IP Man

Cast: Donnie Yen, Sammo Hung Kam-Bo, Siu-Wong Fan, Ka Tung Lam; Director: Wilson Yip; Producer: Raymond Wong; Screenwriter: Edmond Wong; Music: Kenji Kawai; Editor: Cheung Ka-Fai; Distributor: Innoform Media; Location: China; Running Time: 105 min;

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

Wushu (chinese martial arts) Grandmaster Ip Man (Donnie Yen) is highly regarded in Foshan for his passion, discipline and fighting skills. Other martial arts masters seek training under him that they can transfer to their students in martial arts schools which Foshan is known for. Ip Man belongs to a rich family who hardly says no to people asking for help including those who want to learn wushu from him which is to opposition of his wife. When the Japanese occupation comes to China, the people Foshan and the property of Ip Man are not spared. The people succumb to hunger and cruelty of Japanese soldiers claiming lives including friends of Ip Man. During this difficult situation, the Japanese officers witness Ip Man's fighting ability and think he can be an asset to them.

"Ip Man" is a well-crafted semi-biographic film with combined fictions for cinematic effects and actual facts about the life of Mr Yip Man, a known personality in the field of Chinese martial arts and the highly regarded teacher of world's famous late martial artist Bruce Lee. The film successfully makes the viewers admire Yip Man as a person. All the actors effectively delivered their portrayal of their characters especially Donnie as Ip Man. The treatment of the story including choreography of fighting scenes, friendship and siblings’ drama, and cinematic effects showing gruesome war are commendable. Lights, sounds, music, and overall production design have likewise contributed in making the film more interesting and entertaining for viewers.

The film conveys that as the saying goes like 'great power', possessing skills and talents like martial arts also come with great responsibility. Responsible people use them at the right time and opportunity. But this is not easy because most of the time there will be opportunity to challenge the person's ability and discipline. A person true to his principle and ability will find a way to continue beyond any circumstances. But over and above the cliche of the saying about great power, the film also shows that material things can perish but not the friendship and value of family. As a person who showed love for his family, friends, and country is rewarded by kind remembering of the good deeds and contribution to society. "Ip Man" is a film worth viewing, however due to some scenes showing brutal killings children age 13 and below should be accompanied by adult.

BFF Best Friends Forever

Cast: Sharon Cuneta, Ai-Ai de las Alas, John Estrada, Gina Pareño, Chokoleit; Director: Wenn V. Deramas; Producer: Tess Fuentes; Screenwriter: Mel Mendoza-del Rosario; Music: Jessie Lasaten; Editor: Marya Ignacio; Genre: Comedy Drama; Cinematography: Sherman Philip So; Distributor: Star Cinema Production; Location: Manila, Philippines; Running Time: 105 min.;

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

Malaki ang suspetsa ni Honey (Sharon Cuneta) na nambababae ang kanyang asawang si Tim (John Estrada). Bagamat ilang ulit na niyang nahuhuling may kasamang iba, hindi niya matiyak kung sinu ang babae nito. Sa pagnanasang maiayos ang kanilang pagsasama, isasama siya ng kanyang nanay (Gina Pareño) sa gym upang magpapayat. Makikilala naman ni Honey ang isang dalagang inang dance instructress na si Frances (Ai-ai delas Alas). Magkakapalagayan sila nang loob hanggang maging matalik silang magkaibigan, Madalas ibida ni Frances ang kanyang nobyong si TJ kay Honey at nagbibigay pa ang huli ng mga payo upang mapadali ang pag-aayang magpakasal ng lalaki. Samantala, tinutulungan naman ni Frances si Honey upang maayos ang pagsasama nilang mag-asawa. Lingid sa kanilang kaalaman, iisa si Tim ang TJ. Masusubok ang pagkakaibigan ng dalawa sa sandaling magkabistuhan na iisa ang lalaking kanilang minamahal.

