New in Town

Cast: Renee Zellweger; Director: Jonas Elmer; Producers: Paul Brooks, Tracey E. Edmonds, Phyllis Laing, Andrew Paquin, Peter Safran, Darryl Taja; Screenwriters: Ken Rance, C. Jay Cox; Music: John Swihart; Editor: Troy Takaki; Genre: Romantic Comedy; Cinematography: Chris Seager; Distributor: Viva Films; Location: Los Angeles, California, USA; Running Time: 96 min.;

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

Lucy Hill (Zellweger) is a high-profile successful executive in Miami. She wears designer’s clothes, drives an expensive car and lives in an upscale apartment. She would do anything to move up the corporate ladder and become Vice President, including volunteering to oversee the restructuring of the company’ Minnesota plant. She relocates to New Ulm and the community’s reception at the beginning is as cold as the weather and Lucy couldn’t care any less for the number of people she would make jobless. With the insistence of a tapioca expert Christian local named Blanche (Fallon), she warms up to the community and befriends union rep Ted Mitchel (Connick Jr.). Lucy is forced to reconsider her goals and priorities when she receives the order to close down the underperforming plant and put the entire community out of work.

The movie is a typical romantic comedy with a lot of warmth and a little heart. There is nothing new in New in Town with its overdone formula, deadpan jokes and forced humor and uninspired characters. The comedy is little weak that the director needs to embellish it with music to make it more tolerable. Still, it has a certain charm that makes the audience laugh and cry. In the end, it is what every film needs to be: enjoyable.
Lucy’s transition from a cold apathetic yuppie is relatable. Most women nowadays are so engrossed in building a career and becoming successful that they set aside the more important things in life: family, humanity and friendship. Sometimes it takes the cold sting of truth and loneliness to realize that there are more valuable things than a career. At a time when the world is experiencing economic crunch, someone who tries to save jobs is a hero.

What is rude on the other hand is the way Christians are presented. Although Blanche's character shows a positive portrayal of Christians in film, the fact is she is still treated as a joke and is the source of some of the film’s comedy.

There are occasions of strong languages and some suggestive scenes. The film should be viewed only by older teens and adults.

Knowing

Cast: Nicolas Cage; Director: Alex Proyas; Producers: Todd Black, Jason Blumenthal, Alex Proyas, Steve Tisch; Screenwriters: Ryne Douglas Pearson, Juliet Snowden; Music: Marco Beltrami; Editor: Richard Learoyd, ; Genre: Sci-Fi/ Fantasy; Cinematography: Simon Duggan; Distributor: Summit Entertainment; Location: Melbourne, Australia; Running Time: 125 min.;

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

In 1959, a group of students in a small town elementary school is asked to draw pictures of their imagination of the future which be placed in a time capsule. Lucinda, a mysterious girl, fills her sheet of paper with rows of random numbers to which she just cannot stop writing. Fifty years later, the time capsule is opened and a new generation of students examines the contents and Lucinda’s cryptic work ends up in the hands of the young boy Caleb Koestler (Chandler Canterbury). Caleb’s father, a science professor, John Koestler (Nicolas Cage) discovers the random numbers are actual predictions of dates, death tolls and other coordinates of each major global disaster of the past 50 years. As he unravels the document’s secrets, he realizes it further foretells three more tragedies and the last of which hints a global scale destruction which somehow involve his son. Will he be able to do something to prevent the prediction from happening?

Knowing seems to be another “doomsday” movie at the onset but it turns out to be more than that. The story does not simply dwell on catastrophes and disasters rather it also attempts to provide a discourse on the accuracy of science and the truthfulness of religious doctrines concerning end of the world and life after death. The storytelling technique used in the film makes the audience glued on their seats. Although filled with many improbabilities, the spectacular execution of both small and big scenes allows the audience to suspend disbelief. For its visual mastery of creating suspense and thrill backed by fluid storytelling and effective portrayals of the actors, Knowing is worth watching.

