, Brandon T. Jackson; Director: Ben Stiller; Producers: Stuart Cornfeld, Eric McLeod, Ben Stiller; Screenwriters: Ben Stiller, Justin Theroux; Music: Theodore Shapiro; Editor: Greg Hayden; Genre: Action/Adventure/Comedy; Cinematography: John Toll; Distributor: Dreamworks Distribution; Location: Hawaii, USA; Running Time: 107 min.;

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

Tropic Thunder is a movie about how an award-winning movie, “Tropic Blunder”, is made. It opens with trailers meant to establish a trio of characters who are supposedly three of the actors in the movie being made: once box-office king and now fading action star Tugg Speedman (Ben Stiller), withdrawing drug addicted actor known for fart humor Jeff Portnoy (Jack Black), and pretentious Oscar-winning actor Kirk Lazarus (Robert Downey, Jr.). The movie they’re supposed to be making is based on a story about a Vietnam War hero, and its director is Damien Cockburn (Steve Coogan). When a premature explosion damages the set beyond repair, Cockburn cannot accept that the filming is cancelled. The actors are led into the wild, believing there are cameras hidden everywhere to film whatever they’re doing. But they run into the territory of Asian heroin dealers led by a precociously ruthless 12 year old boy (Brandon Soo-Hoo). Speedman is captured, and in the actors’ attempt to rescue him, they realize they are now facing real guns while they have nothing but fake ones.

Tropic Thunder spoofs Hollywood , and in that sense it is an almost effective satire that can be funny at times. It’s a movie that knows movie-making and exposes the quirks of movie directors, actors and their agents, acting, trailers, movie props, writers, nearly all people involved in this ego-driven industry. It would get the loudest laughs—or boos—from movie people themselves, or viewers who are familiar with movie people; otherwise viewers will miss the sting, or the many references that only movie buffs will catch. If you didn’t know that Tropic Thunder is a movie of a movie, you’d think those trailers opening the movie are real. Stiller, Black and Downey , Jr. are in top form, and newcomer Soo-Hoo is such a scene stealer you wonder what his next movie role would be. Big names Nick Nolte and Tom Cruise among others play surprise cameo roles, a gimmick to say this movie is big time.

The posters claim Tropic Thunder is PG13; CINEMA thinks it’s for adults only. In the first place, if you’re not such a movie-lover, why bother to see a movie of a movie that aims to take digs at movie people and movie business? To cringe at the sight of fake blood (spurting from a bottomless pit)? To puke over fake guts (lengths of bloody sausages, yuck!)? To get your eardrums blasted and bleeding from “nonstop rough language and profanity, crass expressions…scatological humor and frank sexual references”? (Quoted from the review of the United States Conference of Catholic Bishops). What CINEMA noticed that is not in the reviews we have read of the critics who praised Tropic Thunder is its veiled irreverence towards the Christian religion. One of the fake trailers opening the movie looks like a Da Vinci Code remnant, showing in powerful images medieval Catholic monks in a “sinful” relationship. Twice, too, Stiller (whose role here smacks of a naive sacrificial lamb) spreads his arms as though crucified, while the wailing background music apes that in Passion of the Christ. For your information, Stiller’s father Jerry Stiller is Jewish, while his mother, Irish Catholic Anne Meara, converted to Judaism after marrying his father. Ben Stiller starred, co-wrote, co-produced and directed Tropic Thunder. Not that we’re being such a grouch, but doesn’t this somehow give us a clue as to where the movie is coming from?

Buried Alive

Cast: Leah Rachel, Erin Lokitz, Tobin Bell, Terence Jay; Director: Robert Kurtzman; Producers: Deborah Del Prete, David S. Greathouse, Gigi Pritzker; Screenwriter: Art Monterastelli; Music: Terence Jay; Editor: Cary Coughlin; Genre: Horror-Suspense; Cinematography: Thomas L. Callaway; Distributor: Dimension Films; Location: New Mexico, USA; Running Time: 90 min.;

Technical Assessment: 1.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Six students take a trip to the middle of the desert as part of a sorority initiation. They are to reside at Zane’s house (Terence Jay) which incidentally is haunted by a woman seeking revenge after she had been buried alive. Meanwhile, Lester (Tobin Bell), the caretaker, who has been searching secretly for the treasure disturbs the undead woman in the process. One by one, the kids are killed except for Zane’s cousin, Rene (Leah Rachel) whose mark on her back seems to have a connection with the undead woman.
This is another generic low budget mindless film trying hard to be scary with a couple of slashers and some shock factors. The first two thirds of the movie is wasted on a flimsy storyline and a mediocre script, exacerbated with bad acting, clichés, borrowed themes from other horror movies, slow paced development of the story and a shaky editing. The characters are flat stereotypes that you will neither sympathize nor root for. As a horror movie, there is not much scare or suspense going on save for some five minutes of the zombie’s appearance put together. The characters spent more time making out. In fact the movie at one point looked more like a sex film with the constant nudity, sex scenes and vulgar language. It is a total waste of time and effort to watch this movie.
The movie projects the young as being brazen, guiltless and mindless with nothing more interesting and productive to do than to make out, get drunk and wasted or play cruel games in the name of initiation. They got what they deserved for all their shamelessness. This does not set a good example for teenagers and young adults as it implies that they are expected to make out as soon as they have a little privacy.
On the other hand, horror films seem to have some elements of sex and nudity these days in order to sell. (At least the not so good ones). This implies that producers and directors are taking the short cut to sell their movies and rely on gore and sex to market their movie, instead of being creative storytellers and resourceful artists.
Parents should not allow their young children to watch the movie or the DVD version. Adults could use their time and money for other movies or forms of entertainment.