May tangkang maging kakaiba at orihinal ng pelikula subalit sa bandang huli panay slapsticks pa rin ang istilo ng pagpapatawa at hindi naka base sa diyalogo o sitwasyon. Marami rin eksena ang hindi na kailangan at nagsilbing pampahaba lang. Katulad ng nakagawian ng mga mediocre na pelikula, may mga susulpot sulpot na tauhan at subplots na pinagbubuhusan pa ng pansin bagamat malayo at Hindi mapagtatakpang ang kakulangan ng pelikula kahit dalawang bigating pangalan pa sa industriya ang kanilang ginamit. Sayang lamang ang husay ni Cuneta at delas Alas dahil walang lalim ang mga tauhang ibinigay sa kanila. Burara ang produksyon, kung mapapansin ang eksena ni Estrada nang palayasin siya ni Cuneta at natulog siya sa kanyang talyer, makikitang nakakabit sa pintuan ang “Miss AI-ai” at “J. Estrada”. Hindi man lamang napansin o ginawanan ng paraan ng cinematographer o direktor o editor. Bagkus, dahil marahil kakapirasong pagkakamali ay pinagbayaan na lamang. Sayang ang pera at panahong ugugugol sa isang pelikulang walang pagnanasang maging maayos at pipikitan na lamang ang mga pagkakamali. ­­

Ang BFF (Bestfriends Forever) ay tungkol sa pagkakaibigan. Sinasabi ng pelikula na mas matimbang ang pagkakaibigan kaysa sa dagok ng pagtataksil. Likas sa tunay na magkaibigan ang umunawa, magparaya at magpatawad.

Sa kabilang dako, negatibo at mababa ang pagtingin ng BFF sa kababaihan. Sa pelikula ang mga babae ay lokohin (si France na ilang lalake na ang pinagkatiwalaan), tanga (ang anak ni France na pumayag perhan ng pamilya ng boyfriend), utu-uto (ang anak ni Honey na gawa ng gawa ng project ng crush niya), walang tiwala sa sarili (si Honey na hindi man lamang kayang kumprontahin ang asawa) at nakadepende sa lalake ang kaligayahan. Bagamat isang komedya, malupit at hindi pa rin magandang halimbawa ang larawan ng kababaihan sa pelikula.

Star Trek

Cast: Chris Pine, Zachary Quinto, Leonard Nimoy, Eric Bana, Bruce Greenwood; Director: J.J. Abrams; Producers: J.J. Abrams, Damon Lindelof; Screenwriters: Roberto Orci, Alex Kurtzman; Music: Michael Giacchino; Editor: Maryann Brandon, Mary Jo Markey; Genre: ; Cinematography: Daniel Mindel; Distributor: Paramount Pictures; Location: Bakersfield, California, USA; Running Time: 126 min;

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

It’s the 23rd century. The spaceship helmed by Capt. Christopher Pike (Bruce Greenwood) is under attack by the formidable Narada spaceship under Capt. Nero (Eric Bana). Pike’s son, James Tiberius Kirk (Chris Pine) is about to be born as his mother is being evacuated from the besieged ship. As a young boy, Kirk is shown maniacally driving (without license, of course) a car to the Grand Canyon, outspeeding a flying traffic cop and almost plunging to his death. He climbs up the ledge, hardly unnerved. He is suspended by the Academy for a few years and in due time smuggled into the starship Enterprise. Here he continues to swagger around, gets the hots for the sultry but sensible Uhura (Zoe Saldana), and soon after appoints himself as Captain after his nearly fatal encounter with Spock (Zachary Quinto). Kirk gets the ship, but Spock wins his woman, so who’s the real winner? That is not resolved until Kirk and Spock put their heads together to save their ship from Nero the destroyer.

