Marley & Me

Cast: Owen Wilson, Jennifer Aniston, Eric Dane, Kathleen Turner, Alan Arkin; Director: David Frankel; Producers: Gil Netter, Karen Rosenfelt; Screenwriters: Scoot Frank, Don Roos; Music: Theodore Shapiro; Editor: Mark Livolsi; Genre: Comedy/Drama/Romance; Cinematography: Florian Ballhaus; Distributor: Twentieth Century-Fox Film Corporation; Location: Florida, USA; Running Time: 115min.

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above

John and Jennifer Grogan (Owen Wilson and Jennifer Aniston) are a journalist couple who leave the veritable ice-box Michigan for sun-drenched West Palm Beach , Florida . Both immediately find employment at the South Florida Sun Sentinel, but Jennifer seems desirous of starting a family, and so they try for a baby. Doubting his preparedness for family life then, John seeks the advice of his womanizing reporter friend, Sebastian (Eric Dane), who then suggests the couple get a puppy to more or less satisfy for the meantime Jenny’s maternal instincts. They buy a cute little Labrador, Marley, the cheapest in a bunch of puppies at a clearance sale. Soon Jenny gets pregnant—but loses the child. Meanwhile, Marley grows into a 100-pound canine that, although lovable, has a rather uncontrollable appetite for destroying or eating anything he fancies. In fact, Marley flunks obedience school, but he continues to inspire John in his column writing for the newspaper. Jenny gets pregnant again, and finally gives birth to a son; then , a devoted mother, gets pregnant again—and again—until she reaches saturation point about the destructive dog and gives John the ultimatum: either Marley goes or she leaves him.

There’s a real life John and Jennifer Grogan—and Marley, too. Marley and Me is an adaptation of a best seller written by John Grogan, practically condensing into two hours 13 years’ worth of real life experience. Aniston and Wilson display good chemistry as the devoted couple, engaging and believable and with a worldview so compassionate it can embrace a hyperactive dog while going through the vicissitudes of family life. Director David Frankel makes sure this “dog movie” goes beyond the stereotype featuring the cute and cuddly canine, while scriptwriters Scott Frank and Don Roos manage to make the story at turns funny and moving but free of melodrama. It’s impossible to sleep through this movie where nearly every scene has a dog in it, and if you’re observant you’ll notice it’s not just one dog actor playing Marley—it took 22 look alikes to play the Labrador’s title role.

Marley and Me is a strong and positive affirmation of parenthood, family and marriage, something that seems providential, coming in the midst of an abortion-favoring Obama leadership. The movie’s family- and life-supporting statement comes subtly and naturally as the story unfolds, not at all sounding like a pro-life spiel, thus making it a most effective yes-vote for the glories of parenthood and marriage. Although Marley and Me seems wholesome enough to merit a GP rating, the movie contains some material not fit for young children, particularly John and Jenny’s too lenient attitude towards pet-handling. Marley is a virtual beast that cannot be trained or restrained, endangering human lives and property. Indeed, at times the viewer may wonder whether the dog here is a pet or a master. Perhaps the director and the writers did not mean to, but the movie seems to say that if people can be that kind to and tolerant of a rambunctious pet, they could be heroic as parents understanding their children’s quirks. CINEMA doesn’t want to be a killjoy, but still there’s a follow up question: if they won’t train a dog to obey, how could they discipline their children?

Jay

Cast: Baron Geisler, Coco Martin; Director: Francis Pasion; Producer: Francis Pasion; Screenwriter: Francis Pasion; Music: Gian Gianan; Editor: Kats Seraon, Chuck Gutierrez, Francis Pasion; Genre: Drama; Cinematography: Carlo Mendoza; Distributor: Cinemalaya; Location: Manila and Pampanga; Running Time: 110min;

Technical Assessment: 4
Moral Assessment: 3
CINEMA Rating: For viewers 18 and above

Natagpuang patay sa kanyang apartment si Jay Mercado, isang gurong may nakapagdududang sekswalidad. Mayroon siyang walong saksak sa likod at pinaghihinalaang isang masahistang lalaki ang pumatay sa kanya. Agad na kukunin at sasawsaw ang Channel 8 sa balita kung kaya't pupunta si Jay Santiago (Baron Geisler) sa lugar na bayang tinubuan ng pinatay na Jay upang gawing isang reality-drama ang buhay at kamatayan nito. Agad namang makakakita ng oportunidad para sa isang magandang kuwento si Jay. Ang pinatay na Jay pala ang siyang tanging inaasahan ng pamilya na mag-aahon sa kanila sa kahirapan. Biktima rin ang pamilya ng lahar kung kaya't nakalubog na ang kalahati ng kanilang bahay. May iniwan pang makulay na kuwentong pag-ibig si Jay at ito ay ang kanyang relasyon sa kapwa lalaking si Edward (Coco Martin). Sa ngalan ng trabaho at ikagaganda ng programa, gagamitin ni Jay ang lahat ng ito upang makabuo ng isang kuwentong bebenta sa masa kapalit ang pangakong tulong na bibigyan nila ng katarungan ang nangyari sa biktimang si Jay. Hanggang saan kaya makararating ang panghihimasok ni Jay sa buhay ng mag-anak ng namayapa upang makabuo ng magandang kuwento?

