IGOR

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

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

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

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

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

Matakot Ka Sa Kulam

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

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

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

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

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

Make It Happen

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

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

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

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

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

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

Three Kingdoms:Resurrection of the Dragon

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

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

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

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

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

The Mutant Chronicles

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

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

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

My Best Friend's Girl

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

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

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

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

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

Disaster Movie

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

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

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

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

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

The Sisterhood of the Traveling Pants 2

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

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

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

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

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

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

Bangkok Dangerous

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

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

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

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

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

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

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

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

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

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

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

Right at Your Door

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

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

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

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

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

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

Hellboy II: The Golden Army

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

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

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

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

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

Righteous Kill

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

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

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

Babylon A.D.

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

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

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

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

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

Congkak "Sungka"

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

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

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

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

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

For The First Time

Cast: KC Concepcion, Richard Gutierrez, Nor Domingo, Jake Cuenca, Carla Humphries, Denise Laurel, Candy Pangilinan, Beatriz Saw; Director: Joyce E. Bernal; Producer: Malou N. Santos; Screenwriter: Vanessa Valdez; Editor: Marya Ignacio; Genre: Romance/ Drama; Cinematography: Shayne Clemente; Distributor: ABS-CBN Film Productions; Location: Manila; Running Time: 110 min.;

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

Si Pia (KC Concepcion) ay isang real estate executive sa kompanya ng kanyang Daddy (Philip Salvador). Hirap si Pia na patunayan ang sarili sa kanyang ama at matindi ang pressure na binibigay sa kanya nito. Sa gitna ng pagkaabala sa trabaho, itinuloy ni Pia ang bakasyon sa Santorini, Greece upang makapag-isip-isip kung dapat pa niyang ituloy ang pagtatrabaho sa ama. Sa di inaasahang pagkakataon ay magku-krus ang landas nila ni Seth (Richard Gutierrez), ang mayamang playboy na naging ex-boyfriend ng kanyang mga kaibigan kung kaya’t matindi ang pagkainis niya rito. Pero dahil si Seth ang may-ari ng kanyang tinutuluyang hotel sa Santorini, napilitan siyang pakisamahan ito. Isinumpa ni Pia sa kanyang sarili na hindi siya pwedeng main-love kay Seth dahil bukod sa ito ay certified babaero, hindi si Seth ang tipo ng lalaking magugustuhan ng kanyang Daddy para sa kanya. Pero sa pagdaan ng mga araw sa Santorini, sa gitna ng romantikong lugar, ay tila magbabago ang ihip ng hangin sa dalawa. Si Pia na kaya ang huling babae sa ni Seth. Mapanindigan kaya ni Pia and sumpa sa sarili?

Isang karaniwang kuwentong pag-ibig ang For the First Time na inilagay lamang sa ibang lugar. Matagumpay ang pelikula sa pagdadala sa manonood sa matulaing lugar ng Santorini, Greece. Napakaganda ng tanawin na tila nanaisin ng sinumang makakapanood ng pelikula ang puntahan ang lugar na ito. Pasado ang pag-arte ni KC Concepcion kahit pa ito ang una niyang pelikula at hindi maitatangging napakaganda ng kanyang rehistro sa kamera. Si Richard Gutierrez ay wala namang bagong ipinakita. Hindi gaanong ramdam ang kilig sa dalawa at tila mababaw ang kuwento sa kabuuan. Masyadong mataas ang antas ng pamumuhay ng mga karakter sa pelikula na hindi arok ng masa. Ito ang klase ng buhay na papangarapin lamang ngunit hindi ang lahat ay mabibigyan ng pagkakataong maranasan. Labas tuloy ay isang artipisyal na daigdig ang ipinakita ng pelikula at malayo sa katotohanan. Hindi rin gaanong nakakadala ang daloy ng emosyon ng mga tauhan. Salamat na lamang sa ilang epektibong patawa ni Candy Pangilinan at nagkaroon kahit paano ng buhay ang pelikula.

Makapangyarihan ang tunay na pag-ibig lalo pa’t wagas and hangarin nitong alalahanin ang kapakanan ng minamahal. Ito ang nais sabihin ng For the First Time sa kabuuan. Pero sa likod Pero sa likod ng mensaheng ito ay makikita ang mga karakter na bulagsak sa salapi, walang pakialam sa paligid at sadyang napakadali ng buhay. Bagay na hindi magandang halimbawa sa sinumang kabataang makakanood. Hindi malinaw ang naging pagbabago ng karakter ni Seth. Sadyang nakakailang at mahirap paniwalaan ang paghingi niya ng tawad sa lahat ng babaeng kanyang nasaktan. Pawang peke ang dating nito. Si Pia naman ay pinapatunayang pilit ang sarili sa ama gayong malinaw na hindi buo ang kanyang loob na kontrolin ang kanyang emosyon. Talaga bang hindi na uso ang pag-akyat ng ligaw sa mga kabataan at ang pakikipag-relasyon ba’y talagang palihim na sa mga magulang? Nakakabahala ang ganitong umuusbong na kultura. Hindi gaanong napalalim ng pelikula ang maraming dahilan ng paghihiwalay ng mga relasyon at pagkawasak ng pamilya. Pawang ang mga ito ay normal lamang at karapat-dapat na tanggapin bilang bahagi ng buhay-pamilya.