This 27-year old Star Trek series has many fans younger than itself. That’s because its producers have learned to adapt so that Star Trek may evolve and keep up with the times. You’ll like this 11th Start Trek movie, too, if you’re young at heart, which means even as a Senior Citizen card holder you’re still open to such things as warps, starships, time travel and black hole idiosyncracies. You’re also young at heart if you think movies are fun and do not bleed yourself dry looking for logic at every turn. Star Trek tries to strike a balance between then and now, old and new, courtly and cool. Pine as Kirk the hero is reminiscent of the 50s’ James Dean, a rabble-rouser without a cause; Quinto as Spock the other hero resurrects the refined and principled gentleman that girls fall for. Star Trek supports its story with a nifty script and good character development, and tries to inject a little naughtiness and humor in order to be more palatable at the box office.

What lessons may be learned from a movie with characters evocative of Noah’s Ark but using starships? One, Star Trek science is not to be taken as plausible—you’ll flunk Science class if you believe in it. Two, recognize the implausible and the impossible as entertainment—for instance, enjoy the sight of the spaceship Narada emerging from the Black Hole looking like a mutated cockroach magnified a quintillion times—harmless in spite of its size. Three, to win a woman, it’s better for a man to have gentle manners than cockiness and a strong libido. Four, no matter where humans find themselves in time and space, man-woman love will live on in the human heart, as the song “As Time Goes By” says, “You must remember this, a kiss is still a kiss…” Five, in times of danger, even spacewalkers still call on God—as when Capt. Pike utters upon seeing the the “giant cockroach” Narada threatening his spaceship: “Oh my God….!”

Wolverine

Cast: Hugh Jackman, Liev Schreiber, Danny Huston, Will I Am, Lynn Collins; Director: Gavin Wood; Producers: Hugh Jackman, John Palermo, Lauren Schuler Donner, Ralph Winter; Screenwriters: David Benioff, Skip Woods; Music: Harry Gregson-Williams; Editor: Nicolas de Toth, Megan Gill; Genre: Action/ Fantasy/ Sci-Fi; Cinematography: Donald McAlpine; Distributor: Twentieth Century-Fox Film Corporation; Location: Otago, New Zealand; Running Time: 107 min.;

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

In 1845 Logan and Victor (played as adults by Hugh Jackman and Live Schreiber) are shown as mutant half-brothers. Witnessing the murder of his father in their own home, the boy Logan discovers the deadly blades sprouting out of his knuckles and in his rage uses them for the first time, killing his father’s assassin. To dodge the murder charge, the two boys go on the run. Their closeness is demonstrated over the years as they fight side by side in the Civil War, World Wars I and II, and Vietnam. Booted out of the army in Vietnam, Logan and Victor are recruited into an elite team going on a secret operation led by army honcho Gen. William Stryker (Danny Huston). In Nigeria, however, Logan gets repulsed by the by Stryker’s atrocious methods and breaks away to lead the quiet and hidden life of a logger living with his lover Kayla (Lynn Collins). He is nonetheless found by Stryker who recruits him anew for a clandestine plan to create a Mutant of Mutants who will have all mutant powers. Meanwhile, Victor feels betrayed and abandoned by Logan and now turns into Logan’s enemy.

The action sequences in Wolverine are entertaining to watch. Like with all fantasy/sci-fi movies, if you wish to get your money’s worth, you need to suspend disbelief and to just savor the joy ride. Never mind if the movie doesn’t explain how the human body can manufacture steel blades that heed the command of anger. (Oh, we forget he’s a mutant.) If they can spread the technology it could come handy in the kitchen where you may want to chop firewood, or in the garden—to trim the hedges. But Wolverine is more sophisticated than that so this contraption is used to slice a helicopter’s rotor blades. Movie buffs who go for this genre will be thrilled to watch the adventures of this superhero; who cares about logic when what you seek is nonstop fantastic action? On the more serious side of movie making, Hugh Jackman serves as the redeeming factor of Wolverine: despite the fact that he is basically a tool in the action sequences, he takes his role seriously, as though he believed it could be real. That’s good for an actor, especially since the muscleman Jackman enjoys the support of countless female fans like the ones we sat next to in the theatre who would giggle, swoon, sigh, squeal or squeak every time the camera focuses on the actor’s physique.