Mahusay ang pagkakagawa ng Jay. Tinalakay nito ang isang paksang bihirang talakayin sa pelikula. Hindi tulad ng karaniwang kuwento, maraming elementong nakapaloob sa kabuuan ng pelikula na nagbigay ng kulay pati na rin ng sadyang kalituhan. Nagawa nitong pagtagni-tagniin ang bawat elemento upang pag-isipin ang mga manonood ukol sa makitid na agwat sa pagitan ng katotohanan at palabas lamang. Sa bandang huli'y sadyang nailigaw at nailihis ng pelikula ang atensiyon ng manonood mula sa melodrama at trahedyang buhay ng isang bikitima tungo sa panibagong pambibiktima ng mga mismong nagpapanggap na sila ay makakatulong sa pagbawas ng pighatii at sa paghahatid ng katarungan. Mahusay ang pagganap ng mga artista lalo na si Geisler na epektibo sa kanyang panibagong papel bilang binabae. Tama ang timpla ng mga eksena at sakto sa nais nitong iparating.

Isang komentaryo sa mass media ang pelikula. Sinasalamin nito kung paanong pinagsasamantalahan ng kapitalistang sistema maging ang hinagpis at pighati ng mga pawang biktima ng sitwasyon. Dumating si Jay Santiago sa pamilya ng biktimang si Jay Mercado sa pagpapanggap na mga kaibigan na buong pusong tutulong ngunit naroon lamang sila upang kumalap ng magandang kuwentong bebenta sa masa at pangalawa na lamang ang pagutulong. Ngunit ipinakita rin kung paanong katanggap-tanggap na sa pamilya ni Jay ang pananamantalang gagawin at ginagawa sa kanila. Sila pa mismo ang nagpapakitang handa silang magpagamit sa alang-alang sa salapi at kasikataan. Sinubukang wasakin ng Jay ang anumang ilusyon mayroon tayo ukol sa itinuturing nating kakampi ng katotohanan: ang mass media. Ipinakikita ritong ang mass media ay isang malaking negosyo na binubuhay ng bawat kaawa-awang kuwento ng pighati. Isang mapanglinlang na sistema na patuloy na namamayani saan man mayroong telebisyon, radyo, dyaryo o pelikula. Sa bandang huli, sa sistemang ganito ay ang manonood ang siyang tunay na biktima sapagkat siya ang nalinlang, pinagdamutan ng katotohanan, binigyan ng maling pag-asa, at ibinenta sa mga kumpanyang naga-aanunsiyo ng mga produktong bibilhin niya. Hindi ito kinondena ng pelikula at talaga namang ito'y hitik sa mapanuring mensahe na maaring hindi pa angkop sa mga batang manonood. Dagdag pa rito ang ilang maseselang eksenang tumatalakay sa sekswalidad at kaunting paghuhubad na nasa konteksto naman at hindi malaswa. Sa bandang huli, nagsusumigaw ang malinaw na mensahe: hindi dapat paniwalaan ang lahat ng nakikita at napapanood.

Doubt

Cast: Meryl Streep, Philip Seymour Hoffman, Amy Adams, Viola Davis; Director: John Patrick Shanley; Producers: Mark Roybal, Scott Rudin; Screenwriter: John Patrick Shanley; Music: Howard Shore; Editor: Dane Collier, Ricardo Gonzalez, Dylan Tichenor; Genre: Drama; Cinematography: Roger Deakins, Matt Turve; Distributor: Miramax Films; Location: USA; Running Time: 104min;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

It is 1964 and the winds of political change are blowing more strongly over post-Kennedy assassination communities in the U.S. St. Nicholas School , a Catholic institution, has opened its doors to desegregation and has now accepted its first Afro-American pupil. Soon, this precipitates a confrontation between the principal Sister Aloysius (Meryl Streep) who runs the school with stern discipline and fear to safeguard its moral standards, and a charismatic priest Fr. Flynn (Philip Seymour Hoffman) who insists on the spirit of Vatican II that the church have a “more familiar face”. A neophyte, Sister James (Amy Adams), notices that Fr. Flynn has been taking undue interest in the colored boy, and based on certain circumstances, suspects him of having molested the child. But Fr. Flynn with his easy charm has ready explanations and Sister James lets the matter rest. But Sister Aloysius believes he is guilty and pressures him to leave the school. He does not admit his guilt but Sister Aloysius unrelentingly pursues her campaign to have him removed, even trying to convince the boy’s mother Mrs. Miller (Viola Davis) to file a complaint against the priest. Who will win this battle of wills?