IGOR

Cast: (Voice) John Cusack, Steve Buscemi, John Cleese, Christian Slater, Jennifer Coolidge, Arsenia Hall, Sean Hayes, Eddie Izzard, Jay Leno, James Lipion, Molly Shannon; Director: Tony Leondis; Producers: John D. Fraklis, Max Howard; Screenwriter: Chris McKenna; Music: Patrick Doyle; Editor: Herve Schneid; Genre: Animation, Comedy; Distributor: International: The Weinstein Company, Local:VIVA; Running Time: 85 min.;

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

In the land called Malaria, a child with a humped backed was born. Since this kind of phenomenon was unacceptable to their kind, he was named Igor. As an adult, he now works for a wicked master scientist. In spite of his talent in science, Igor is not allowed to try and use his skills. He is only to do the simple tasks that his master gives him. Still, he is determined to become like his master, to the extent of winning the title of “Best Evil Scientist” at the annual Evil Scientist Fair. A chance for Igor to start something comes when a disastrous accident in the lab takes place; he attempts to develop a gigantic woman he calls Eva, mistaken for “Evil” for a while. He prepares and trains her to help him create and spread evil all around. Things become complicated however, when his master goes after him, and also catches Eva to brain-wash her for his own agenda. But Eva (once “Evil”) is found to be a naturally good character that could not be easily turned bad. Igor also finds out that he could not really be evil as his master and his followers are.

Igor tries to be a film for all viewers. There is the struggle between the bad and good characters to gain the upper hand. The acting casts are computer generated images not easily identifiable for viewers. One example is a brain soaked in a jar called Brain; and another, among others, is a very skinny rabbit named Scamper which keeps on trying to kill itself. The characters or images are too many and they move at a pace that makes it difficult to understand what is taking place as the story moves along.

Wanting to be like his wicked boss, Igor was willing to turn evil. But it turns out he is too naturally good to turn bad. What happened had positive effects on Eve and his group of followers. It may not be a good idea for the younger teens to watch Igor because of some of the weird and scary unrecognizable characters shown. There are also some violence depicted, although in cartoon style.

Matakot Ka Sa Kulam

Cast: Judy Ann Santos, Dennis Trillo, TJ Trinidad, Ces Quesada, Sharlene San Pedro, Kris Bernal, Irma Adlawan; Director: Jun Lana; Producer: Lily Y. Monteverde; Screenwriter: Jun Lana; Genre: Horror/ Drama; Distributor: Regal Films; Location: Manila/ Batangas; Running Time: 100 min.;

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Nagka-amnesia si Mira (Judy Ann Santos) bunga ng isang matinding aksidente. Hindi naman sumuko ang asawa niyang si Paul (Dennis Trillo) sa pag-aalaga sa kanya at sa pagpapaalala kung sino siya. Unti-unti ay inilalapit ni Paul si Mira sa kanilang nag-iisang anak, si Sophie (Sharlene San Pedro) na isang bulag. Habang pinagtatagni ni Mira ang kanyang pagkatao ay may nakikita siyang isang babaeng nagmumulto. Kasabay nito ay ang pagkakatuklas niya iba pang katotohanan sa kanyang pagkatao sa pamamagitan ni Dave (TJ Trinidad) na siyang tanging pinagtaguan niya ng kanyang mga sikreto. Isa sa mga sikretong ito ay ang kanyang kakambal na si Maria (Judy Ann Santos) at ang kanilang pinagmulang angkan ng mga mangkukulam. Si Maria nga kaya ang babaeng nagmumulto at hindi matahimik? Habang tumintindi ang banta sa buhay ng pamilya ni Mira ay unti-unti rin siyang napapalapit sa katotohanan ng kanyang pagkatao.