We wonder, why the title? A wolverine is not a wolf, and Logan is not a werewolf. A wolverine, according to Encarta, is a “strong, dark-furred, usually solitary carnivore of the weasel family…” That harmless? Hmmm, maybe because “wolverine” just sounds nice. As we said, forget about logic. Anyway, the only saving grace CINEMA sees in yet another superhero is: this one refuses to be brutal without a cause. Now, that’s something. He would not work for a megalomaniac because he cannot stomach hurting innocent people—human beings who are simply counted as “collateral damage” by warmongering world powers. Despite his good heart, however, Logan/Wolverine registers as a pathetic idealist who is simply overpowered by evil elements around him. Superheroes need their memory, too, so what happens when they lose it?

Major Movie Star

Cast: Jessica Simpson, Vivica Fox, Cheri Oteri, Steve Guttenberg; Director: Steve Miner; Producers: Avi Lerner, Boaz Davidson, Danny Dimbort, George Furla, Joe Simpson; Screenwriters: April Blair, Holly Sorensen; Music: Dennis Smith; Editor: Nathan Easterling; Genre: Comedy; Cinematography: Patrick Cady; Distributor: Millennium Films; Location: ; Running Time: 95 min.;

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

Megan Valentine (Jessica Simpson) is a pampered but naive Hollywood actress who feels stuck in the roles she is given to play. She discovers one day that she is bankrupt, with her estate wiped off by her boyfriend. Totally clueless, she drives aimlessly until she meets an accident which she survives anyhow. Carless and homeless she sleeps outside a US Army recruiting office where she is found by a handsome guy in uniform. Since her loss (of property, bank accounts, etc.) has jolted her into taking a deeper look at her life, she applies to become a soldier, thinking she would then be taken seriously from now on. But life in a boot camp proves too tough for this silver-screen babe; she calls her agent to bail her out of the army but it’s too late. She has signed a binding contract which would constitute a crime to breach.

With a poster showing a glam blonde in military uniform Major Movie Star evokes images of an old Goldie Hawn starrer, Private Benjamin, but the former is not a clone of the latter. Private Benjamin carries a social message laced with humor; Major Movie Star is thick candy floss containing a message of personal transformation inside. It’s a relief to see that while Major Movie Star’s message is noteworthy, it doesn’t come across as heavy, preachy, or angst-laden, thanks to the over-all light-and-fluffy treatment of the whole story. It has light romance and lightweight entertainment, but offers a peep into how soldiers are trained. It is predictable, and with adaptability actress Simpson displays, she just might become—given the right roles—a major movie star in real life.

Somewhere along the 95-minutes of watching Major Movie Star, you could get the feeling that it could be propaganda for the US Army. Although not exactly a class-B potboiler, Major Movie Star seems almost too positive about army recruitment, focusing on wholesome (army) characters or experiences and watering down the nastier elements of training camp life. Nonetheless it tries to say that there are values worth training (or dying) for, like love of country, respect for authority, self-discipline, determination, duty-before-pleasure, maturity, firmness of character, etc. It may be a good movie to examine by young people entering adulthood and beginning to appreciate the value of self-respect. At least, girls can be helped to realize that if they want to be taken seriously, they should reconsider dumping their “hot blonde” or shampoo-model looks and cultivating their more lasting assets.

Ghosts of Girlfriends Past

Cast: Jennifer Garner, Matthew McConaughey, Brekin Meyer, Michael Douglas; Director: Mark Waters; Producers: Brad Epstein, Jonathan Shestack, Marcus Viscidi; Screenwriters: Jon Lucas, Scott Moore; Music: Rolfe Kent; Editor: Bruce Green; Genre: Romantic Comedy; Cinematography: Daryn Okada; Distributor: New Line Cinema; Location: USA; Running Time: 100 min.;