Doubt is Director John Patrick Shanley’s film adaptation of his own Pulitzer Prize-winning play of the same title. Simply but effectively directed, the film boasts of the excellent powerful performances of a high caliber cast and their tight ensemble acting. Meryl Streep outdoes herself here as she again showcases not only her sensitivity to the nature of her “character” but also her versatility. From the devil in Prada’s fashionable clothes to an optimistic bohemian singing and dancing queen and now as a stern uncompromising guardian of morals. In this movie Doubt, Hoffman’s Fr. Flynn with his pleasant disposition and lighthearted cavalier view of sin is her perfect foil. As Sister Aloysius says, he is “invulnerable to deep regret.” For he can sin again and again and think he can continue to bask in God’s mercy and enjoy some perks when a lost sheep is found. These contrasting personalities highlight the conflict between two opposite positions taken by the protagonists. The film tries to round out character delineation through little details. The sharp edges of Sister Aloysius’ character are softened, for instance, by the kindness she shows an old, almost embarrassed blind nun groping for her cutlery by quietly shoving her a fork. And then, though condescending often, she shows a maternal concern to the young inexperienced Sister James. The film also sheds more light on Fr. Flynn’s interests. He is shown heartily enjoying a big bloody medium rare steak and shows no inclination for any kind of mortification (as when he asks for sugar for his tea, a simple but unheard of luxury in the convent of ascetic nuns who had to search for it). The highlighting of Fr. Flynn's fondness for pressed flowers and long and perfectly groomed nails may give clues to his sexual orientation. In a way, the film seems manipulated so that the audience may sympathize with Fr. Flynn and look at Sister Aloysius as some kind of villain.

Doubt touches on an important subject relevant to our time: child molestation. Though this dramatic film treats the subject seriously, it ends ambiguously without any clear indication of what/who is right or wrong. Doubt permeates the film. It begins with Fr. Flynn’s sermon on doubt and the whole film ends in doubts. We ask questions like: Is Sister Aloysius right or wrong in accusing Fr. Flynn of wrongdoing, given only the “circumstantial evidence” but without certainty? Is she justified in pursuing the priest’s ouster from the school under the circumstances? Is Fr. Flynn innocent or guilty? I s Sister Aloysius intolerant as accused by Fr. Flynn? Is Fr. Flynn right in saying that she is an obstruction “to progressive education and a welcoming church”? There is probably some grains of truth to some of the accusations. In the light of Vatican II, we can indeed be more welcoming but without compromising on important moral issues. Teachers can be more warm and understanding to students but still be firm and “strict” without engendering fear. On the other hand, in the face of the sex scandals that rocked the U.S. Church in recent times, probably priests strive to be above suspicion. They can strictly draw the line between being compassionate (especially to the marginalized like this film’s Negro boy) and showing undue interest. Tense and gripping, this engrossing film stimulates the mind and engages the heart. It is worth seeing.

Australia

Cast: Hugh Jackman, Nicole Kidman, David Wenham, Bryan Brown, Jack Thompson, David Gulpilil, Brandon Walters; Director: Baz Luhrmann; Producers: G. Mac Brown, Catherine Knapman, Baz Luhrmann; Screenwriters: Baz Luhrmann, Stuart Beattie, Ronald Hardwood, Richard Flanagan; Music: David Hirschfelder; Editor: Dody Dorn, Michael McCusker; Genre: Drama; Cinematography: Mandy Walker; Distributor: Twentieth Century-Fox Film Corporation; Location: Queensland, Australia; Running Time: 155 min;

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

In the midst of World War 2, Lady Sarah Ashley (Nicole Kidman) an English aristocrat, travels to their cattle farm in Australia, Faraway Downs, to convince her husband to sell the property and return home. However, her husband gets murdered and she discovers that their farm manager Neil Fletcher (David Wenham) is stealing her cattle to sell to King Carney in order to gain cattle monopoly in the Northern Territory. She employs the services of “Drover” (Hugh Jackman) a freelance white cowboy, Nullah (Brandon Walters), an 11-year old half breed aboriginal and four others to drive her 1,500 cattle to Darwin and steal the sales from Carney. And the more Carney and Fletcher attempt to thwart their plans, the more determined Lady Sarah becomes. Two years after they successfully sell their cattle, Lady Sarah, Drover and Nullah live happily together in Faraway Downs. But shortly Nullah is captured and sent off to the Missions, Drover walks out on Sarah after an argument, and Fletcher returns as the owner of Carney cattle farm, determined to take over Faraway Downs. When the Japanese attack Darwin , the three desperately hold on to the hope that they will be able to rescue and reunite their family.