Science and religion usually do not meet in matters concerning the physical world and the spiritual dimension of life, but Knowing is able to somehow present both sides head on without offending any beliefs or practices. Fortune telling has always been condemned in the teachings of the church but the Book of Revelations in the Bible contains many prophecies of the future. John’s character is an epitome of skepticism in terms of religious faith which has something to do with his tragic past. But then, his faith in God is rekindled by the sudden turn of events in his life. Most significant of which is the realization that there must be a life and a place somewhere else beyond the physical world. He goes back to his most treasured relationship- his family. Above all else, he makes an ultimate sacrifice defying his own belief, rationality and emotions for the sake of his beloved son. The film says there is a God who is all knowing and above everything; and there is one place, a heaven, meant and prepared for those who are ready and worthy to be there.

Sundo

Cast: Robin Padilla, Katrina Halili, Rhian Ramos, Sunshine Dizon, Hero Angeles, Mark Bautista, Glydel Mercado, Iza Calzado, Simon Atkins; Director: Bjarne Wong; Producers: Jose Mari Abacan, Topel Lee; Screenwriter: Aloy Adlawan; Music: Carmina Cuya; Editor: Maria Ignacio; Genre: Horror/ Thriller; Cinematography: J.A. Tadena; Distributor: GMA Films; Location: Baguio and Manila; Running Time: 80 min.;

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

Simula nang magising mula sa pagka-comatose ang dating sundalong si Romano (Robin Padilla), nakakakita na ito ng mga kaluluwa ng patay. Kung kaya’t pinili niyang magkulong na lamang sa kanilang bahay at hindi makisalamuha sa labas. Ngunit mapipilitan siyang samahan ang bulag na kapatid na si Sabel (Rhian Ramos) na lumuwas ng Maynila upang ipagamot ang mga mata nito sa pagmamagandang-loob ni Louella (Sunshine Dizon). Makikisabay sa kanilang pagbaba galing Baguio ang magtiyahing Eric (Hero Angeles) at Lumen (Glydel Mercado). Kasama rin nila ang driver ni Louella na si Baste (Eric Bautista). Sa kanilang biyahe ay maisasakay nila sa highway si Kristina (Katrina Halili). Makakaidlip sa biyahe si Baste at muntikan silang maaaksidente. Mabuti na lamang at nagising mula sa isang masamang panaginip si Romano at sila ay nakaligtas sa dapat sana’y malagim na kamatayan. Ngunit makakakita si Romano ng mga multo na pawang sinusundan silang lahat. Malalaman niyang ang mga ito pala’y ang mga kaluluwang “sundo’ nilang lahat. At dahil sila ay nakaligtas, susundan sila ng kanilang sundo at hindi titigil ang mga ito hanggang hindi sila lahat namamatay. Mapigilan kaya nila ang kanilang mga sundo?

Isang tipikal na pelikulang katakutan ang Sundo. Kung tutuusin, wala namang bago sa mga elemento ng pelikula na kung saan ang nananakot ay mga multo. Nariyan pa rin ang mga karaniwang sangkap ng katakutan tulad ng dilim, dugo, at kung anu-anong mga panggulat. Mahusay naman ang pagkakaganap ng mga tauhan. Maganda ang lapat ng tunog at maayos ang editing. Ang pinaka-problema marahil ay ang kababawan ng kuwento at ang pagiging predictable nito. Walang matibay na hibla ang kuwento na magtatagni sa buhay ng mga tauhan. Hindi rin ito masyadong nalalayo sa mga dating pelikulang sumikat na may kahalintulad na konsepto tulad ng Final Destination kung saan ang mga tauhan din ay sinusundan ng kamatayan. Manipis ang kuwento ng mga tauhan sa Sundo. Halos walang mararamdamang bigat sa daloy ng kuwento maliban sa lahat sila’y kinakailangang makaiwas sa tawag ni kamatayan.