Isang matagumpay na pelikulang katakutan ang Kulam. Maayos ang daloy nito at talaga namang tatakutin ka mula simula hanggang wakas. Mahusay ang pagkakasulat at pagkakadirehe. Tamang-tama ang timpla ng drama at horror at sakto sa bilang ang pagtatago at pagbubunyag ng mga sikreto. Mahusay din ang pagkaka-arte ng lahat ng tauhan lalo na si Judy Ann Santos na gumanap ng isang tunay na mapaghamong papel. Maging ang mga pangalawang tauhan ay pawang mahuhusay din tulad nina Sharlene San Pedro na mahusay sa pagkakaganap na bulag at Irma Adlawan bilang kanilang inang mangkukulam. Lubos na nakatulong din ang maayos na pag-iilaw at disenyong pamproduksiyon. Bagama’t halatang ang ibang eksena ay hango mula sa mga Korean horror, nagawa pa rin nitong bigyan ng tunay na Pilipinong bihis ang pelikula dahil sa tema nitong tunay na malapit sa kalinangang Pilipino.

Totoo nga kaya ang kulam? Ito ang tanong na matagal ng bumabagabag sa bawat ordinaryong Pilipino na makakarinig ng tungkol dito. Totoo man o hindi, isang bagay ang malinaw, ito ay hindi kagagawan ng kabutihan kundi ng kasamaan. Ipinakita ng pelikula ang lakas ng kapangyarihang itim na ito ngunit ipinakita rin dito na sa bandang huli, ang kabutihan pa rin ang magwawagi. Higit na makapangyarihan ang pag-ibig at pagmamahal sa anumang mahika o vertud tulad ng sa kulam. Marami nga lang mga eksenang nangangailangan ng gabay ng magulang sakaling manood ang mga kabataan. Nariyan ang pagpapakamatay, pakiki-apid at ilang mga nakakakilabot na eksena na maaaring magdulot ng trauma o bangungot sa mga bata.

Make It Happen

Cast: Mary Elizabeth Winstead, Riley Smith, Tessa Thompson, John Reardon, Ashley Roberts, Julissa Bermudez, Leigh Enns, Karen LeBlanc; Director: Darren Grant; Producers: ; Screenwriters: Duane Adler, Nicole Avril ; Music: Paul Haslinger; Editor: Scoot Richter; Genre: Comedy Drama; Cinematography: David Claessen; Distributor: The Weinstein Company; Location: Illinois, USA; Running Time: 90min.;

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

Lauryn Kirk (Mary Elizabeth Winstead) a small-town young woman of 21 years, from Indiana travels to Chicago, looking forward to making her dreams of becoming a professional dancer come true by enrolling at the Chicago School of Music and Dance. She does not pass the audition however; and a second attempt to qualify is unlikely to be given her. Unwilling to return home to her brother Joel, with whom she had worked as book keeper at the garage left to them by their parents who had passed on. Now alone dining at Ruby’s, an exclusive entertainment club, Dana a waitress/dancer (Tessa Thompson) makes her acquaintance, likes her and invites her to stay at her pad. Lauryn is given a job as an accountant in the club. Her new found friends and workmates eventually discover her talent for dancing, and her liking for it. She catches herself irristably moving with the music and moving with the dancers doing ballet, Hip-Hop and mostly the Burlesque. Disc jockey Russ (Riley Smith) encourages and helps her with his music. Then Dana and he prod her to try again to get into the Chicago School of Music and Dance. Brother Joel shows up at one of her club performances. He is upset that she was not at school but in a club dancing. He also feels bad at her leaving him and a failing garage. Lauryn goes straight home. Joel finds her at the garage working on the accounting books.

The movie centers on a young woman who feels that it is about time she should be in pursuit of what she wants in her life. She sets out without making her farewell to anyone, not even her brother. A simple-town young lady does not know anyone outside her home-town nor what to do when things do not go her way. But she is lucky to meet the staff at Ruby’s and have their sympathy and advice. But she has to go through her share of uncertainty and difficulties as she copes and makes decisions. She gets rejected; is envied by rivals, works hard at her dance rehearsals, deals with critics, among others. The movie shows and tells a clear story, a touching one even, although this is a common tale not something exceptional and different. Some frequent movie viewers could find in other films variations to this story. The attraction to this movie, especially for the young viewers, would be the lengthy presentation of the dancing, most of the numbers are brisk, intricate and lively. Mary worked up a good character in Lauryn and was very energetic in her dancing.

What Lauryn learned and how she became a more confident and decisive person came from her various experience. She did not think that she should go back to Chicago and request for another audition; but she is taught never to give up, but be ready to give it another try. Her justifiable earnestness and insistence touched the audition panel and she was given the opportunity to enroll for the course. By her immediate willingness to get back to her small-town and check on the garage’s failing status showed Joel her willingness to make a sacrifice and help him. He saw her generosity, and also that she should be on her way to make her own dreams come true. So he sends her back to Chicago. She was on time and passed the entrance.

As this movie is likely to attract the teenage audience, it should be mentioned that there are some long sequences of dancers in partial nudity performing vigorous and delicate body movements, that CINEMA has given it a V14 rating, allowing young people of 14 years and up to view it..