Smother

Cast: Diane Keaton, Liv Tyler, Dax Shepard, Mike White, Don Lake, Sarah Lancaster; Director: Vince Di Meglio; Producers: Johnson Chan, Bill Johnson, Tim Rasmussen, Jay Roach; Screenwriters: Tim Rasmussen, Vince Di Meglio; Music: Manish Raval, Tom Wolfe; Editor: Kelly Matsumoto; Genre: Comedy; Cinematography: Julio Macat; Distributor: Inferno Distributor; Location: Beverly Hills, California, USA; Running Time: 120 min.;

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

This particular day starts badly for Noah Cooper (Dax Shepard). He gets fired from his work as a sports therapist. He calls up his school-teacher wife Clare (Liv Tyler), informs her about it and observes that she should hold on to her job- one of them must be working- and heads for home. When he arrives, he finds a houseguest, Myron Stubbs (Mike White) cousin of Clare, a movie scriptwriter who has been invited to stay, as his parents have told him to leave their house. Other things begin to deteriorate his day further. Suddenly, his domineering mother Marilyn (Diane Keaton) shows up at his door, with her five pet dogs. She has left Gene, her husband (Ken Howard), his dad, and looking for a place to stay. Noah is all for helping her find a place, but Clare insists on accommodating her in the house, that mom stays with them. Noah finds himself facing not only what are before him, but also the necessity of getting a job; and especially, to heed the eagerness and insistence of Clare that it is a high time that they work on having a baby. Could he manage: to find that job, have a child with Clare, and cope with a mother “who knows better, and should be listened to and heeded?”

The main characters in the story, that of Noah, Marilyn and Clare provide a presentation of what could happen in families around the world. There are mothers who think they are “always right”, and “themselves” and would not accept a “not true!” in return. Though not as adept, Shepard and Tyler managed as Noah and Clare to provide what was needed for their roles. The story provides a plot that brought the various scenes, episodes including the sidelight together to portray a complete story.

“Smother” is classified as a comedy because it is meant to provide an easy-to watch and laugh at silly or not right family situations, meant for a wide range of viewers. But because of how the story is presented- it appears that the comic situations, including the serious occasions, appear to be meant for the more mature audience than younger viewers. CINEMA, though, is rating this film for 18 years old and above for certain reasons. After 30 years, or so, of staying married, Noah’s father and mother abruptly split up. No closure is shown; hopefully-in real life- such a story would find a positive resolution. A second scene, in a carpet bazaar, where Noah gets employed: for laughs, the bazaar boss goes quietly close behind the back of an elderly lady shopper and performs lascivious acts on her while she is bending down to look at some merchandise. There are some scenes of nudity and some dialogue referring to sexual matters made in anger or fun. Noah verbally worries about his mother’s health, not that she would live longer but his fear was that she would live longer, after the kind of mother she had been to him all his almost 30 years of life. But he discovers that his mom really loves him: “he is the best thing in her life”. Discovery and realization comes at the end, for Noah and Clare, and Noah and Marilyn.

The Gravedancers

Cast: Marcus Thomas, Clare Kramar, Dominic Purcell, Josie Maran; Director: Mike Mendez; Producers: Al Corley, Lawrence Elmer Fuhrmann Jr., Bill McCutchen, Eugene Musso, Bart Rosenblatt; Screenwriters: Brad Keene, Chris Skinner; Music: Joseph Bishara; Editor: Mike Mendez; Genre: Drama/Horror/Thriller; Cinematography: David A. Armstrong; Distributor: After Dark Films; Location: North Carolina, USA; Running Time: 95 min;

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

Harris (Dominic Purcell), one of the three long time friends with Sid (Marcus Thomas) and Kira (Josie Maran), misses the funeral of their friend Devin who died in a car accident. Harris thinks that they should pay their last respect to Devin together in front of the grave in the cemetery, an idea which Sid and Kira do not initially agree with, but they eventually do. The solemn purpose to pay respect turns out to be a singing and dancing spree with loud music after reading a poem they see at the grave. Unfortunately, the poem read by Harris is like a magical spell that awakens dead spirits especially those in the ground where they danced. Since then all of them including Sid’s wife Allison (Clare Kramar) experience strange eerie occurrences in their respective places. With the help of a paranormal investigator they realize that they are being haunted by the angry spirits they bothered by desecrating their graves with their dancing spree at the cemetery. How will they get over these harrowing experiences?