Ang konsepto ng pagkakaroon ng sundo ng isang tao bago ito mamatay ay hindi naman talaga isang katakutan kundi patunay lamang na ang ating mga mahal sa buhay ay lagi lamang nariyan buhay man sila o pumanaw na. Patunay rin ito na may buhay pa pagkatapos ng kamatayan. Hindi naman talaga sugo ni ‘kamatayan’ ang sundo kundi isang pagtitibay ito na tayo’y hindi mag-iisa maging sa kabilang buhay. Ngunit iba ng ginawa ng Sundo. Marahil ito ang hinihiling sa pelikula bilang isang horror. Yun nga lang, naging masyadong mababaw ang pagtrato rito sa nasabing konsepto. Kung isang demonyo si kamatayan na pilit pinapatay ang mga taong nagnanais pang mabuhay, nasaan ang kapangyarihan ng kabutihan na siyang maaaring makalaban dito? Nakababahala na sa halip na manalangin o pumunta sa simbahan ang mga tauhan upang humingi ng gabay at tulong, ay sa kapangyarihang itim pa rin umasa ang mga ito. Kahanga-hanga lang ang pagnanais ni Romano na iligtas ang mga nalalaman niyang “sinusundo” ngunit pawang wala namang kinahinatnan ang kabutihang loob niya. Malinaw naman ang mensahe ng pagsisisi at pagpapatawad sa pelikula ngunit natakpan ito ng malabis ng kapangyarihan ng demonyo. Hindi rin angkop sa mga batang manonood ang pelikula sa kadahilanang maaring itong magdulot ng bangungot sa kanila.

Punisher; War Zone

(ASSESSMENT ONLY)
Cast: Ray Stevenson, Simon West, Dough Hutchison, Colin Salmon, Wayne Knight, Dash Mihok, Julie Bens; Director: Lexi Alexander; Producer: Gale Anne Hurd; Screenwriters: Matthew Holloway, Art Marcum, Nick Santora, Kurt Sutter, Lexi Alexander ; Music: Michael Wandmacher; Editor: William Yeh; Genre: Action/ Crime/ Drama/ Thriller; Cinematography: Steve Gainer; Distributor: Lionsgate; Location: Canada; Running Time: 107 min.;

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

BRIEF FILM SYNOPSIS

PUNISHER: WAR ZONE, the third screen appearance from Marvel Comics' angel of death, continues the saga of Frank Castle, normal New York citizen turned Mafia-slaying vigilante following the murder of his wife and daughter. This highly violent film, to the intensity level of horror, features an appealingly stoic performance from Ray Stevenson, who cuts an imposing physical presence, and is a more-than-worthy successor to previous Punishers Dolph Lundgren (1990) and Thomas Jane (2004). Six years after the death of his family, Frank Castle is still waging war against organized crime in New York. After he ambushes a party for an aging mob boss and turns it into a bloodbath, the battle moves to a recycling warehouse where Castle pushes gangster Billy Russoti (Dominic West) into a swirling vat of broken glass. During his escape, Castle accidentally shoots one of the FBI men who have arrived on the scene. Russoti undergoes plastic surgery, but after seeing his badly disfigured face for the first time, he shoots his surgeon and dubs himself “Jigsaw. While a deeply regretful Castle attempts to make amends with the widow (Julie Benz) of the agent he has slain. Jigsaw rallies an army of criminals in an attempt to take down the seemingly indestructible Punisher. Though there are scenes to lighten its impact, the graphic bloodshed in PUNISHER: WAR ZONE is often startling and is sure to satisfy the bloodlust of any fan of violent action cinema.

Taken

Cast: Liam Neeson, Famke Janssen, Maggie Grace, Xander Berkeley, Katie Cassidy; Director: Pierre Morel; Producer: Luc Besson; Screenwriters: Luc Besson, Robert Mark Kamen; Music: Nathaniel Mechaly; Editor: Frederic Thoraval; Genre: Horror/ Suspenser; Cinematography: Frank Lebreton; Distributor: Viva Film; Location: USA/ France; Running Time: 93 min;