Three Kingdoms:Resurrection of the Dragon

Cast: Andy Lau, Maggie Q, Sammo Hung, Damian Lau, Andy On; Director: Daniel Lee; Producer: Taiwon Entertainment; Screenwriter: Daniel Lee, Guanzhong Lao; Music: Henry Lai; Genre: Action/Historical Epic; Cinematography: Tony Cheung; Location: China; Running Time: 102 min.;

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

The story is set in the third century when China experiences terrible bloodbaths and warfare after the fall of the Han Empire. Regional warlords fight for power and glory as they slice up the country into Three Kingdoms: The Kingdom of Wei in the North ruled by the cruel, scheming Cao Cao (Damian Lau), the Kingdom of Wu in the east under Sun Quan and the weakest of the three, the Western Kingdom of Shu ruled by the benevolent Liu Bei (Hua Yueh). In the Kingdom of Shu, a young idealistic commoner Zhao Zilong (Andy Lau) enlists in the army with the dream of uniting China and bringing about peace. He meets a veteran of the wars Luo-Ping-an (Sammo Hung) who comes from his own village and they pledge eternal friendship and brotherhood. Possessing extraordinary martial skills, Zilong rapidly rises up the ranks through his remarkable victories and daring exploits, among them successfully protecting the royal family of Liu and killing the great Cao Cao of the Kingdom of Wei. He becomes known as the “invincible general” and for several decades goes to war for his king undefeated with the ultimate aim of uniting the country. Though Zilong is greatly honored, Ping-an his “brother” hardly gets recognition and thus Ping-an harbors resentment and envy towards Zilong. Upon the death of the King Cao Cao of Wei, his granddaughter Cao Ying (Maggie Q) eventually becomes commander of the army. Tutored by the callous Cao Cao, Cao Ying becomes a formidable astute opponent of Zilong. Will Cao Ying get her revenge? How will Ping-an’s jealously affect the final battles? Will there be peace?

The movie tells the engaging story of a charismatic Chinese hero Zhao Zilong against the backdrop of a turbulent historical era. Based on the great, 14th century semi-fictional classical novel The Romance of the Three Kingdoms by Luo Guanghong, the film tries to approximate the epical scope of the novel. The spectacle of war is here vividly portrayed through the well-choreographed battles of the various armies with their innumerable number of combatants impressively geared in battle array and all set in vast desert landscapes. The plot of the film covers several decades and one gets the feeling that the film is rushed, trying to do so much in just one film with so many events and so many characters, many of whom are just glossed over. The big budget film is fast paced and has some stylistic cinematography. The last 30 minutes of the film has a spectacular duel of wit and strategy between two highly skilled martial artists Andy Lau and Maggie Q and it has many of its “character” moments. Andy Lau practically dominates the film and gives depth to his role so that his character Zilong becomes interesting and riveting. Though her role is limited, Maggie Q gives an impressive performance as the calculating, cruel master tactician who plays the Chinese stringed instrument pipa as the battle rages around her.

Because of the proliferation of battles in the film, a viewer may get the impression at first that Three Kingdoms: Resurrection of the Dragon is just another long war picture with the usual lamentable butchery, carnage and violence. But on second thought, one realizes it has also commendable values. In Zilong, for example, one sees the desire to do something heroic for his country, its unification and peace; the dedication to duty and loyalty to authority; the determination and courage as well as the willingness to sacrifice to achieve his goal. Also the film projects what takes place in the human heart under certain circumstances. Like so many people who are passed over or unrecognized, and obsessed with honor and glory, Ping-an feeds his envy towards the successful Zilong his “brother” and betrays him who has defended him and risked his life to save him. Only to realize too late the far reaching effects of what he thought was a simple act of self-interest. Also the movie viewer notices how the powerful people in the movie uses others for their ends without scruples. Like the woman commander Cao Ying who sacrifices a part of her army by setting them on fire for the purpose of also burning the enemy. The most poignant realization takes place at the end when the much honored Zilong realizes his human limitations. He is greatly skilled, gifted and heroic and wants so much to effect the unification of China in his time as he believes that “man can prevail his destiny”. But though his goals are noble, he realizes that there are things that are not meant for him. He may have achieved greatness but not all that he wants.

The Mutant Chronicles

ASSESSMENT ONLY
Cast: John Meleovich, Ron Perlman; Director: Simon Hunter; Producers: Edward Pressman, Tim Dennison, Peter La Terriere et al; Screenwriter: Philip Eisner; Music: Richard Wellsi; Editors: Sean Barton, Alison Lewis; Genre: Adventure/Action/Detective; Cinematography: Geoff Boyle; Distributor: Pioneer Films; Location: Europe; Running Time: 110 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For mature viewers 18 and above

The greatest enemy of humanity represented by a machine cannot be overcome by human beings without the power of God. A group of volunteer soldiers from different continents try to destroy the machine and offer their lives for all others to live.