The movie is a love story set in the background of World War II, racism and the heartbreaking reality of the Stolen Generation. Each scene is a cinematic masterpiece showcasing the charm of Australia and the 40s with another brilliant performance from Kidman. The multilayer storytelling is heightened by the great chemistry of Kidman and Jackman and some memorable scoring. Without doubt, Australia as a movie is good…good but not great. The story is too Mills and Boon type presented an hour longer than necessary. The war time drama and romance were a little too clichéic and over-the-top overshadowing Luhrmann’s attempt to present the story of the “stolen generation” as the heart of the movie. There is something missing from the production to make it an unforgettable film.

There are several good and honest presentations of friendship, equality, hope and courage. Australia is more than the love story between Lady Sarah and Drover; it is also about the love that blossomed between Sarah and Nullah—a mother loving a child, a well-to-do’s compassion for the unfortunate, and a woman’s concern for another human being. Parents should guide their young children since there is a slight scattering of profanity, an implied sex scene and scenes of violence, racism and murder

Status: Single

Cast: Rufa Mae Quinto, Paolo Contis, Mark Bautista, Alfred Vargas, Rafael Rosell, Jon Avila; Director: Jose Javier Reyes; Producers: ; Screenwriter: Jose Javier Reyes; Genre: Comedy; Distributor: Viva Films; Location: Manila; Running Time: 120 min;

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

Labis ang pangamba ni Doris (Rufa Mae Quinto) nang siya’y mag-trenta anyos na ngunit hindi pa rin nagpapakasal lalo pa’t ang mga kaibigan niya ay isa-isa nang nagsisipag-asawa. Lalong tumindi ang kanyang pangambang tumandang mag-isa nang iwan siya ng kanyang nobyong si Dodo (Mark Bautista) matapos ang dalawang taong relasyon. Dahil dito, nagsimula si Doris na hanapin ang lalaking kanyang pakakasalan. Una niyang makikilala si Hans (Rafael Rosell), isang bar tender. Matipuno si Hans ngunit pawang katawan lang ni Doris ang nais nito. Sa gym naman ay makikilala niya si Sean (Alfred Vargas) na simpatiko at matalino ngunit pawang wala sa isip ang pakikipag-relasyon. Sa opisina naman ni Doris ay naroon si Inaki (Jon Avila), ang anak ng may-ari. Guwapo si Inaki ngunit sadyang may kabaduyan at walang tiwala sa sarili. Sino kaya sa kanilang tatlo ang pwedeng makatuluyan ni Doris?

Nakakaaliw ang pelikula sa kabuuan ngunit naging mababaw pa rin ang naging trato nito sa tema ng relasyon at pag-ibig. Bagama’t nakakatawa si Quinto, hindi niya magawang baguhin ang kanyang atake sa pag-arte. Siya pa rin ang Booba na nakilala nating maganda ngunit boba. Hindi na ata siya makakawala sa ganitong pakete. Tuloy kahit sa mga eksenang dapat sana ay madrama, nagiging mababaw at komedya pa rin ang dating. Hindi tuloy gaanong maramdaman ang sentimyento ng kanyang karakter. Hindi naman matatawaran ang husay ng mga pangalawang tauhan na sina Mylene Dizon, Angelu de Leon, Mark Bautista, Rafael Rosell at Paolo Contis. Sila ang tunay na nagbigay-buhay sa pelikula.

Ipinakita sa pelikula ang makabagong mukha ng mga kababaihan sa lipunan. Bagama’t moderno at tinuturingang liberated, naghahanap pa rin sila ng tunay na relasyon at pagmamahal. Sa aspetong ito ay kapani-paniwala at kahanga-hanga ang pelikula. Ngunit sadyang mas nangingibaw ang mga nakakabahalang mensahe ng pelikula. Nariyang ikahiya sa halip na ipagmalaki ang pagiging malinis at birhen ng isang babae. Ginagawa nitong katanggap-tanggap na rin sa lipunan at pinapalakpakan pa ang pakikipagtalik bago pa man ang basbas ng kasal. Maaaring ito ay tunay na nangyayari at ang pelikula ay sumasalamin lamang sa katotohanang ito ngunit dapat mabatid ng gumagawa ng pelikula ang maaring maging konteksto nito sa pagtingin ng kabataan sa mga pagpapahalagang moral na itinuturo ng Simbahan, paaralan at pamilya. Kung ito ang mangingibabaw na pananaw at impluwensiya, hindi malayong maraming pamilya ang mawawasak o kung hindi naman kaya’y darami ang mga batang pawang bastardo at walang kinikilalang ama na karaniwang nagiging sanhi ng pagrerebelde at iba pang mga problemang panlipunan. Bagama’t walang ipinakitang hubaran sa pelikula, ang pinaka-tema nito ay hindi angkop sa mga batang manonood.