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

Retired government operative Brian Mills (Liam Neeson) seems perfectly content grilling barbecues with his chums and fellow retirees to while away inactive years. In truth, Mills nothing more and nothing less than to be close to his 17-year-old daughter Kim (Maggie Grace), so he moves to Los Angeles where Kim lives with his divorcee mother Lenore (Famke Janssen) and her effortlessly wealthy husband. But Kim—naive and somewhat bratty—wants only her father’s signature to allow her to spend a summer in Paris with some “cousins”. Mills is not about to give his permission, knowing how bad the “world” is, but later on relents after some cutting remarks from Lenore, as well as tears from daughter Kim. So he signs the permit, on condition that Kim call him up everyday. Soon Mills discovers a map showing the route Kim and her companions were to take; it turns out they are going to follow a rock band across the continent. Mills confronts ex-wife Lenore who admits she knows everything; besides, Mills has signed the permit. Mills’ nose for disaster proves keen. Upon landing in Paris, Kim and companion Amanda (Katie Cassidy) are befriended by young French guy speaking English with a charming accent. They share a cab to the flat the two girls would be staying, and even agree to go out that very night. A few minutes later, as Kim is on the phone with Mills, armed men barge into the flat and kidnap Amanda and Kim. As Mills is to discover soon enough, the two are now with an Albanian women-trafficking syndicate who kidnap young women and turn them into prostitutes. Mills then embarks on his relentless chase to rescue Kim.

Taken is an enjoyable movie from the technical point of view. It’s well-crafted, lending a lacquer of credibility to an obviously ludicrous plot, thanks largely to Liam Neeson who plays the spy-father role with beastly ferocity and focused anger. Director Pierre Morel shows no let up in bringing to life the fictional genius of writers Luc Besson and Robert Mark Kamen, the real masterminds behind this cat-and-mouse chase. If you don’t mind leaving behind your skeptical instincts when you go to see this movie, you might even like it, as most likely you’ll be rooting for Brian Mills to rescue his virgin-daughter at all cost. To get the bad guys out of the way, the (super) hero uses every trick in the spy’s manual: eavesdropping on telephones, psywar, car chases, mind-reading, torture, carnapping, and killing everyone who gets in the way! The bad guys, on the other hand, are so stupid and inept that one Hollywood critic describes them as “walking showcases of testosterone gone bad.” The conclusion offers a resolution to the main storyline, although it asks that you overlook the loose ends.

The questions that the film’s plot prompts in the viewer but are squelched by the blinding velocity of the action nonetheless haunt you as you come out of the theater. Why? Because the theme touches on the high cost of parental devotion and filial disobedience. What father would go that far, killing people to save a bratty daughter? Is he making up for lost time—time he would have spent with her when she was growing up but instead spent elsewhere killing people? And now, to save her, is it okay for him to kill still more people, thus taking the law into his own hands? The daughter would have learned her lesson after going through that ordeal—and being sold to porcine sheik— but what happens? After a few hugs, thank yous, I love yous, blah-blah-blah, daughter rides off with indulgent mother in her timorous step-father’s limousine, gleefully waving at the real father who must queue for a cab. Well, at least the real father has the dignity to decline a free ride—that’s superhuman. But the father is not simply being superhuman here, he is almost divine in his omnipotence, omnipresence, and omniscience, owing to his years steeped in espionage. And he has a boundless capacity for forgiving the almost prodigal daughter. Superhuman father comes to the rescue with love and nary a glitch—without even wearing a mask and a red cape.

CINEMA gives this an R-14 rating, for the benefit of parents and children alike, for the simple fact that syndicate men really do lurk about waiting for naïve women to ensnare. Human trafficking is a reality in our world--as the father in this film insists on. It is the illegal trade of human beings for the purposes of commercial sexual exploitation or forced labor. Considered a modern-day form of slavery, human trafficking is the fastest growing criminal industry in the world and is tied with the illegal arms industry as the second largest, after the drug-trade. So girls, beware. The next victim could be you, and your father would be helpless—unless your father is James Bond.

The Unborn

Cast: Odette Yustman, Gary Oldman, Meagan Good, Cam Gigandet, Idris Elba; Director: David S. Goyer; Producers: Michael Bay, Andrew Form, Bradley Fuller; Screenwriter: David S. Goyer; Music: Ramin Djawadi; Editor: Jeff Betancourt; Genre: Horror/ Suspense; Cinematography: James Hawkinson; Distributor: Rogue Pictures; Location: Chicago, USA; Running Time: 86 min;

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

Casey (Odette Yustman) is constantly having bad dreams (i.e. a scary little boy turns into an ugly dog wearing a mask that leads her in finding a fetus inside a bottle of formaldehyde). And even if she’s awake, she still sees things both crazy and strange (scorpions on her eggs and the scary little boy seems to appear everywhere she goes). The fear starts to manifest in her eyes so she consults an eye doctor who later reveals to her that she could have a twin brother or sister because her tests show a genetic irregularity usually seen in twins. Casey confronts her father who later reveals to her the truth and this may have something to do with the death of her mother. She conducts her own investigation and the mementos of her mother lead her to an old woman (Jane Alexander) confined in a nursing home. She turns out to be her Holocausts survivor grandmother who reveals to her the evil truth behind her twin brother and the mysterious death of her mother. A mythical Jewish demon named Dybbuk is out to get her so Casey turns to a Jewish Rabbi (Gary Oldman) for some sort of exorcism.