My Best Friend's Girl

Cast: Dane Cook, Kate Hudson, Jason Biggs, Alec Baldwin; Director: Howard Deutch; Producers: Guymon Casady, Dane Cook, Adam Herz, Doug Johnson, Barry Katz, Gregory Lessans, Josh Shader, Brian Volk-Weiss; Screenwriter: Jordan Cahan; Music: John Debney; Editor: Seth Flaum; Genre: Sexy Drama/ Comedy; Cinematography: Jack N. Green; Distributor: Lionsgate; Location: Massachusetts, USA ; Running Time: 100 min.;

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

Tank (Dane Cook), a call center agent and self-acclaimed “expert” on women psyche takes on a part time job as a break-up fixer for men friends who want to win back their women. This "part time job" does not spare his best friend Dustin (Jason Biggs) who seeks his "expertise" and pays him to win his lady love Alexis (Kate Hudson). Taking the word of Tank that the deal will be a mere plain job, Dustin is thankful and he thinks Tank's tactics are working to his advantage. Tank takes the job in consideration of his friendship only to realize that Alexis is not an easy subject. However, the two of them quickly become frequent sex partners and discovery of this affair hurts Dustin. How will this betrayal affect the friendship and what will happen to the affair of Tank and Alexis.

My Best Friend's Girl tries to present a comedy which is not actually funny and a love story without the context of love. Rather it is a full package of vulgar words and sexual innuendos. Though sex scenes are short and not too explicit, they are frequent and carried out as an overall theme in the entire film. Acting is minimal and so are cinematic effects. The director fails to project the element of true love in what is meant to be a love story. Overall the film is technically below average.

Sex and love are things that can bring about a lot of good in people's lives. This film however, distorts the meaning of both and worst, presents women as sex objects and very weak creatures. It presents a pattern of break-up and reconciliation among relationships as orchestrated by a person who appears to have mastered women psyche and yet does not show any sensitivity towards them. Although the film ends showing how friendships can pick up from betrayal through forgiveness, acceptance, letting go and giving way, it was obviously not the main message that was carried out in the entire run of the film. Excessive use of vulgar words, implied sexual contents, frontal nudity, gender stereotyping of women as sex objects are offensive matters evident in this film.

Disaster Movie

Cast: Matt Lanter, Vanessa Minnello, Gary “Thang”, Johnson; Directors: Jason Friedberg, Aaron Seltzer; Producers: Jason Friedberg, Peter Safran, Aaron Seltzer; Screenwriters: Jason Friedberg, Aaron Seltzer; Music: Christopher Lennertz; Editor: Peck Prior; Genre: Comedy/ Spoof; Cinematography: Shawn Maurer; Distributor: Lionsgate; Location: Louisiana, USA; Running Time: 90min.;

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

Will (Matt Lanter) is plagued by dreams of apocalypse just right before his super duper sweet sixteen party at his house (even though he is already 25). Terrified of his own dreams, Will also loses his girlfriend Amy (Vanessa Minillo) who leaves him for someone else. Will’s friends Calvin (Gary Johnson) and Lisa (Kimberly Kardasian) together with a parody of characters from past movies, e.g. Juno, Enchanted Princess, experience a series of disasters from the night of Will’s party. As they all struggle for survival, they randomly meet and encounter various characters lifted from recent and not-so-recent-movies. Ultimately, Will has to save Amy from an impending disaster as he learns that Amy’s location, a museum, is on the verge of destruction.

Another spoof of various movies from the same makers of Scary Movie, Meet the Spartans and Epic Movie, Disaster Movie is true to its title with its disastrous moviemaking taste. With tidbits of scenes taken from past “hits” and “not-so-hits”, the film is devoid of any originality. There is no soul, no humor. There really is nothing in the movie. Audiences are sometimes given a hard time guessing the spoof’s inspiration and the source of a character’s parody. If one has not seen yet the movies being spoofed in Disaster Movie, never will he ever appreciate those scenes. Movie icons are constantly ridiculed in the film. There are offensive stereotypical portrayals of women, homosexuals and the religious that are all done in bad taste.

Disaster Movie is consistent with the values or non-values it presents. Nudity, gore and violence are scattered all over the place. There are characters who are almost nude and there are some scenes suggesting women half-nude. The tamest form could be that of women showing cleavage and wearing bikinis. Being trigger-happy is presented as funny and violence among and against women is considered acceptable. A pregnant teenager is seen drinking alcohol and whose water bag raptures profusely enough to bathe two men. A woman takes from under her skirt a crystal skull, indicating that it is hidden all along inside her. Being a spoof movie, such scenes are supposed to be funny but they turn out to be malicious and extremely offensive. Although there is no graphic representation of sex and violence, only ridiculous depiction of gore and suggestive sexual and homosexual connotations, young audiences should be warned and guided by adults for such scenes may negatively influence impressionable minds.