Inkheart

Cast: Brendan Fraser, Paul Bettany, Helen Mirren, Jim Broadbent; Director: Iain Softley; Producers: Cornelie Funke, Ileen Maisel, Diana Pokorny, Iain Softley; Screenwriter: David Lindsay-Abaire, Cornelia Funke; Music: Javier Navarrete; Editor: Martin Walsh; Genre: Science Fiction/ Fantasy; Cinematography: Roger Pratt; Distributor: New Line Cinema; Location: Italy; Running Time: 95 min;

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: For viewers of all ages

Book-lover, collector and bookbinder of old and rare books Mortimer “Mo” Folcher (Brendan Fraser) is in search of the book “Inkheart”, dragging his 12-year-old daughter Maggie (Eliza Hope Bennett) along in his search but not revealing to her the reason for it. They finally find in a book market in Switzerland. At once, a mysterious character (Paul Bettany) appears who would follow them around pleading for something only Mo understands. The truth that is being kept from Maggie is that her father Mo is a so-called “silver tongue”—a person with a gift of bringing to life characters in a book simply by reading the book aloud. Mo, in fact, has not read aloud for nine years now. The last time he read aloud a bedtime story for Maggie, then a 3-year-old, the flame juggler Dustfinger and the villain Capricorn (Andy Serkis) sprang out of the pages of the book and became flesh-and-blood characters. But the down side of Mo’s gift is, there’s a trade-off: for every fictional character his reading aloud brings to life, a real-life person must take its place in the book’s pages. That fateful night, it was Maggie’s mother, Mo’s wife Resa (Sienna Guillory), who vanished, virtually sucked into the book. The mysterious character following father and daughter now is Dustfinger who wants Mo to read him back into the book to continue his fictional existence. Mo, however, says he would only do that if his missing wife Resa could return from the book to real life with him ang Maggie. There begins the adventure.

The book which Inkheart the movie is based on is German writer Cornelia Funke’s international bestseller for young adults, the first volume of the trilogy begun in 2004 and finished in 2008. For 70 weeks it was in The New York Times’ best-seller list. Many viewers and reviewers would compare Inkheart with Harry Potter or Lord of the Rings but the comparison would be groundless. Inkheart has its own universe which is neither too otherworldly nor too down to earth. The CGI, special effects, and eye-popping images from familiar fairy tales do not overwhelm the viewer but are just right to advance the story. On the other hand, the Italian landscape is not a manufactured movie set, and the sprawling castle on the mountaintop would not be out of place in the European setting. Prepare for action from beginning to end, and enjoy the acting which is very good, too, evoking the viewer’s sympathy for the characters.

Inkheart will be enjoyed by all ages, and each will understand its message in his/her own level. It’s fascinating enough to pull youngsters away from shallow pleasures (texting and television) and attract them into reading. Adolescents and adults alike will find warmth in the strong family-oriented message Inkheart delivers. Appreciate what the characters would go through in order to be with their families: Mo and Maggie encountering monsters, a cyclone, a unicorn, flying monkeys, armed men and a dark, smoky, billowing, fire-breathing thing called “The Shadow” in search of the missing wife and mother Resa; Dustfinger hounding Mo and Maggie to be returned to his family in the book, fully knowing that he will die in the story’s end. While the face of Inkheart is fantasy and adventure, its heart is a story of love, friendship, devotion and perseverance. Inkheart subtly teaches that giving is better than receiving, that friendship must be honored and treasured, that selfishness is not good, that it is right to sacrifice for loved ones, that we can achieve anything if we believe in it and persevere. These are lessons not only found in the pages of the book “Inkheart” but also in the pages of “The Book”, the Bible. It’s wholesome enough for General Patronage—there is no foul language, sex or blood despite the violence—but parents must explain certain scary visuals to very young children.

