When I Met You

Cast: KC Concepcion, Richard Gutierrez, Alfred Vargas, Iya Villiana, Cherry Pie Picache, Chanda Romero, Tirso Cruz III, Tonton Guttierez; Director: Joel Lamangan; Producers: Jose Mari Abacan, Roselle Monteverde-Teo; Screenwriter: Aloy Adlawan; Music: Von de Guzman; Editor: Marya Ignacio; Genre: Romance; Cinematography: Mo Zee; Distributor: GMA Films, Regal Films; Location: Philippines ; Running Time: 134min;

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: For viewers of all ages

Si Jenny (KC Concepcion) ay isang masayahin at sunod-sunurang kasintahan ni Albert (Alfred Vargas) samantalang si Benjie (Richard Gutierrez) ay kasintahan ng mayamang si Tracy (Iya Villiana). Magtatagpo ang landas ng dalawa nang kinailangang makisakay ni Jenny sa cargo plane na minamaneho ni Benjie upang dumalo sa isang kasalan sa Palawan. Dahil hindi nagkaintindihan ang dalawa sa oras ng kanilang pag-alis ay mapipilitang pumayag si Benjie na makipagpalit ng eroplano sa kanyang kasamahan na siya namang pagsisimulan ng bangayan ng dalawa. Sa kasamaang palad ay magkakaproblema ang kanilang eroplano at babagsak sa isang isla. Habang hinihintay nila na dumating ang rescue crew ay pag-uusapan nila ang kahulagan ng pag-ibig para sa kanila. Magkakahulugan sila ng loob at patuloy na magtatagpo pagbalik ng Maynila. Ang palihim na pagtatagpo nina Benjie at Jenny ay mauuwi sa pagkakalapit ng kanilang kalooban. Matutuklasan sila nina Alfred at Tracy at gagawa ng paraan ang mga ito upang mapaglayo sila.

Walang pinag-iba ang pelikulang ito sa karaniwang pelikulang Pilipino tungkol sa pag-ibig ng mga kabataan: malabnaw ang kwento, mabagal ang daloy ng istorya at mababaw ang pagganap. Tanging ang pangalan lamang ng dalawang bidang artista ang pinuhunan upang ibenta ito. Hindi kapani-paniwala ang pagkakahulugan ng loob nina Jenny at Benjie. Walang lalim ang pagganap nina Concepcion, Gutierrez at Vargas. Maliban kina Tirso Cruz III at Chanda Romero ay pawang caricature na ang mga tauhan sa pelikula. Maayos ang teknikal na aspeto maliban sa ilang hindi makatotohanang bahagi tulad ng sinematograpiya at disenyong pamproduksyon na pilit at medyo theatrical, at ang paglalapat ng musika na masyadong madrama.

Bagamat walang malaswa o marahas na eksena sa pelikula ay may isang negatibong mensahe ang pinararating nito sa kabataan: na sa pag-ibig ay hindi na kailangans isa-alang-alang ang paggawa ng tama o pananakit ng iba masunod lamang ang nararamdaman. Kahit matagal nang may kasintahan sina Jenny at Benjie ay binayaang nilang mahulog ang loob nila sa isa’t isa nang hindi man lamang nakikipaghiwalay muna sa kani-kaniyang kasintahan. Para bang sinasabi na sa sandaling may makitang ibang mas maganda, mas makakasundo o mas nakakapagpasaya ng damdamin ay maari nang kalimutan ang naunang relasyon. Hindi nito ipinakita na makipag-usap at gumawa muna ng paraan upang maayos ang relasyon sa kasintahan bago tumingin sa iba. Hindi rin maganda ang prinsipiyo ng mga magulang nina Benjie at Jenny na botong boto kina Tracy at Alfred dahil sa maykaya ang mga ito at nagbibigay na pinansyal na tulong sa kanila.

Dahil mga kabataan ang pangunahing tagapanuod ng pelikulang ito, mainam na subaybayan sila ng mga magulang upang magabayan at pangaralan laban sa sitwasyon at usaping maaaring magbigay na negatibong impluwensya.

Push

Cast: Chris Evans, Dakota Fanning, Camilla Belle, Djimon Hounsou, Joel Gretsch, Neil Jackson, Maggie Siff, Scott Michael Campbell, Colin Ford, Nate Mooney; Director: Paul McGuigan; Producers: Bruce Davey, William Vince, Glenn Williamson; Screenwriter: David Bourla; Music: Neil Davidge; Editor: Nicolas Trembasiewicz; Genre: Sci-Fi/ Fantasy; Cinematography: Peter Sova; Distributor: Summit Entertainment; Location: Hong Kong; Running Time: 111min;

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

An American government agency, The Division, genetically transforms citizens with paranormal abilities into psychic warriors. These gifted individuals are taken away from their families and any relationships. Those who are unwilling to participate are liquidated and brutally killed. Nick Grant (Chris Evans), a “mover” (those with telekinetic abilities), has been in hiding in Hong Kong since the Division murdered his father for refusing to cooperate. However, he is forced out of hiding when Cassie Holmes (Dakota Fanning), a 13-year-old “watcher” (clairvoyant) seeks his help to find Kira (Camille Belle), an escaped “pusher” (those who can manipulate minds) and Nick's long lost ex-girlfriend, who may hold the key in putting the Division's program to an end. Their lives are entangled and soon find themselves in a cat-and-mouse chase by Division Agent Harvey Carver (Djimon Honsou), who is out to get and stop them from achieving their goal.