As a horror thriller film, The Gravedancers successfully delivers and keeps the interest of the viewers from beginning to end of the film. It has a very good plot that was treated with careful special effects, musical scoring and sounds. The actors gave their distinct justification of the characters they portrayed in the film: that of tactless Harris, focused Sid, disturbed Kira, and concerned and frightened Allison, which is also to the credit of the director. It is not the usual screaming horror film but one that gets established as the film progressed to the end. Overall, the film has very good technical qualities.

The film conveys strong messages to respect the dead not necessarily in the context of religious belief, rather on the paranormal dimension. It underscores how irresponsible actions desecrating graves can make the person’s life miserable and even brings death. It aggravates when selfish motives like that of the paranormal team member cheated in the operation got in the way, but at least she regretted doing so when she realized the worst results of her cheating. In a sidelight, the film shows valuing relationships of friendship and marriage. It will be noticed that in the entire run of the film there was no reference to the Church’s intervention; but rather solely on human ability and paranormal science. In reality, when things go beyond human understanding, people seek enlightenment and draw strength from Divine providence to fight evil forces.

Loving You

Cast: John Prats, Polo Ravales, Ehra Madrigal, Kris Bernal, Aljur Abrenica, Jean Garcia, JC de Vera, Yasmien Kurdi; Director: Don Cuaresma; Producer: Roselle Monteverde-Teo; Screenwriter: Fairlane Raymundo; Genre: Romance-Drama; Distributor: Regal Entertainment; Location: Manila; Running Time: 110 min.;

Technical Assessment: 2.5
Moral Assessment: 2
CINEMA Rating: For viewers age 13 and below with parental guidance

Magkakabarkada mula pagkabata sina Jepoy (JC De Vera), Lane (Yasmien Kurdi), Bry (Ehra Madrigal), Tom (Polo Ravales) at Tonee (Kris Bernal). Muling titibay ang kanilang samahan nang sila ay magtrabaho sa iisang call center. Sina Jepoy at Lane ay kakatapos lamang mag-break bilang magnobyo bagama’t mahal pa rin nila ang isa’t-isa. Sa call center ay parehas silang magkakaron ng panibagong pag-ibig. May pag-asa pa kaya silang magkabalikan? Si Bry naman ay niloko ng kanyang kalive-in at ang tanging naging sandigan ay ang kanyang suking taxi driver (John Pratts) na malaki ang pagkagusto sa kanya. Si Tonee na totomboy-tomboy ay mai-inlove naman sa kasamahang si Ryan (Aljur Abrenica) na mahuhuli naman niyang may kinakasamang bading (John Lapuz). Si Tom naman ay pilit na dinadala ang relasyon kay Cyril (Jean Garcia) ang kanyang dating guro na malaki ang tanda sa kanya. Saan kaya sila dadalhin ng kani-kanilang mga problema sa puso at pagmamahal?

Walang bagong inihain ang Loving You maliban sa makabagong milieu ng call center. Ngunit ito ay nanatili lamang backdrop at hindi lubusang nagamit sa pelikula. Ang mga kuwentong pag-ibig ay pawang mga gasgas na at alam na ng mga manonood ang patutunguhan. Sa sobrang dami ng karakter ay sumasabog ang kuwento ng pelikula. Walang pinaka-sentrong karakter o kuwento na maaring sundan. Hindi gaanong dama ang mga eksena mapa drama man o komedi. Sayang at may potensiyal sanang maging maganda ang pelikula sa tradisyon ng mga pelikulang pang-kabataan tulad ng Bagets, Pare Ko, Jologs at marami pang iba. Ang manipis na kuwento ay mas pinanipis pa ng mga hilaw na pag-arte ng mga artista. Tanging ang mga beteranong sina Jean Garcia at Tonton Gutierrez ang kakikitaan ng sinseridad. Ang lahat ay pawang mga pa-cute lamang.

Maraming ipinakitang nakakabahala sa pagpapahalagang moral ng mga kabataan ang pelikula. Pangunahin na rito ay pagpapakitang katanggap-tanggap at nakakaigaya ang pakikipaglive-in at pagsasama ng labas sa sakramento ng kasal. Pawang kaswal lamang ang sex sa pelikula na maaring gawin kahit anong oras kahit saan. Maging ang pagkakaroon ng mga tomboy at baklang mga magulang ay ipinakita lamang at hindi ipinaliwanag o dumaan sa proseso upang lubusang maunawaan ng mga manonood. Mababaw ang naging pagtingin at pagtrato ng pelikula sa konsepto ng pag-ibig. Gaano man nila piliting palalimin, hindi maitatangging naging ubod ng pusyaw ng pagtalakay nito. Ang pag-ibig at pakikipagtalik ay itinuturing nilang iisa. Maging ang infatuation at crush ay pinalalabas na true love. Pawang binubuo lamang sa hangin ang pagkakagustuhan. Maghalikan lamang at maghawakan ng kamay ay sila na. Walang pagpapahalaga sa pagbuo ng pamilya, wala ring sakripisyo. Tanging mababaw na romansahan na nagkukunwaring malalim ang makikita sa pelikula. Walang anumang aral sa pag-ibig. May mangilan-ngilang kurot ukol sa pagpapatawad at pamilya ngunit hindi ito ang pangunahing pinatunguhan ng kuwento.