Abandoned

Cast: Anastasia Hille, Karel Roden, Valentin Ganev, Paraskeva Djukelova, Carlos Reig-Plaza, Kalin Arsov, Svetlana Smoleva, Anna Panayotova, Jordanka Angelova, Valentin Goshev, Jasmina Marinova, Monica Baunova, Marta Yaneva; Director: Nacho Cerda; Producer: Julio Fernandez; Screenwriters: Karim Hussain, Nacho Cerda; Music: Alfons Conde; Editor: Jorge Macaya; Genre: Horror; Cinematography: Xavi Gimenez; Distributor: After Dark Films; Location: UK, Bulgaria ; Running Time: 95 min.;

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

After 40 years, Marie Milla Jones (Anastasia Hille), an accomplished film director in Los Angeles, comes back to her birthplace and roots in Russia upon learning that she is an heir to a property left by her parents whom she barely knows. She was contacted and traced by notary Andrei Misharin (Valentin Ganev) and since she hardly knows her past, she agrees to meet with him. After much briefing of her history, particularly that of her mother, she is then directed to see the property that happens to be an old house in the middle of nowhere. Accompanied by a truck driver who eventually disappears, Milla arrives at night and finds herself in a creepy, eerie place. She enters the old house which has been abandoned for 40 years and finds out she is not alone. A man named Nicolai (Karel Roden), who introduces himself to her as her twin brother whom she never met, is also there for the same reason. As they both try to uncover the mysteries of the past, they are both haunted by their future – death.

The film is true to its genre – eerie, creepy, dark and full of mysteries. The plot is not really new but the treatment is fresh. Haunted house movies may be passe but given proper direction, they can still pass as a thrilling experience. The production design and sound engineering should be commended for a good job. The entire film is not at all scary and the shock factor is very minimal but the simple narrative is rich in layers that keep the audience awake from beginning to end. Not all mysteries are resolved though, and in fact, it leaves many loose ends. But that could, after all, be intentional: to make the audience as lost as the characters in the movie. Such motive has been effective for the audience is left with many questions to ponder.

Is the past really worth digging up? Characters in the movie as well as the audience are posed this dilemma. The past gives one a sense of his or her roots and foundation. But then, if one is kept haunted by the ghost of the unknown, it may eventually lead to destruction. As said in the movie, “sometimes it's better to let things remain as they are.” The main character in the movie could have chosen to focus on her present, her daughter, but she opted to center her energy on her past. Perhaps she wants to fill in a void in her heart or to uncover the truth behind her parents' death. For whatever reason, she could have sought proper guidance. As in other haunted house features, the ghosts are more powerful than humans. Such may bring confusing signals and even sleepless nights. But looking at the context of maternal love, The Abandoned succeeds in illustrating how far a mother's love for her children could go. And it goes beyond death. However, some scenes of violence, gore, nudity and profanity may not be suitable for the young audiences.

Yes Man

Cast: Jim Carrey, Zooey Deschanel, Bradley Cooper, John Michael Higgins, Terrence Stamp, Fionulla Flanagan; Director: Peyton Reed; Producers: Richard D. Zanuck, David Heyman,; Screenwriters: Nicholas Stoller, Jarrad Paul; Music: Mark Everette, Lyle Workman; Editor: Craig Alpert; Genre: Comedy; Cinematography: Robert D. Yeoman; Distributor: Warner Bros. Pictures; Location: Los Angeles, California, USA; Running Time: 104 min.;

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

Two years after breaking up with his girlfriend, Carl Allen (Jim Carrey) is still in the throes of a depression which makes him indifferent to everything, including overtures from his friends to join them again. Working as a loans officer at a bank, he has become the ultimate naysayer so that he rejects all loan applications as well as invitations of his boss who is eager to make friends. But one day, he attends a self-help “Say Yes” seminar. The charismatic speaker and yes guru persuades him to change his attitude, make a “covenant” with himself and seize all opportunities to say “yes” to all requests. Allen is now convinced that not saying “yes” will have dire consequences. As a result of this brainwashing, Allen says yes to all invitations and experiences results, some pleasant (like learning to play the guitar and to fly a plane) and some untoward ones like accommodating a tramp’s request to be brought to a leisure park in the dead of night and finds himself stranded with no cell phone nor gasoline and loses money too. On this night he meets Allison (Zooey Deschanel), a beautiful free spirit, engaged in activities that seem unusual to him. Attracted to her, Allen joyfully says “yes” to her invitations, joins her in many “yescapades” and forges a relationship with her. Bu Allison soon doubts Allen’s feelings for her when she learns that he says yes without really wanting to. Will Allen and Allison get to reconcile? Will Allen continue to be a “yes” man?

Yes Man gets most of its odd ideas from a memoir written by Danny Wallace. In addition, most viewers of a 1997 film Liar Liar (which also stars Jim Carrey) think that Yes Man is like a similar parallel story in reverse for in the previous film, Carrey habitually lies and is forced by circumstances to tell the truth for 24 hours. The present film’s concept of saying yes all the time is probably intended to lead to a series of funny incidents but these are only sporadically humorous. Some attempts at humor seem forced and even downright vulgar. Like the encounter of Carl with his sex-crazed elderly neighbor. This crude sexual joke is not explicitly shown but it leaves a bad taste in the mouth, just the same. That bar brawl with a drunk Carl is perhaps intended to be funny but it is grim_. This slapstick comedy features the usual elastic facial contortions and queer physical humor associated with the clownish Jim Carrey. He carries the film through but the humor here seems stale and lacks freshness.