Inspired by the emerging fantasy-sci-fi superhero genre, Push can easily pass as another fun-ride movie. One can never really guess what would happen next since all characters seem to have unnatural powers instrumental to any plot twists and turns. The narrative may be all too shallow but the multi-layered story arcs have kept the audience's interest up to the end. It is quite a disappointment that some plot elements are not developed like the roots and consequences of having supernatural powers. The actors satisfactorily deliver what is expected. Evans is able to carry the movie but it is Fanning who really gave life and spice in the entire feature with her wit and strong screen presence. The Hong Kong backdrop works well but it still remains as almost a milieu.

Since the fascination for superheroes and superpowers started, one classic moral came from the film adaptation of Spiderman, “to great power comes great responsibility”. Clearly paranormal psychic powers are no exemption. These abilities are long-time considered as gifts and must be used with utmost responsibility for the common good. The premise of “Push” clearly illustrates how a society’s evil scheme could manipulate its citizens and abuse God-given powers. Nick may have refused to be used for evil motives but he also did nothing to at least develop his abilities and use those to serve people in need. Again, evil triumphs because good people choose to do nothing. The same is actually true to all characters. All of them are simply concerned with their own personal quest for survival and not really mindful of any global issues like peace or war. In this sense, the movie becomes morally myopic. The entire stand of the movie in its fight against evil gets confusing at times as protagonists turns into antagonists thus blurring the line of good and bad. But then the movie is consistent with one message: paranormal abilities can be either good or bad depending on the person using it. And that no one holds what's going to happen in the future because the free will is always at work. Finally, what's missing in the movie could be the presence of a “force” which is far greater than any supernatural abilities. The movies theme, some scenes of violence, suggestive sexualities, and teenage alcoholism may not be suited for viewers below 14 years of age.

Valkyrie

Cast: Tom Cruise, David Bamber, Kenneth Branagh, Bill Nighy, Tom Wilkinson, Carice van Houten; Director: Bryan Singer; Producers: Gilbert Adler, Christopher McQuarrie, Bryan Singer; Screenwriters: Christopher McQuarrie, Nathan Alexander; Music: John Ottman; Editor: John Ottman; Genre: Drama/ History/ Thriller; Cinematography: Newton Thomas Sigel; Distributor: Metro-Goldwyn-Mayer; Location: San Bernardino Mountains, California, USA; Running Time: 121 min;

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

Disenchanted army officers plot to blow up the plane of Adolf Hitler (David Bamber). A bomb camouflaged in Cointreau bottles is delivered as a gift by Maj. Gen. Henning von Tresckow (Kenneth Branagh) just before take-off . But the bomb fails to explode, so another coup attempt is schemed by the generals active in the German Resistance movement— Gen. Friederich Olbricht (Bill Nighty), Gen. Erich Fellgiebel (Eddie Izzard), Gen. Friederich Fromm (Tom Wilkinson), Gen. Ludwig Beck (Terence Stamp) and Maj. Otto Ernst Remer (Thomas Kretschmann)—who believe that Hitler is the archenemy not only of the world but of Germany itself. They would launch “Operation Valkyrie”, the government’s plan to mobilize the reserved forces to maintain the status quo in the event of the Fuhrer’s death. With the generals is a young colonel, Claus von Stauffenberg who is chosen to head “Operation Valkyrie”; he will himself deposit the bomb in a suitcase during a meeting with Hitler in East Prussia while the other officers carry out the coup in Berlin.

Valkyrie is both a suspense thriller and a lesson in history for those who do not know that the movie is a recreation of a true-to-life plot to assassinate Adolf Hitler, the last attempt on his life before he committed suicide nine months later. Viewers with a foreknowledge of the failure of that final assassination attempt would nonetheless be entertained by its cinematography—it was shot in many of the actual locations in Germany, and where the places or buildings no longer exist, the sets were made to be faithful recreations of the original. Thought-provoking, too, are the interactions among the conspirators—the details, the nuances captured in close-up shots and dialogue, elements that one does not readily find in history books. Director Brian Singer keeps the pace suspenseful, particularly when the coup threatens to unravel. The lead cast’s strong performances satisfy the viewer’s expectations, although Cruise owes his credibility as a German officer more to his eye patch and prosthetics than to the untamable American go-go-go air about him.

A story about moral responsibility, Valkyrie puts under question the matter of loyalty. Where does it begin, or end? An impassioned Stauffenberg convinces the conspirators that he feels it is their duty not only to save Germany from the Fuhrer’s folly but more so to save human lives, whether they’re Jews, Russians, or prisoners of war. If they must be true to themselves, they must risk being traitors to their leader Hitler. The movie ends at a point where the viewer is left to wonder if the conspirators still had a moment to serenely analyze what went wrong with the coup attempt. Without seeing the corpse, Stauffenberg was positive Hitler was dead—simply because the bomb which he himself had placed closest to Hitler exploded. On the basis of that explosion alone the conspirators proceeded to spread the word of Hitler’s death, but it turns out he’s alive; meanwhile Operation Valkyrie is in full force. On hindsight, this shows that when passion reigns, reason loses, even for army officers from a race renowned for precision thinking and rational superiority.

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.