The Sisterhood of the Traveling Pants 2

Cast: America Ferrera, Amber Tamblyn, Alexis Bledel, Blake Lively; Director: Sanaa Hamri; Producer: Debra Martin Chasee; Screenwriters: Elizabeth Chandler, Ann Brashares; Music: Rachel Portman; Editor: Melissa Kent; Genre: Teen Comedy; Cinematography: Jim Denault; Distributor: Warner Bros. Pictures; Location: USA, Turkey; Running Time: 117 min.;

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

The story is mainly based on Ann Brashares 4th novel with storylines from the 2nd and 3rd novels. This picture begins 3 years after the first movie adaption with the girls now in college and are about to spend their summer separately with the pair of jeans that magically fits all four following each one’s adventure. Tibby (Amber Tamblyn) celebrates her 10th month anniversary with boyfriend Brian (Leonardo Nam) by sleeping with him. The next morning she is horrified to find out that the condom broke. Amidst the pregnancy scare, she goes off to Manhattan to take summer studies on film making. Lena (Alexis Bledel), heartbroken after learning her Greek boyfriend was recently married, takes up art classes and falls for the male nude model. Soccer player Bridget (Blake Lively) has a hard time dealing with her father and leaves for Turkey for an archeological dig to find out meaning in her life. Carmen (America Ferrera) tries to engineer a summer reunion with her friends only to find out they already had made prior plans. Feeling left out, she sets off to Vermont to work backstage for a play.

One commendable value of the movie is in the presentation and resolution of the conflicts. They are believable enough to provide a good balance of realism and hope. The cast play their part well and provide the heart and soul of the acting. Technically, the movie is well crafted with good camera angling and well paced editing. The production design suits the characterizations well as it perfectly brings out the personalities of the girls. Music is subtle and blends with the scene. Over-all, this is a feel good, light and inspiring movie about friendship.

The movie’s strongest theme is friendship and how individual struggles, mistakes and problems do not hinder their relationship to grow and deepen. Sisterhood… is like a good friend we can always run to in times of trouble, confusion and insecurity.

However, since the obvious intended audience of the movie are teenage girls, parents should be cautioned that while premarital sex is shown to have physical and emotional consequences regretfully it is not presented as totally wrong and characters who have engaged in it are not shown to have any remorse save for a momentary pregnancy scare. Sexual intimacy within the context of marriage is not the emphasis, instead what the film presents is the objectionable notion that pre-marital sex with two people in love is okay. Young audiences may be confused with the presentation of this theme and need to be guided by mature and responsible adults.

Bangkok Dangerous

Cast: Nicolas Cage, Shahkrit Yamnarm, Charlie Yeung, Panward Hemmanee; Directors: Oxide Pang Chun, Danny Pang; Producers: Nicolas Cage, Norman Golightly, William Sherak, Jason Shuman; Screenwriters: Jason Richman, Oxide Pang Chun; Music: Brian Tyler; Editors: Mike Jackson, Curran Pang; Genre: Action; Cinematography: Decha Srimantra; Distributor: Lionsgate; Location: Bangkok, Thailand; Running Time: 100 min.;

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

Joe (Nicolas Cage), an assassin, goes to Bangkok on an assignment to kill four people. He hires pickpocket Kong (Shahkrit Yamnam) as his assistant and messenger. Joe receives the contract from a Bangkok gangster, as to who will be Joe’s specific target, through Kong and a dancer who later on becomes romantically involved with Kong. Joe breaks his own rule of not getting involved with people on his missions where he takes Kong as his “student” because he sees him as a younger version of himself. Joe also meets and falls for a beautiful deaf-mute pharmacist (Charlie Yeung). After Joe has successfully done his three assignments of killing “bad people” or “bad for somebody” as he says, the fourth one seems to be crucial and difficult because Kong has told him that the said target is a good man. As Joe’s days pass by in Bangkok, he starts to grow a conscience which makes it difficult for him to carry on his line of work.

There’s nothing really big nor spectacular in Bangkok Dangerous except for the expected performance of Nicolas Cage which fans would surely appreciate. However, non-fans would be disappointed with Cage’s haggard look even in supposedly romantic scenes. There is no chemistry among love partners in the movie. One does not see any romantic link whatsoever between any of the characters. Cage and Yamnam are able to connect as student-mentor but the shallow and hollow script does not provide further depth to their characters endear them to the audience. The plot is quite cheesy and mushy to the point of being predictable and soap operatic. There is an attempt to make this movie an exceptional action picture but still the film fails in so many ways to excite the audience and to fulfill expectations.