Star Wars- The Clone Wars

Cast: (VOICE)- Matt Lanter, Ashley Eckstein, Dee Bradley Baker, Tom Kane, Nika Futterman, Ian Abercrombie, Corey Burton, Catherine Taber, Matthew Wood; Director: Dave Filoni; Producers: Catherine Winder, George Lucas; Screenwriters: Henry Gilroy, Steve Melching, Scott Murphy; Music: Kevin Kiner; Editor: Jason Tucker; Genre: Animated Science Fiction; Distributor: Warner Bros. Pictures; Location: USA, Singapore; Running Time: 98 min.;

Technical Assessment: 3.5
Moral Assessment: 2.5
CINEMA Rating: For viewers age 13 and below with parental guidance

Clone Wars takes place in between Episode 2: Attack of the Clones and Episode 3 Revenge of the Sith. The movie opens with the Republic clone troopers led by Jedi generals Anakin (Matt Lanter) and Obi-wan (James Arnold Taylor) fighting the droid army. Complicating matters is Master Yoda’s decision to assign a PADIWAN (apprentice), Ahsoka Tano (Ashley Ekstein) to serve under Anakin. They are quickly assigned to rescue Jabba’s kidnapped son so they can form an alliance with the Hutts as latter control a safe trade passage crucial for winning the galactic war. Unknown to them, the kidnap is staged by Sith Count Dooko (Christopher Lee) and his apprentice Asaji Ventress (Nika Futterman) to discredit the Jedis and win the Hutt’s support. Much of the film follows Anakin and Ahsoko’s attempt to rescue the baby Hutlet and forge a treaty with Jabba.

The movie is presented with good stylish animations and enjoyable CGI’s, although the characters feel stiff and look like the miniature dolls sold as merchandising. The sceneries are almost breathtaking and action is dynamic enough to keep the audience glued for an hour and a half. This animated version has plenty of moments with some cute and funny punch lines thrown here and there in between incredible action sequences. Unfortunately there is nothing new presented for a storyline save for more scheming of the Sith against the Republic, more explosions and special effects. While the editing is witty, engaging and thrilling and helps to keep the flow smooth and understandable even for non-Star Wars fans. However, the musical scoring falls a little short to support the sequences but since this is an animated version one can let this cheesiness pass.

What does it mean to be a good leader? The film makes several points on the teacher-student / master-apprentice relationship. First, the importance of listening which should be a two-way deal. Students need to listen to the wisdom of their teachers while teachers in turn need to be attuned to the creativity and freshness of their students’ opinion. Second, respect is earned by “walking the talk”. Anakin could have never gained Ashoko’s trust and loyalty if he had not shown courage and dedication to do what is right. Likewise, Ashoko’s perseverance and loyalty not only won Anakin’s respect but also his fondness and protection of his teenage apprentice.

The movie is safe and decent with numerous violent sequences, though non-graphic, given the premise of war and action animation. Parents are cautioned to guide their very young children when watching the film.

Big Stan- The Gigolo is Back

Cast: Rob Schneider, David Carradine, Jennifer Morrison, Scott Wilson, Henry Gibson; Director: Rob Schneider; Producers: Mark A.Z. Dippe, David Hillary, Timothy Wayne Peternel, John Schneider, Rob Schneider; Screenwriter: Josh Lieb; Music: John Hunter; Editor: Gregor Babor, Richard Halsey; Genre: Comedy; Cinematography: Victor Hammer; Distributor: Metro-Goldwyn-Mayer MGM; Location: Stockton, California, USA; Running Time: 100 min;

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

Wealthy Stan Minton (Rob Schneider), a crooked real estate agent is arrested for fraud and convicted. By some manipulation, Stan is able to get the judge to give him an allowable six months break before he begins his prison term. His greatest fear of being in prison is what the prisoners could do to him, and he knows that he would not be able to defend himself. So he scouts for someone who could train him to take care of himself in whatever situation the prisoners would put him in. Stan meets a mysterious master of Martial Arts (David Carradine) and recruits him to train him to be a tough and expert fighter, capable of taking on whoever and however many would want to do him harm. The result is a Stan who goes to prison, is one who could out-do and defeat who ever tries to put one over him. Stan not only gains the respect of all the inmates; he is also able to transform his rowdy, violent and hardened prison mates into an orderly and civil community. This unexpected change however, upsets the prison warden’s plan of having the prison complex sold for his profit. It was the warden who had Stan transferred to his jail to serve his prison term there, at the same time help the warden to plan and arrange the sale. To make the prison compound available to prospective buyers, the warden wants the prisoners incited into a melee of fighting, killing each other and totally damaging the entire place. Stan is commanded to reverse what he has done, or else…!