Yes Man shows how indiscriminately saying either “yes” or “no” can have negative effects in a person’s life. In the early part of the movie, Carl’s saying “no” to all requests and invitations from friends even if they are sensible and well-meaning deepens his depression and makes him a recluse, devoid of all involvements with others. We all need some interaction with people to function well and to live a normal happy life. On the other hand, saying “yes” always without much thought can be just as disastrous, though hilarious at times as some situations in the movie shows. Nobody would take us up on our word if we say everything lightly like what happened when Allison doubted Carl’s love. That would have been another crisis in Carl’s life. We should mean what we say and mean it from the heart.

Hilot

Cast: Melissa Mendes, Empress Schuck, Glenda Garcia, Ricardo Cepeda, Pocholo Montes; Director: Neil Tan; Producers: Melissa Yap, Glenda Yap, Merwyn Yap; Screenwriter: Neil Tan; Genre: Drama; Cinematography: Renato de Vera; Distributor: Emerge Entertainment Productions; Location: Caloocan;

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

Labis na ikinababalisa ng dalagitang si Carmen Catacutan (Empress Schuck) ang mga usap-usapan tungkol sa kanilang mag-anak na nakatira sa isang lumang bahay na palaging nakapinid ang mga bintana. Isang bukas na lihim ang pagiging manglalaglag (abortionist) ng kanyang inang si Amparo (Melissa Mendez), bagama’t ito ay palasimba at laman ng kanilang bahay ang napakaraming imahen at rebulto ng mga santo. Bunga nito, siya’y nililibak ng kanyang mga kamag-aral bagama’t siya ay isang ulirang mag-aaaral. Isa ring ulirang anak si Carmen, masunurin, at matiising tumutulong sa pag-aalaga ng kanyang lolong baldado, si Amang (Pocholo Montes). Dahil sa husay ni Carmen bilang isang mag-aaral, pagtitiwalaan siyang tumulong ng kanyang gurong si Mr. Davide (Ricardo Cepeda) sa gawain nitong pagsusuri sa mga test papers, bagay na magiging isa pang dahilan upang higit siyang libakin ng kanyang mga kapwa mag-aaral. Matutuklasan din ni Carmen na ang isa sa kanyang mga kamag-aral na nanglilibak sa kanya ay magiging “pasyente” ng kanyang ina, at tuluyang magiging biktima gawa nito. Habang nagluluksa ang buong paaralan sa pagkamatay ng dalagitang nagpalaglag, maghihimagsik naman ang kalooban ni Carmen at haharapin ang ina hinggil sa karumal-dumal nitong gawain. May isang pangyayaring pagdurusuhan sa piitan ni Amparo sa loob ng pitong taon. Sa kanyang paglaya, may ibubunyag siyang lihim kay Carmen.

Sa simula pa lamang ng Hilot―kung saan ipinapakita ang isang sanggol sa sinapupunan ng kanyang ina at wala kang maririnig kundi ang tibok ng kanyang puso―ay malalaman mo nang naiiba ito sa karaniwang mapapanood sa mga sinehan, sapagkat ang pangunahing layunin nito ay ang ipakitang masama ang abortion. Diumano’y ‘low budget” film ito: ang mga tumustos sa paglikha ng pelikula ay si Melissa Mendez (ang mismong gumanap na hilot), at ilan sa kanyang mga kaanak na naniniwala sa kanyang layunin. Sapagka’t mga bagong mukha ang mga artista, at taos-puso ang kanilang pagganap, naging lubhang makatotohanang ang dating ng pelikula. Pawang damang-dama ng mga nagsiganap ang kani-kaniyang papel―lalo na sila Schuck, Mendes, Cepeda at Montes. Maliwanang at maayos ang daloy ng istorya, madaling sundan at unawain. Nakakaengganyo ang Hilot sa kabila ng kakulangan nito sa special effects at musika, at sa editing.