Joe’s character, as the movie says, is an amoral character because he only assassinates and kills “bad for somebody” people. However, he also kills any link that would lead to him as a suspect including his hired assistants or messengers. Either way, killing is immoral and there is no way one can justify it as amoral. Putting Bangkok Dangerous into context, the film tries to explore the dark world of crime, sex, drugs and violence in a place that is considered to be the “sex capital” of the world so it is inevitable to include scenes with a degree of sex, violence, substance use and abuse. Joe’s character has been doomed and redemption is uncertain. Kong’s willingness to be trained in the dark world is also quite objectionable as this may be deemed as right by the very young audiences and this somehow gives a bad light to the concept of mentoring. There are also scenes of gore that leaves a desensitizing effect on the audience’s tolerance of violence. There is cursing, fighting, lewd dancing, alcohol drinking, so young viewers should be guided.

I.T.A.L.Y. (I Trust and Love You)

Cast: Jolina Magdangal, Rufa Mae Quinto, Dennis Trillo, Eugene Domingo, Mark Herras, Rhian Ramos; Director: Mark A. Reyes; Producer: Annette Gozon-Abrogar; Screenwriter: Senedy Que; Music: Vincent de Jesus; Editor: Maryo Ignacio; Genre: Drama’ Adventure/ Sexual Comedy; Cinematography: Jose Linao; Distributor: GMA Films; Location: Italy, Manila, Spain; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: For viewers age 13 and below with parental guidance

Si Destiny o Des (Jolina Magdangal) ay isang housekeeper sa isang luxury cruise ship sa Europa. Isang dalaga na maraming pangarap si Des katulad ng makapangibang-bayan partikular ang makarating sa lugar na Venice, Italy, maging mang-aawit, makatulong sa pamilya at matagpuan ang lalaking nakatadhana para sa kanya sa gabay ng isang pekeng hula. Ang mga pangarap na ito ang nagtulak sa kanya upang magtrabaho sa barko kung saan makikilala niya sina Paolo (Dennis Trillo), Lovely (EugeneDomingo), Stella (Ruffa Mae Quinto), at Nathan (Mark Herras). Isa sa mga pasahero ng barko si Paolo na nangungulila sa banyagang girlfriend na bigla na lang naglaho sa kanyang buhay. Nakitaan ni Des si Paolo na mga senyales na ayon sa manghuhula ay itinakdang lalaki para sa kanya, kaya ganoon na lamang ang effort ni Des na mapalapit dito. Si Lovely, kapwa housekeeper ni Des sa barko, ay isang bigo sa pag-ibig at di na umaasang makapag-asawa pa. Si Stella, isang lounge singer sa barko, ay isang babaing naghahanap ng tunay na magmamahal at magsiseryoso sa kanya. Si Nathan na cabin crew ay isang babaero na maakit sa maganda subalit supladang pasahero na si Phoebe (Rhian Ramos). Ano kaya ang mangyayari sa kanila sa katapusan ng paglalakbay ng barkong sinasakyan nila?

Sanga-sanga ang kwento na pinilit ilagay sa isang pelikula para matapos lang. Hilaw ang paghahatid ng kombinasyong drama at comedy (o dramedy) dahil nga sa kawalan ng sentro ng kwento. Bagamat epektibo ang mga hirit na patawa nina Eugene at Ruffa Mae, hindi naman ito nakatulong upang mapalalim ang mga mensaheng nais ipahatid ng mga tauhan na at ng buong pelikula. Maliban sa madamdaming pag-uusap nila Pen Medina at Jolina sa telepono at eksena na pagkakatuklas ni Paolo ng pagkamatay ng nawawalang kasintahan, wala ng nailabas pa sa pag-arte ang mga aktor sa pelikula. Bitin sa pagtalakay ng makabuluhang buhay ng OFW sa barko ang pelikula na isang oportunidad na sana. Tila hindi rin masyadong nabigyan ng ibayong kabuluhan ang iba't ibang lugar na ipinakita sa pelikula gayundin ang mga bahagi ng cruise ship na interesante rin sana. Gayunpaman ay maayos at akma ang mga musikang inilapat sa mga eksena at nakatulong ito nang malaki upang magkaroon ng saysay ang pelikula. Sa kabuuan ay nakakaaliw ang pelikula lalo na sa mga eksenang patawa.

Katulad ng inihatid ng pelikula, mahalaga sa pag-abot ng mga pangarap ang determinasyon at tapang na harapin ang mga nakaakibat na lungkot at sakripisyo. Ang isang mabuting anak ay sumusunod din sa bilin ng mga magulang kahit na malayo sa isa't isa. Sa banyagang lugar lalo na sa pagtatrabaho ay dapat manaig ang mahusay na pakikisama upang mayroong suporta sa panahon ng pangangailangan. Maganda ang mensahe ng pelikula tungkol sa pagkakaibigan, pagtanggap ng mga realidad ng buhay, kababaang-loob at pag-ibig. isang punto na dapat siguro ay pagnilayan ng mga manonood ay ang pagpili ng makakasama sa buhay na hindi dapat isinasalalay sa kamay ng manghuhula o mga senyales na sasabihin nito.