Rob Schneider supported by David Carradine: both come up with their part of the story with effective and natural acting. The first half of the film centers on them as one teaches the other all that are needed to become an effective martial arts expert. All the things Stan had to practice to make him a fit man, and durable, may not be true to real life like: being burned; swallowing garbage, and animal food; eating live snake and scorpions, among others being kicked and walloped. There are funny and laughable moments. Other scenes may be reminiscent of those shown in comedies which Rod Schneider had starred in.

Stan gets transformed from a guy who was worried about his own safety and well-being, into someone who learned to care about his inmates, and the whole prison community. He learned to appreciate and cared about his wife and how she felt and what she wanted. Despite these positive issues and matters are present in the movie story, it is a film that should be rated for adults only. Certain questionable subject matters are not clearly represented. For instance, the subject of prison rape is bandied around and some flashes of these are suggested visually. Nudity and some sexual situations are also presented. When Stan had convinced all his prison inmates to stop raping each other, he tells them however, that consensual homosexual relationship is alright, which is not really accepted by society.

Meet Dave

Lead Cast: Eddie Murphy, Elizabeth Banks, Gabrielle Union, Ed Helms, Austin Lynd Myers, Scott Caan, Director: Brian Robbins; Screenplay: Bill Corbett, Rob Greenberg; Cinematography: J. Clark Mathis; Editing: Ned Bastille; Producer: Jon Berg, David T. Friendly, Todd Komarnicki; Music: John Debney; Location: New York; Genre: Family - Comedy; Distributor: 20th Century Fox; Running Time: 90 minutes.

Technical Assessment: 2.5
Moral Assessment: 3
Cinema Rating: V-13

Dave Ming Chang (Eddie Murphy) is a human-shaped alien spaceship from the planet Nil which crashes in Manhattan three months after the “orb” falls on earth. Apparently, the Nils, a Lilliputian race, has sent a team to the planet to retrieve and activate the orb to suck the ocean’s energy and save their dwindling power supply. The commanding team operates Dave from the inside with the captain (Eddie Murphy) functioning as the brains and voice of the space ship. However, the team, including power-thirsty No. 2 (Ed Helms), sweet natured cultural officer No. 3 (Gabrielle Union) and the rest of the crew know nothing about the planet and its inhabitants and try their best to make their human-like space craft fit in. The captain decides to befriend a young boy Josh (Austin Lind Myers) and hang time with him and his newly widowed mom, Gina (Elizabeth Banks). Slowly, the team learns certain human qualities which begin to change their views on life and relationships. However, No. 2 is disgusted that they are getting sidetracked from their mission and organizes a coup. Meanwhile, New York police officers Dooley (Scott Caan) and Knox (Mike O’Malley) are sent out to investigate Dave’s the crash site by the Statue of Liberty. Dooley suspects aliens have landed on earth and start a witch hunt for Dave.

The movie has a potentially good plot but the humor is flat and dull. Most of the comedy comes from Dave trying to blend with the earthling; unfortunately, Murphy is either out of timing or overacting, which either way makes him only look ridiculous. The rest of the actors provide exaggerated performance and histrionics that reduce them to caricatures. The CGIs are disappointing and slightly better than those used in a 70s TV sci-fi show. The screenplay lacks strength and charm expected of a Murphy comedy. Over-all, the production is passable but as die-hard Murphy fans in the theater prove, the movie can be funny despite a mediocre script and poor directing.

While Meet Dave takes digs at earthlings’ lack of discipline (ignoring traffic signals, for instance), it imparts one valuable lesson: being less than average physically does not determine one’s worth as a person. Great things can be done even by the least popular, most deprived, or most disadvantaged as long as one’s integrity is intact. One’s worth is not measured by the size of his physical or material assets but by the greatness of his heart. Dave reminds Josh that his being small and his being different does not make him less of a person because he has saved two worlds out of the generosity of his spirit.

The movie is almost wholesome and decent save for some mild and minor profanities and coarse humor and scenes. Parents should be cautioned to accompany and guide their very young children when watching the movie.