There is a certain level of creepiness in The Unborn. But the incoherent storytelling makes all the creepiness ineffective. The characters and images seem not to connect to create a cohesive flow making all the thrills and scares less impactful. Yustman projects well on screen but she lacks the substance and depth needed for the character. The other stellar casts like Oldman are such a waste with their underdeveloped characters. Most scenes are nothing more than functional and less incidental. Although the editing is tight, it fails to create a sense of urgency and suspense. The mood and composition is consistent but somehow something is certainly lacking in entirety. Perhaps it’s the clichés scattered all over the place that make the entire feature crappy.

Evil attacks and succeeds if one is weak. This is the driving message of The Unborn amidst all its inconsistencies. The demon may have all the arms and weapons to succeed but human beings need only one thing to survive – faith. Faith in oneself and faith in one true God, that is. This kind of faith is depicted as the human strength in the movie though it is not clearly defined. The mythical demon moves in a universe far beyond control of human beings. It is as though evil rules in a certain place where God is absent. Such superstitions distort the real message the movie wants to convey. In the end, love saves Casey from evil possession but that same love brings her to a more horrifying situation fit for a sequel. This makes the message all the more confusing not to mention incongruent. The sexual connotations, some scenes of brief slight nudity and alcoholism and exorcism as a theme along with scary images make the film appropriate only for viewers 14 and above.

Watchmen

Cast: Malin Akerman, Billy Crudup, Matthew Goode, Jackie Earle Haley, Jeffrey Dean Morgan, Patrick Wilson, Carla Gugino; Director: Zack Snyder; Producers: ; Screenwriters: David Hayter, Alex Tse; Music: Tyler Bates; Editor: William Hoy; Genre: Sci-Fi/ Action; Cinematography: Larry Fong; Distributor: Warner Bros. Pictures, Paramount Pictures; Location: Vancouver, Canada; Running Time: 162 min.;

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

The story is a film adaptation of the 1980s graphic novel by Allan Moore and Dave Gibbons. It opens in 1985 with the murder of Edward Blake (Jeffrey Dean Morgan), afterwhich the audience is taken into a historical journey from the 1940’s World War 2 to the Cold War of 1980s in the six-minute opening credits. The main story is set in America during the time when superheroes have retired since they have lost their favor with the public. Rorschach (Jackie Earle Haley), a vigilante, tries to investigate this murder and discovers that Blake was actually The Comedian. Rorschach believes he has uncovered a plot to eliminate super heroes and sets forth to earn his retired colleagues. Although burdened with their own issues, the retired superheroes once again don their costumes as they try to uncover the conspiracy to tip the balance of power and rid the world of superheroes.

Watchmen is a visual treat with a profuse with images of metaphors and symbolisms. The historical montage set to Bob Dylan’s “The Times Are Changing” is cleverly brilliant. The musical scoring is outstanding with a selection of 80s songs aptly reflecting the scene’s essence. The movie is quite long but watchable with Snyder’s meticulous direction and treatment. However, the performances are so-so and the storyline a little tedious as it bombards with too many details and sub-stories, especially for those unfamiliar with the comics version. The adaptation, a little too faithful to the original material, does not make an interesting translation to film. The narrative which shuttles from one era to another also becomes confusing.

The movie is both relevant and obsolete. Relevant because it contains observations on real issues like the Cold War, the Vietnam War, nuclear destruction, quantum physics, the peace movement, drugs and crime, power and violence. However, although these issues are legitimate, they are now considered out-dated. The heroes of Watchmen represent different moral choices one makes – Rorcschach strictly adheres to the letter of the law, Ozymandias will sacrifice himself for the good of the many, The Comedian prefers pleasure over what is good and what is right while Nite Owl always does what he feels is the right thing even if it is unlawful.