Bagama’t layunin ng Hilot na ihantad ang kasamaan ng abortion, sinisiyasat din nito ang maaaring ugat sa buhay ng mga gumagawa nito. Bagama’t ipinakikita ring maliwanag nito na kasawiang-palad ang kahahantungan ng isang abortionist, inilalahad din ng pelikula kung ano ang pinanggalingan ni Amparo, ang mga pangyayari sa kanyang buhay na naging dahilan ng kanyang pagiging “manglalaglag.” Sa kadulu-duluhan, hindi mo masisisi ang isang abortionist sapagkat lumalabas na siya’y isang biktima din ng kalupitan ng buhay. Sino ngayon ang may sala? Ang pag-aasawahan ba? Ang mga lalaking malilikot at mga babaeng hindi naturuang igalang ang kanilang mga katawan? Ang Simbahang Katoliko ba na sa kabila ng kanyang kapangyarihan ay hindi maakay ang masa tungo sa tunay at malalim na pananalangin at pakikipag-ugnayan sa Diyos? Ang pamahalaan ba na walang ngipin upang ipatupad ang batas at pigilin ang gawain ng mga manglalaglag? Ang masalimuot bang lipunan na binubuo ng mga taong lulong sa paghahanap ng mababaw na kaligayahan? Higit pa sa isang pelikula, ang Hilot ay isang hamon―sa inyo, sa amin, sa ating lahat―upang pugsain ang karumal-dumal na gawaing pagkitil sa buhay ng nasa sinapupunan sa pamamagitan ng isang masusing pagtanaw sa ating kapaligiran at sa kaibuturan ng ating mga puso.

The Curious Case of Benjamin Button

Cast: Brad Pitt, Cate Blanchett, Tom Everette, Robert Towers, Peter Donald Badalamenti II, Charles Henry Wyson; Director: David Fincher; Producers: Cean Chaffin, Kathleen Kennedy, Frank Marshall; Screenwriters: Eric Roth, Robin Swicord; Music: Alexandre Desplat; Editor: Kirk Baxter, Angus Wall; Genre: Drama/ Fantasy/ Mystery/ Romance; Cinematography: Claudio Miranda; Distributor: Paramount Pictures; Location: Cambodia; Running Time: 166 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers age 14 and above

During the time of hurricane Katrina in 2005, an 80-year-old woman (Cate Blanchett), on her death bed in New Orleans, asks her daughter Caroline (Julia Ormond), to read from the diary of one Benjamin Button (Brad Pitt). From reading it, Caroline learns that her dying mother is the Daisy in the diary. In 1918, Benjamin Button’s mother dies giving birth to him, the infant who looks like a shriveled old man. Benjamin’s father Thomas Button (Jason Flemyng)—taking the child for a monster due to his hideous appearance and blaming him for the death of his mother—leaves the infant at the steps of a nursing home for the aged. Its kindhearted manager, Queenie (Taraji Henson), keeps and raises the foundling despite his monstrous looks. By the time Benjamin is seven years old, he looks like younger but still decrepit 80-year old who moves around in a wheelchair. Nobody takes him seriously when he says he is aged seven, because they do not know that Benjamin is physically aging backward. At age 13, Benjamin meets Daisy who regularly visits a relative in the home, and the girl is to be unforgettable for him.

Director David Fincher reportedly waited to do the film until the technology could enable one actor to play the role in the film’s entirety. This is it—technological magic at its amazing best. All throughout the movie you could be asking, “Is that Brad Pitt?” Blanchett’s makeup as Daisy on her death bed is so natural that you wonder if it’s a different actress; indeed, Blanchett seeing her aging image could well prepare for her golden years. But Blanchett’s makeup is nothing compared to what cinematic technology did on Pitt’s character. They superimposed Pitt’s face and eyes into the Benjamin Button character—except, of course, when Button reached Pitt’s age, as Button is pure Brad Pitt circa 2008. The acting is Oscar material, and the cast couldn’t have been better chosen, with Taraji Henson, Tilda Swinton, Jared Harris and Jason Flemyng delivering supporting roles. Helping the viewer accept the improbable plot is the movie’s attention to period details. Sets for the 1920 vignettes are perfectly reconstructed and special effects are used to enhance the flow of the story.

Inspired by a short story written in 1922 by F. Scott Fitzgerald with the same title, the movie The Curious Case of Benjamin Button should be viewed as science fiction but pondered as drama on life, time and aging. Viewers shouldn’t bicker about the story’s logic or the lack of it, the incongruousness of the idea of aging backwards, but rather take it as a fairy-tale that can lead us to empathize with the characters and then go deeper into ourselves. Could we believe we could sire a child who looks like a reincarnation of Rosemary’s Baby? Would we care to nurture as our own a repulsive-looking newborn abandoned at our doorsteps? Would we bother to play with a teenager who looks more like our great grandfather? Would we employ in our tugboat a senior citizen who’d be better off resting in a home for the aged? Even if we were a prostitute, could we stand having for a customer a 75-year old virgin? Would our love be strong enough to want to marry a lover knowing he’d look 16 when we are 64? And wouldn’t we feel ancient bottle-feeding an infant who used to be our lover? A story of reverse aging may be a difficult premise to accept but the movie must be viewed on its own terms and for the richness it offers to thinking viewers; otherwise, it would be seen as just a whole lot of nonsense.