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

Connor Mead (McConaughey) is a famous and successful fashion photographer with commitment-phobia who treats women as a temporary source of entertainment. He discards women as fast as he flashes his camera ,immediately after sleeping with them. He attends the weekend wedding ceremonies of his younger Paul (Meyer) to discourage him of being perpetually tied to one woman. He almost succeeds in ruining the wedding as he flirts with the bride’s mother. On the eve of the wedding, his late uncle and mentor Uncle Wayne (Douglas), another womanizer, visits him and sends three ghosts to warn him to change his ways before it is too late. The ghost of girlfriend past (Emma Stone) is the 16 year old girl with whom Conner first slept after his childhood crush Jenny (Garner) was charmed by another man. He is shown all the women he played along with as well as his short lived relationship with Jenny a few years after graduation. The ghost of girlfriend present is Connor’s assistant (Noureen Dewulf) who shows him what the wedding guests, including Jenny, really think of him. The ghost of girlfriend future (Olga Maliouk) shows Connor’s funeral and Jenny’s wedding to another man. Now Connor must find a way to redeem his reputation and win the love of his life before it’s too late.

The movie is cute and enjoyable if you have nothing to do on a lazy afternoon. The Charles Dickens’ A Christmas Carol formula provides a new flavor to the usual “boy meets ex-girlfriend; boy discovers she is the one, boy tries to win ex-girlfriend before she marries another”. There are enough crisp and clever dialogues to save the film from becoming and over-romantic movie. The acting is so-so, but then again the characters do not require much from McConaughey or Garner except to be charming and agreeable. Douglas portrays a hilarious ghost who comes back to warn his protégée of the wrong he has taught. Overall the technical aspect is satisfactory while the creative part is a little bit lacking.

The Ghost of Girlfriends Past is full of sexual innuendos. Premarital sex is glamorized and accepted as part of the lifestyle of the successful, and marriage is portrayed worthless and restricting. The women in the film are shallow, pathetic and have a low self-worth as they consent to Connor degrading them again after they have been cruelly dumped. Connor’s moral awakening in the end does not make up for all his negative attitude.

Padre de Pamilya

Cast: Ariel Rivera, Cedric Jose, Isabella de Leon, Jacklyn Jose, Meila Romero, Tessie Tomas; Director: Cesar E. Buendia; Producer: Olivia de Jesus; Screenwriter: Cesar E. Buendia; Music: Peejay Basto, Nonoy Dadivas; Editor: Che Villafores ; Genre: Drama; Cinematography: Aristotle Licuanan; Distributor: ; Location: Philippines; Running Time: 95 min.;

Technical Assessment: 3
Moral Assessment: 2
CINEMA Rating: For viewers age 13 and below with parental guidance

Iginagapang ni Joselito (Ariel) ang kanyang pamilya mula sa kakarampot niyang suweldo bilang kawani ng gobyerno sa tanggapan ng munisipyo. Pinangungunahan niya bilang ama ang sama-samang pananalangin at pagpapasalamat sa Dyos ng pamilya. Sa kabila ng maselang isyu ng "graft and corruption" sa kanilang opisina ay sinisikap niyang manindigan sa kanyang prinsipyo ng matapat na paglilingkod. Ipinagmamalaki siya ng kanyang anak dahil dito. Subalit ikinayayamot naman ng kanyang asawang si Maggie (Jacklyn) ang prinsipyong ito dahil sa kakapusan ng pera sa pamilya. Hanggang kailan mapapangatawan ni Joselito ang sitwasyong ito samantalang nakaumang lamang ang mga pagkakataon na mairaos ang pangangailangan ng pamilya at maging masagana?