The Bank Job

Lead Cast: Jason Statham, Saffron Burrows, Stephen Campbell Moore, Daniel Mays; Peter De Jersey, David Suchet; Director: Roger Donaldson; Screenplay: Dick Clement and Ian La Frenais; Cinematography: Michael Coulter; Editing: John Gilbert; Producer: Steven Chasman, Charles Rovenl; Music: Peter Robinson; Location: London; Genre: Action Drama; Running Time: 110 minutes.


Technical Assessment : 3.5
Moral Assessment : 2
Cinema Rating : V-18


Just when Terry Leathers (Jason Statham) was having a bad day with some thugs who want their money back fast, he meets his ex-girlfriend Martine Love who tells him of a possible way to hit it big time. The proposal is to round up Terry’s boys and rob the safety deposit boxes of the Lloyd Bank along Baker Street. Terry and group pull off the robbery despite some close calls and hitches, including having their walkie-talkie conversation monitored by police. After the heist, the group safely retreats to their hideout and are about to part their loot when they realize that they have been set up by Martine and now possess several documents which will seriously incriminate high profile “villains” and put them all at risk. Apparently, Martine has to retrieve the scandalous photos of London’s princess taken by Michael X (Peter De Jersey). But in the process, Terry and company are also able to get other compromising documents including the list of corrupt police in the payroll of pornographer Lew Vogel (David Suchet) and photos and film of politicians’ sexual tryst. Now, they must not only evade police but also the people whose secrets they posses while cutting a deal with Martine’s contact.

The movie is based on a real London Bank robbery in 1971 where after being hyped by media was suddenly given a news blackout. The production is smooth and flawless, keeping the drama and suspense tight and clean. The exhilarating plot development is intensified by brilliant cameraworks and skillful editing. The production design is creatively authentic and stylish. Statham is suave and charismatic as a bad guy turned hero. Overall, the movie is technically and artistically superb with the right amount of grit, cunning and drama.

Evil begets evil. Even the smallest misdeeds can lead one to be tangled in a bigger and deeper mess. No one should believe that a simple offense, even those done in private, will not have any social repercussion. No one gets away with crime as justice always has a way of coming back. Unfortunately though, the movie has Terry and some of his group members get away with their crimes because seemingly theft and deception are a lot tamer than murder, torture and pornography. Hence, since Terry’s crimes are tamer that the other villains, he comes off as the “good guy” despite what he has consciously done and laws he has deliberately broken.

The movie should be strictly for mature viewers because of several scenes with sex, nudity, cursing and bad imitative behavior. The fact that the robbers were allowed to get away free, richer and almost heroes might also send a misleading message especially to impressionable young audiences.

Concerto

Cast: Jay Aquitania, Meryll Soriano, Shamaine Buencamino, Nonoy Froilan, Elijah Castillo, Alyssa Lascano, Yna Asistio; Director: Paul Alexander Morales; Producer: Digital Spirit Production; Screenplay: Paul Alexander Morales; Cinematography: Regiban Romana; Editor: Laz'andre; Music: Jed Balsamo; Running Time: 90 minutes; Location: Davao; Genre: Drama

Technical Assessment: 4
Moral Assessment: 4
Rating: For viewers 13 and above

Sa pagtatapos ng Ikalawang Digmaang Pandaigdig, may isang pamilyang lumikas at napilitang mamundok sa Davao. Malapit ito sa kampo ng mga Hapon. Si Ricardo (Nonoy Froilan), ang padre de pamilya, ay dating puno ng militar na pinahirapan ng mga Hapon. Upang makapamuhay nang mapayapa, kinaibigan ng kanyang asawang si Julia (Shamaine Buencamino) ang ilang mga Hapon na nasa malapit na kampo. Ang kanilang anak na lalaki na si Joselito (Jay Aquitania) ay marunong magsalita ng Hapon kung kaya't naging madali sa kanya ang pakikipag-kaibigan sa mga ito. Sapagkat may likas na angking talino sa musika, naging labis ang kasiyahan ng pamilya nang muli nilang makuha ang naiwan nilang piano. Ang mga anak na babae na sina Nina (Yna Asistio) at Maria (Meryll Soriano) ang siyang nagsilbing taga-aliw sa mga Hapon bilang mga pianista. Isang concerto ang ginanap sa kanilang tahanan para sa mga kaibigang Hapon bago tuluyang pumutok at matapos ang digmaan.

Maayos at malinis ang pagkakagawa ng Concerto. Tunay sa pamagat nito, talagang para kang nanonood ng konsiyerto sa pelikula. Nakakaaliw ang musika na talaga namang nagpatingkad sa isang kuwentong-digmaan. Mahusay ang pagkakalahad ng kuwento. Payak ngunit malaman at punong-puno ng damdamin. Pawang walang itulak kabigin sa galing at husay ang mga nagsiganap. Natural ang kilos ng lahat at pawang mukhang mga hindi umaarte. Totoong-totoo pati ang mga karakter na Hapon. Maliit man o malaking eksena ay nagawang kapani-paniwala ng direktor. Sana'y mas marami pa ang makapanood nito sa mga sinehan at maging isang instrumento upang buhayin ang naghihingalong pelikulang Pilipino.