The movie is definitely not suitable for children and teenagers mainly because of the graphic and disturbing violence and explicit nudity and sex scenes.

Booking

Cast: Marco Morales, Emilio Garcia, Mercedes Cabral, Anita Linda, Snooky Serna, Charles Delgado; Genre: Drama; Distributor: Sunflower Films; Location: Manila; Running Time: 90 min.;

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Si Gener (Emilio Garcia) ay nag-resign sa kanyang trabaho sa munisipyo upang maging full time talent manager ni Lando (Marco Morales) na nagnanais maging sikat na artista upang maiahon sa kahirapan ang kanyang lola (Anita Linda). Lingid sa kaalaman ni Lando ay may matinding pagnanasa sa kanya si Gener kung kaya’t labis ang ginagawa nitong pagtulong. Ngunit sadyang hindi mabigyan ni Gener ng magandang proyekto si Lando kahit pa inilapit na niya ito sa ilang kaibigan sa showbusiness. Darating ang isang magandang pagkakataon nang maghanap ng manager si Anna (Mercedes Cabral), isang struggling starlet na rumaraket din bilang prostitute at siya ring nagsisilbing bugaw ng kapatid na lalaki (Charles Delgado). Mabubuhayan ng loob si Gener dahil may nakalinya nang proyekto si Anna at maari na niyang maisama si Lando sa gagawin nitong pelikula. Ngunit ang inaakala ni Gener na magibibigay sa kanya ng suwerte ay siya palang magiging dahilan upang tuluyang mawala sa kanya si Lando.

Halatang minadali at kulang sa budget ang pelikula. Pabago-bago ang kaledad ng kuha pati na ng tunog. Hindi rin makatotohanan ang pagganap ng ilang tauhan lalo na si Emilio Garcia na hindi kapani-paniwalang bakla. Maging si Marco Morales ay sadyang wala pa ring ibubuga sa pag-arte. Kahanga-hanga naman ang natural na pag-arte ni Mercedes Cabral. Markado rin ang mga papel nina Anita Linda at Snooky Serna. Sayang at hindi gaanong nabigyan ng pansin ang kuweto at istorya na hindi malaman kung saan pupunta. Bagama’t malinaw ang motibasyon at klaro ang patutunguhan, naging kakatwa ang dating nito dahil hindi nailahad nang makatotohanan. Resulta’y walang dating ang kabuuan ng pelikula at malayong-malayo ito sa sinasabi nitong inspirasyong pelikula ni Lino Brocka na Bona kung saan ay halos kaparehas ng papel na ginampanan ni Garcia ang kay Nora Aunor. Masyadong naging mababaw ang Booking sa pagtrato nito sa isang tema na dapat sana ay mabigat at malalim.

Ang pelikula ay patungkol sa naiibang pagmamahal ng lalaki sa kapwa lalaki. Ngunit halatang ang mismong kuwento ay nalito kung pagmamahal nga ba ito o makamundong pagnanasa lang. Sa halip na ipaunawa sa manonood ang tunay na kalagayan at kuwento ng mga bakla sa lipunan ay naging kasiraan pa ng mga ito ang pelikula. Isang baklang may mahinang diskarte at marupok na damdamin ang bida. Walang lakas, walang talino at walang utang na loob. Bagama’t naging matibay ang paninindigan niyang hindi ibugaw ang alaga, hindi pa rin malinaw kung ito ba ay sa ngalan ng kabutihan o sa ngalan ng kanyang sakim na pagnanasa dito. Ang pagtatalik naman ng dalawang lalaki ay lalong hindi katanggap-tanggap. Ipinakita naman sa pelikula na hindi masaya si Anna bilang prostitute at maya’t-maya itong binabagabag ng kunsyensiya ngunit hindi pa rin siya nagkaroon ng matibay na desisyong magbagong-buhay, bagkus ang ginawa pa niya’y humila pa ng iba patungo sa putikan. Pag-ibig sana ang nais na mensahe ng pelikula sa bandang dulo ngunit hindi pa rin ito napanindigan sapagkat ito ay pinatunayan sa pamamagitan ng pagpapakamatay. Ang pagpapakita naman ng kanilang pagdarasal at pagsisimba ay pawang paghuhugas kamay na lamang. Hindi upang bigyang pag-asa at pagkakataon ang mga sarili na magbagong-buhay. Dahilan sa tema at eksenang hubaran sa pelikula, nararapat lamang ito sa mga manoonod na may edad 18 pataas.