Payak ngunit malalim ang kuwento ng "Padre de Familia". Sagana ito sa simbolismo na binigyang buhay ng mahusay na pagganap ng mga tauhan. Epektibo ang pelikula sa paggising ng kamalayan at pagbibigay ng pagkakataon na makapag-isip ang manonood ng kaniya-kaniyang sitwasyon. Hindi nakapagtataka na makapag-udyok ito ng iba't ibang damdamin tulad ng galit, kawalan pag-asa, o mas positibong pananaw na kumilos para sa pagbabago ng lipunan at magsimula sa anumang paraan na akma sa kanilang sitwasyon. Bagamat "typecast" ang komikong karakter ni Tessie Tomas bilang mayor ay nakadagdag ito sa paghahatid ng aliw at mensahe ng pelikula. Sa kabuuan ay simple lamang produksyon, ang ibang aspetong teknikal ng pelikula ay naisalba ng makabuluhang kuwento at mahusay na pagganap ng mga aktor lalo na sina Ariel Rivera, Jacklyn Jose at Tessie Tomas.

Ang katiwalian ay isang talamak na sakit ng lipunan at ang taong nangangailangan ay maaaring mahawa at malugmok sa sakit na ito. Nakababahala ang mensaheng ito ng pelikula ngunit dapat harapin at pagnilayan ng mga manonood upang sila'y hindi maging biktima ng ganitong sitwasyon. Hindi naman maituturing na "between life and death" ang pangangailan ng anak ng computer na naging dahilan ng ama upang pumatol sa suhol. Nawa ay magsilbi itong aral sa mga anak na humihiling ng higit sa kayang ibigay ng kanilang magulang. Ang isang taong naninidigan sa katapatan ay dapat suportahan sa halip na udyukan lalo na ng pamilya. Hindi dahilan ang maliit na suweldo upang maging tiwaling kawani sa halip ay dapat bigyan ng dignidad ang hanapbuhay. Bagamat nagwakas ang pelikula sa nakababahalang pagyakap ng pamilya sa kasaganaan na nagmula sa maruming sistema, ay dapat bigyan-pansin ang tila naghuhumiyaw na tingin ng anak na nais humalagpos sa nakasadlakan nilang putik. Maaaring sa sulok ng mga mata ng kabataan ngayon ay may gayon din pagtingin. Huwag sana natin silang biguin sa pagnanais na umahon at makapagsimula muli.

Miss Pettigrew Lives for a Day

Cast: Frances McDormand; Amy Adams, Tom Payne, Mark Strong, Lee Pace, Shirley Henderson; Director: Bharat Nalluri; Producers: Nellie Bellflower, Stephen Garrett; Screenwriters: David Maggi, Simon Beaufoy; Music: Paul Englishby; Editor: Barne Pilling; Genre: ; Cinematography: John de Borman ; Distributor: Viva Films; Location: London; Running Time: 90 min.;

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

Miss Guinevere Pettigrew (Frances MsDomand) has just been fired from her 4th job as a governess and she finds herself jobless and desperate on a bench in a London train station because of her rigid moral views. The day progresses and she encounters one bad luck after another that she finally she decides to pose as the applicant sent by her previous employer to an American social climber Delysia Lafosse (Amy Adams). Unfortunately, the position as Delysia’s social secretary compromises her morals as the former uses her sexuality to attain success. Amidst the backdrop of the 2nd World War, Ms. Pettigrew and Delysia become friends as each opens a new world to the other.

Miss Pettigrew Lives For A Day is delightfully entertaining. Dormand and Adams deliver outstanding portrayals of an uptight and cloistered woman exposed for the first time to the world and a social climber with deep secrets. The comedy is powerful and leaves you thinking hard after the nervous laughter. The production design and music ingenuously delivers the feel and elements of circa pre-war era. Over-all, Nalluri succeeds in delivering an honest movie with a strong moral lesson without being preachy or corny.

The movie makes one very strong statement: morality cannot be compromised. We often hear people saying certain principles and ways are “already too old-fashioned” or are “no longer applicable in modern times”. And in order to have fun or be successful, certain lines are crossed without batting an eyelash. The movie proves otherwise. Although people need to adapt to ways of change and experience, the line of morality remains. While it is not prohibited to have fun and enjoy life, or to be assertive to achieve success, all must be done in a way that is proper, modest and good. At the end of the day, one finds true love and happiness when she remains true to herself and to what she believes in.