Ipinakita sa Concerto ang kahalagahan ng pagkakaroon ng isang buo at nagkakaisang pamilya sa gitna ng unos at giyera. Maraming pagsubok ang maaring pagdaanan sa iba't-ibang panahon pero ang wagas na damdamin at matibay na paniniwala sa Diyos ang mga subok na sandata upang maalpasan anumang hirap at pasakit. Kapuri-puri ang isang pamilyang sabay-sabay na nagdarasal sa gitna ng kaguluhan ng paligid. Kitang-kita sa pelikula kung paanong ang pakikipag-kapwa at pananampalataya ay nakatulong ng labis sa pagpapanatili ng kapayapaan sa gitna ng digmaan. Tunay na walang mabuting naidudulot ang giyera. Ngunit gaya ng ipinakita sa pelikula, ang digmaan ay isang pagkakataong nagpapalabas ng pinakamabuti o pinakamasama sa tao. Maaaring maging instrumento ang giyera upang mas mapabuti at mapatibay ang isang pamilya, ang pagkakaibigan. At isa rin ang sining at musika sa maaaring magtawid sa tao sa anumang paghihirap. Ang sining at musika ay biyaya ng Diyos na marapat lamang gamitin sa kabutihan at maging simbolo ng Kanyang kadalikaan sa panahon man ng digmaan o kapayapaan.

Mamma Mia!

Lead cast: Meryl Streep, Pierce Brosnan, Amanda Seyfried, Colin Firth, Stellan Skarsgard, Julie Walters, Dominic Cooper, Christine Baranski, Ashley Lilley, Rachel McDowall, Philip Michael; Director: Phyllida Lloyd; Screenwriters: Catherine Johnson/based on the original musical book by Ms. Johnson/originally conceived by Judy Craymer based on the songs of Abba; Cinematographer: Haris Zambarloukos; Editor: Lesley Walker; Music: Benny Andersson and Bjorn Ulvaeus/some songs with Stig Anderson; Genre: Musical, romantic comedy; Location: Greece, USA, England; Runtime: 108; Producers: Judy Craymer/Gary Goetzman; Distributor: Universal Pictures.


Technical assessment: 3
Moral assessment: 3
CINEMA rating: V 14

Twenty-year old Sophie (Amanda Seyfield) is getting married soon. Dreaming of a white wedding, however, she insists on being given away by her father. The problem is, she doesn’t know who her absentee-father is. Her single-mother Donna (Meryl Streep) raised her singlehandedly, running “Villa Donna”, a modest inn on a Greek island. Days before the wedding she discovers—and shares with her bosom buddies—Donna’s diary which speaks of three amorous encounters around the time she was conceived. She is determined to realize her dream of walking down the aisle with her father, and so, unknown to Donna, she invites the three men: Sam (Pierce Brosnan), Harry (Colin Firth) and Bill (Stellan Skarsgard) to the wedding. If her own mother Donna can’t tell which of the three men has sired her daughter, how will Sophie be able to determine who her real father is? Who will finally give Sophie away?

The plot is thinner than crepe dough but Mamma Mia is undoubtedly enjoyable, thanks mostly to the great acting, and the lilting, foot tapping ABBA songs that have a way of burrowing into your memory. Because this is adapted from the Broadway musical of the same title, expect the characters to burst into song at the oddest moments, and forgive the production if the song is not the accurate expression called for by the situation. If the frothy story is good enough for Meryl Streep and Pierce Brosnan and is set on a Greek island, why complain? Just sit back and gorge on the eye candy that it is. If you want heavier stuff, see The Dark Knight, but if your bones are aching and your head is almost bursting from stress, then drop the aspirin and go see Mamma Mia. Seyfried is a real pro at singing, and delivers a star-making performance, a far cry from her roles in Mean Girls, Veronica Mars, and Big Love. Streep is obviously enjoying the sing-and-dance routine, at which she isn’t so bad, especially since the numbers rely more on fab costumes than on fancy choreography. Cinematography is a bit rocky: long shots with a little more action would have been better than close-ups, as in that part where Streep and Brosnan belt out “The Winner Takes it All”—it simply draaaags.

Not only is Mamma Mia’s plot thinner than crepe dough, the whole movie is in fact is like Cherry Crepes—looking yummy, brightly colored, sweeter than candy but hardly nourishing. Its one message is “go with the flow”: nothing is worth fretting about—it’s okay to change your mind, call off or stage a wedding at whim, stop asking who your father is. Very Greek-island living--just be accepting of the way things are, and everything will turn out all right after dancing to a couple of songs—with a literal Greek chorus in the background. As long as you know this type of feel-good movie can be addictive, you can go ahead and enjoy it for the therapeutic escape it can offer. At least, it’s way cheaper than a visit to the doctor.