The Reader

Cast: Kate Winslet, Ralph Fiennes, David Kross, Alexandra Maria Lara, Lena Olin; Director: Stephen Daldry; Producers: Donna Gigliotti, Anthony Minghella, Redmond Morris, Sydney Pollack; Screenwriters: David Hare, Bernhard Schlink; Music: Nico Muhly; Editor: Claire Simpson; Genre: Historical Drama; Cinematography: Roger Deakins, Chris Menges; Distributor: Paramount Pictures; Location: Germany; Running Time: 123 min.;

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and a above

In 1958 15-year-old Micheal Berg (David Kross) falls ill while traveling in Neusdadt , Germany . Thirty-six-year-old tram conductress Hannah Schmitz (Kate Winslet) helps him return home. Apparently Michael has caught scarlet fever and must rest at home for three months. When he recovers, he visits Hannah’s apartment to thank her. The two begin an affair during which Michael reads Hannah some literary works he is studying. Their affair is cut short when Hannah suddenly leaves after receiving news of her promotion to an office work in the Tram Company. In 1966, Michael, already a law student observes a trial of several woman SS guards accused of letting 300 Jewish women die in a burning church after the 1944 evacuation of Auschwitz . He is surprised to see Hannah as one of the defendants. The trial reveals that each defendant chose 10 women who were brought to the gas chamber every month. Hannah’s fellow defendant’s points to her as the mastermind of the church fire report. At first she denies but caves in after the court asks her to provide a sample of her handwriting. At this point, Michael realizes Hannah’s secret. Hannah gets life sentence for her presumed role in the genocide Meanwhile, Michael begins recording the stories he has been reading to Hannah and sends her the cassette tapes but never writes or visits. In 1988, Michael is asked by the prison official to help Hannah’s transition into society upon her release. Michael visits the aged Hannah, informs her that he has secured a job and a home for her, and that he would fetch her on the day she will be released. On that day, Michael learns that Hannah had hanged herself, leaving for him instructions on what do with her money.

The film is a powerful poignant drama of coming of age, heartbreak, guilt, shame and redemption with the Holocaust as backdrop. The drama is gentle and downplayed. Winslet, who already has won several Best Acting Awards for her role as the simple minded Hannah, delivers a profound and honest portrayal. Fiennes is believable as scarred and detached lawyer who in unable to develop a lasting relation and Olin is effective as a Concentration Camp survivor still bitter and damaged from witnessing the atrocities of the Holocaust. The movie, though shuffling from one decade to another, develops clearly with a crisp and powerful screenplay. The production design is truthful enough to transport viewers from Post-war Germany to the modernization of the 80s and at the same time creative enough to illustrate images and characters using the austerity of Hannah's apartment or the dignified set-up of the courtroom. This is one of those movies that creep in on you almost unnoticed but leaves a permanent imprint.

The film presents Hanna as being too morally or intellectually blind to understand the consequences and impact to other people of her words and actions. Her sensibilities are misplaced with her thinking that being illiterate is more shameful than deliberately tolerating mass murder, and that maintaining order as a prison guard is more important than saving the lives of 300 women prisoners. However, morality and goodness are not products of a literary excellence. It is assumed that choosing what is right is innate in every person and that ultimately one is responsible for the choices he makes, schooled or otherwise.

Guilt is presented as a shameful history of the young generation and a dark secret of the old. One’s crimes is cleansed not with social justice, personal suffering or tokens of apology but also with the realization of all aggrieved parties that one needs to accept responsibility, forgive and start anew in the effort to make life better for other people.