Parents should caution their very young children against watching because of some partial nudity and the tolerance of promiscuity and premarital sex.

Fuschia

Cast: Gloria Romero, Robert Arrevalo, Eddie Garcia, Armida Siguion Reyna, Gina Alajar, Iza Calzado, Tony Mabesa; Director: Joel Lamangan; Producer: Antonio P. Tuviera; Screenwriters: Joel Lamangan, Ricky Lee; Music: Vanda Guzman; Editor: Marya Ignacio; Genre: Drama; Cinematography: Carlos Montano; Distributor: APT Production; Location: Philippines; Running Time: 95 min.;

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


BRIEF FILM SYNOPSIS

An elderly woman causes a scandal in a small community when she takes in her terminally ill first husband while still living with her current partner. But even as gossip surrounds her, she begins to find the strength within herself to speak out against the town's corrupt mayor.


OUTSTANDING FEATURES OF THE FILM:

How a woman courageously handles marital infidelity of her spouse enables her to speak out the truth against injustice and corruption in local government.

Boses

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

Boses is a tale of compassion, strength of the human spirit and the redeeming power of music. It tells the story of Onyok, a 7-year-old victim of child abuse in the hands of his father. Rendered mute by a physical trauma that damaged his larynx, Onyok (Julian Duque), who lives with his father in a countryside village, is rescued by police and taken to a shelter for battered children owned and run by the kindly Amanda (Cherry Pie Picache). His speech disability aggravated by the psychological burden of being kept away from his cruel father makes Onyok despondent. One day, seeing the other children taunting a man who lives in a house near the shelter, Onyok becomes curious, especially as he later on hears violin music coming from the house. He soon discovers that the man is the violinist Ariel (Coke Bolipata), the brother of Amanda who has abandoned his career as a concert violinist in Manila to live as a recluse, apparently in grief and guilt over the death of his woman. Onyok’s fascination with violin music leads him to investigate around Ariel’s house when it is empty. Sensing the boy’s interest, Ariel in time subtly manages to encourage Onyok to try the violin, and soon discerns a prodigy in the timid boy. A friendship very gently blossoms between the recluse and the battered child, until the boy is ripe for a recital to be witnessed by his father.




Boses is more than just a movie; it is a film that communicates its message to the soul using the soul’s language: music. And not just “muzak” as often used by cinematic potboilers, but music issuing from the bowels of the violin in the fullness of its range—from playful to plaintive. Boses is a rarity in the Philippine cinema industry which tends to churn out movies catering to popular taste. It has an educational value in the sense that the violin—a prominent instrument of classical music with which only privileged Filipinos are familiar—becomes an indispensable part of the film. First, although the film is about child abuse, the protagonists happen to be violinists, thus, the ubiquitous presence of the violin in it. Second, the musical score cleverly utilizes violin music which complements and enhances the emotional facet of the film. Third, the two lead actors are real life violinists, therefore their performance is not faked, but rather a unique privilege for the viewer who enjoys a bonus concert along with the movie. Boses also brings to the fore the serene charm of the countryside as it uses open spaces—seashores and fields—as backdrop for the clandestine violin lessons between violin master and prodigy.





Considering that the majority of the cast are first-time cinematic actors, Boses comes across as a credible reflection of real life issues, such as child abuse, and to a lesser extent, man’s inability to cope with his own weaknesses—as exemplified by the alcoholic abusive father and the reclusive violinist. The abusive father takes out his frustrations on a helpless child; the reclusive violinist punishes himself by wallowing in sorrow and remorse. But the innate good in man is also highlighted in the character of Amanda who deals with her brother, the victim-children, and the violent father with great patience, empathy and compassion. Boses should be seen and enjoyed by as many people as possible, especially the young and those who have anything to do with the young, whether they are teachers, lawmakers, law enforcers, media people, guidance counselors, social workers, religious educators, or plain parents.