The Dark Knight

Lead Cast: Christian Bale, Heath Ledger, Aaron Eckhart, Gary Oldman, Michael Caine; Maggie Gyllenhal, Morgan Freeman; Director: Christopher Nolan; Story: Christopher Nolan, David Goyer; Screenplay: Jonathan Nolan, Christopher Nolan; Cinematography: Wally Pfister; Editing: Lee Smith; Producer: Christopher Nolan, Charles Roven, Emma Thomas; Music: James Newton Howard, Hans Zimmer; Location: USA; Genre: Action; Running Time: 155 minutes; Distributor: Warner Bros.

Technical Assessment : 3.5
Moral Assessment : 2.5 (for violence)
Cinema Rating : V-14

Gotham City has a new hero, one who need not hide in a mask and lurk in the shadows as an uncontrollable vigilante. He is the newly appointed District Attorney Harvey Dent (Aaron Eckhart) who is determined to rid the city of mobsters and criminals within the boundaries of law and justice. He is able to round up 500 mob and thugs with the help of Lt. James Gordon (Gary Oldman) and Batman /Bruce Wayne (Christian Bale). This prompts the mob leaders to take the offer of the criminally insane anarchist and mass murderer Joker (Heath Ledger) to kill Batman. Joker attempts to lure Batman to reveal his true identity by killing high ranking and innocent citizens of Gotham everyday. The conscience-stricken Batman contemplates to prevent any more murders and asks Dent to call a press conference so he can reveal his true identity. However, during the press conference, as the crowd clamors for Batman to step up and face the consequences of his actions and before Bruce Wayne can come forward, Dent confesses he is the Batman. Dent, escorted by a police caravan, is transported to jail. Joker attacks the caravan en route to kill Dent but is captured and incarcerated by the police. However, being always one step ahead and with the help of corrupt police officers, Joker kidnaps Dent and Rachel, Dent’s fiancée and Bruce Wayne’s friend and former sweetheart. They are put in separate places laden with explosives. Unfortunately, only Dent is rescued. Rachel dies and half of Dent’s face gets badly burned. The experience corrupts Dent and transforms him into the vindictive Two-face. Now Batman must fight Joker’s murderous madness, Two-face’s vendetta and the lawlessness he seemingly inspired in the streets of Gotham.

This version of Batman departs from the customary comic-book archetypes and Tim Burton’s theatrical directorial interpretation. This time Batman is a darker and grimmer production that moves closer to real people. The Nolan brothers have successfully integrated the comic-book storyline with a more mature plot development, favoring drama over dash and allowing people to sympathize with characters’ flaws, transformations and weaknesses. No back-story was provided for Ledger’s Joker character but he portrays it with such chilling menace that no explanation is deemed necessary to understand his twisted logic and evil character. Also outstanding were the portrayals of Oldman and Eckhart. Technically, the movie leaves you at the edge of your seat with one explosive action sequence after the other and an exhilarating editing technique. The camerawork could have slowed down as viewers sometimes feel continuously moving even during serious dialogues and non-action scenes. However, the movie still feels a little long and overstretched with one too many scenes that serve no purposed save to explain side stories or provide more action.

Integrity and selflessness seem to be just romantic but forgotten virtues especially during times of fear and chaos. When one’s survival is threatened, what does one do? The movie suggests that most people would betray, harm or even kill someone else just to save their own life. Self preservation seems to be the ultimate objective of living, as the Joker tries over and over to prove that even the most decent and upright man can be corrupted when put under extreme pain and despair. But characters such as Commissioner Gordon, Rachel Dawes and Lucius Fox illustrate how selflessness, uprightness and dispensing justice within the boundaries of law are the best way to bring about order and stability in society. The scene where passengers of two ferry boats loaded with explosives were forced to blow the other in order to save themselves stresses that even sinners / criminals can learn to sacrifice themselves to do what is right.
These times, most societies are put to test with the many pressures and challenges in all fronts – economic, political, social, and psychological. Relationships and dignity are threatened by so many self-serving ideologies. We are almost always challenged to choose to save our own skins at all costs or to think of the good of others at the cost of our happiness, desires or comfort. Perhaps when one day people can think and care less of themselves can we finally start having a harmonious, peaceful and progressive society.

The film conveys this valuable message but unfortunately gets drowned by intense action and psychological violence, explosions, mayhem and aggressive behavior of the main characters. Most scenes may not be appropriate for young audience and parents should be cautioned against allowing their teenagers to watch the film alone.