There are several disturbing premises and scenes in the film that may offend the sensitivities of more conservative viewers. However, over-all these do not make the movie objectionable. One, the sex scenes and nudity throughout the film, although graphic, are not exploitative. Two, although the affair between a 30-year-old and a 15-year-old is alarming, it is used to depict a young generation trying to understand the crimes of an older generation. Three, Hannah's suicide is morally unacceptable but from a psychological point of view one might say that an aging, lonely, broken and once illiterate woman who was coldly received by the one person she was fond of might have felt pushed against a wall and found no reason to continue living.

Parents are strongly cautioned as very young and immature audience may not handle well scenes of sex, nudity, suicide and others.

You Changed My Life

Cast: Sarah Geronimo, John Lloyd Cruz, Rowell Santiago, Rayver Cruz, Matet de Leon, Joross Gamboa, Gio Alvarez, Dante Rivero; Director: Cathy Garcia-Molina; Producers: Malou Santos, Vic Del Rosario; Music: Jessie Lasaten; Genre: Drama/ Romance; Distributor: Star Cinema Productions/ Viva Films; Location: Philippines; Running Time: 120 min;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers age 13 and below with parental guidance

Anim na buwan na ang nakakalipas nang mabihag ni Laida Magtalas (Sarah Geronimo) ang puso ng kanyang “man of his dreams” at boss na si Miggy Montenegro (John Lloyd Cruz). Naayos na ni Miggy ang problema sa kanyang pamilya at masayang-masaya ang kanilang pagsasama ni Laida. Na-promote na si Laida pati na si Miggy. Sa pagkaka-promote ni Miggy, kakailanganin niyang magtrabaho sa Laguna at magiging bihira ang pagkikita nila ni Laida. Dito magsisimula ang problema nilang dalawa kasabay ng pagbabalik ng dating best friend ni Laida na si Mackoy (Rayver Cruz) na magiging ugat ng pagseselos ni Miggy. Sa gitna ng mga komplikasyon ng relasyong Laida at Miggy ay magkakaroon naman ng oportunidad si Laida na magtrabaho sa Canada. Magkaroon pa kaya ng happy ending ang dalawa?

Muling pinakilig ng tambalang Sarah-John Lloyd ang mga manonood sa pagpapatuloy ng kanilang kuwento na nagsimula sa A Very Special Love. Tulad sa naunang pelikula, hitik ang You Changed My Life ng mga nakakatuwang eksena at di-malilimutang mga linya. Tunay na maganda ang chemistry ng dalawa. Maayos ang daloy ng kuwento at malinaw ang nais patunguhan. Magagaling ang lahat ng mga tauhan na binigyang buhay ang kanilang bawat karakter. Sa gitna ng kilig at tawanan, mayroon ring tamang timpla ng drama ang pelikula. Yun nga lang, pawang naging masyadong limitado ang kuwento at problema sa dalawang bida. Hindi na gaanong napalalim ang mga isyung pampamilya at ang ilang mahahalagang karakter ay nawalan ng sariling kuwento. Gayunpaman, ang pinakamahalaga’y naihatid ng pelikula ang kuwentong Laida at Miggy sa mas mataas na antas.

Nakakatuwang pagmasdan kung paanong ang dalawang taong wagas na nagmamahalan ay pilit na gumagawa ng paraan upang panatilihin at pagyabungin ito. Nananatiling dalisay at walang bahid ng kalaswaan at makamundong pagnanasa ang relasyong Laida at Miggy. Tunay na hindi kinakailangang magpakita ng laman o malabis na halikan upang ipakita ang pagmamahalan. Napakalakas ng mensahe ng pelikula na walang imposible sa dalawang taong nagmamahalan. Hindi hadlang ang pagkakaiba ng estado sa buhay maging ang panlabas na kaanyuan sa dalawang pusong nagmamahal. Kapuri-puri din ang pagpapahalaga ng pelikula sa pamilya, pagkakaibigan, trabaho at higit sa lahat, sa makabuluhang relasyon. Sa gitna ng kaguluhan at maraming komplikasyon sa pagbabago ng mundo, nanatiling matibay ang pagkakaibigan, pagpaparaya at pag-ibig. Ikanga rin sa pelikula, hindi nagsusukatan ang taong nagmamahalan sapagkat iba’t-iba ang kayang ibigay ng bawat isa. Ang mahalaga’y lubos at buong-puso ang pagbibigay at pagpaparaya.