Right at Your Door

Cast: Mary McCormack, Rory Cochrane, Tony Perez; Director: Chris Gorak; Producers: Jonah Smith, Palmer West; Screenwriter: Chris Gorak; Music: Tomandandy; Editor: Jeffrey M. Werner; Genre: Disaster; Cinematography: Tom Richmond; Distributor: Viva Film; Location: L.os Angeles, California; Running Time: 96 Min.;

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

Brad (Rory Cochrane), a struggling musician, and his bread winner wife Lexi (Mary McCormack), have just moved into the suburbs of LA. On an ordinary weekday, Lexi goes to work while Brad tends to the house when a series of bombs goes off in several places. Apparently these bombs are laden with a chemical that would cause an exposed person to get very sick and die. Authorities tell the people to lock up in their houses to avoid contamination. Brad spends half the film’s time trying to find his wife and dodging polive and barricades but to no avail. He returns home and seals up his house with the help of the neighbor’s gardener, Alvaro (Tony Perez), leaving a box of provisions outside for Lexi. She finally shows up at their doorsteps - infected, ill and dying. Brad painfully decides to lock her out of the house as he cannot jeopardize his own life.

The premise of the plot has a lot of potential for a touching and riveting human drama however, the script has failed to develop the characters and establish a relationship with the audience that it is hard to relate with them to offer any sympathy for their predicament. The scripting and plot development could have been greatly improved as it is presented like an over-stretched 30 minute production. The acting is commendable, while the sound and music are suitable. Technically, the movie is adequate with good vision from Gorak and a brilliant interplay of grays and blues with a tight, though jerky, framing. Richmond is able to recreate a dramatically pristine but terrifying ash fall effect. For a low-budget film, the production is satisfactory.

In the movie Right At Your Door “Till death do us part”… sounds meaningless when a couple is faced with a critical choice that might jeopardize their survival. The spectator realizes that this situation is no longer rare today. Loyalty and sacrifice seems to longer occupy a place in marriage and choosing between the self and the partner becomes easier and easier as people become more self-centered and self-absorbed to care about the person one promised to love and to cherish for the rest of his life.

The movie is also about the fear-mongering encouraged by the media as it throws conflicted information and sensationalism in crisis situations. The media seems to add more confusion and panic than give clarity and guidance. In the end, what we usually regard as the pillar of truth and enlightenment, aggravates a predicament a million times worse than it should be.

Hellboy II: The Golden Army

Cast: Ron Perlman, Selma Blair, Doug Jones, Anna Walton, Luke Gross, Jeffrey Tambor; Director: Guillermo del Toro; Producers: Laurence Gordon, Mike Richardson, Lloyd Levin; Screenwriters: Guillermo del Toro, Mike Mignola; Music: Danny Elfman; Editor: Bernat Vilaplana; Genre: Fiction/ Action/ Adventure; Cinematography: Guillermo Navarro; Distributor: Universal Pictures; Location: USA; Running Time: 120 min.;

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

The humans and other beings had their truce a long way back when they agreed to split into settlements in separate areas. But now, the moment has come when war is in the air. The human Prince Nuada (Luke Gross) in defiance of his king father is instigating a conflict between him and all the rest around their territory. Nuada’s goals are to find and put together the three pieces of a crown, which when completed would make him the new king of the original conglomeratation of humans and other living beings; at the same time the conflict will cause the awakening of hundreds of mechanical soldiers long stored idle, which would get him his goal. Unfortunately however, his twin sister Nuala (Anna Walton) is clearly against his decision. Unknown to Nuada however, there is Hellboy “Red” (Ron Perlman) a really incredible hulk, has Nuala’s crown piece in keeping, and ready to fight for her and the people.

Hellboy is an interestingly put together story filled with suspense and adventure. No doubt. Ron Perlman is very good at projecting his character; he looks real and convincing, as a capable and extraordinary hulk, is able to do what others can’t. His sometimes soft character is touching. The visual effects are well presented as scenes of old and ancient times in different shades of light and darkness are shown. The ensemble acting is also impressive as flashed on the screen. The use of CGI’s improve and enhance what are displayed and they appear more real. One possible drawback for some viewers would be the problem of identifying individual characters and where they belong. The overall value of the movie is the presentation of the good fighting against what is evil. Here is Hellboy and Princess Nuala (Anna Walton) leading the good against the evil ones led by Prince Nuada. There is Hellboy, with the assistance of a group of investigators and researchers helping and defending humans from evil power. There are evil spirits in the world. People can conquer the immortal enemy with the help of someone stronger than oneself. Hellboy plays the role of the savior and defender of human beings attacked by evil spirits.

Vulgar language is at a minimum, while violence is shown frequently as it is needed for a major part of the story. Because these scenes could cause frequent emotional stress for younger viewers, CINEMA recommends that only those 14 years old and above be allowed to watch Hellboy 2: The Golden Army.

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.