The Haunted; The Deaths of Ian Stone

Cast: Mike Vogel, Christina Cole, Michael Dixon, Jaime Murray, Jeff Peterson; Director: Dario Piana; Producers: Steve Christian, Brian Gilbert, Brendan Hood; Screenwriter: Brendan Hood; Music: Elia Cmiral; Editor: Celia Haining; Genre: Horror-Suspense; Cinematography: Stefano Morcaldo; Distributor: Cinestar; Location: Britain; Running Time: 87 min.;

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

Ian Stone (Mike Vogel) is an American ice hockey player living in Britain hopelessly in love with his girlfriend Jenny (Christina Cole). Driving home one night, he is mercilessly attacked by a corpse only to wake up the next morning as an executive missing his deadline. He is involved with Medea (Jaime Murray) but Jenny, along with some familiar faces is seen in the office. Later on, he is warned by an old man who tells him he is being hunted by the Harvesters, vampire-like creatures who feed on fear, who come after him whenever the clock stops. However, Ian does not stay dead and usual wakes up with a new life in a new place, only for the Harvesters to chase and kill him again. Again attacked by a Harvester Ian runs home to Medea only to be stabbed in the stomach. He wakes up in another person’s life but this time Jenny and the Harvesters link him to the truth. He discovers the truth behind his identity and a force more powerful than fear and pain.

The Haunted, originally titled The Deaths of Ian Stone does not deliver the usual screams, and creeps of a horror film but director Piana knows how to intensify the tension of Hood’s intriguing script. The performances from Vogel and Murray are decent and the special effects are acceptable. However, the production design is a spin off from the Matrix and Blade while the lighting is too bleak for one to appreciate what is happening in the scenes. While the concept is creative and unique, the filmmakers fail to translate it cinematically.

There is no greater or stronger force in this world than genuine love. Love brings conversion and melts even the toughest heart so as to learn compassion and sympathy. Love conquers hatred and discrepancies. Love bridges distance and close gaps. A person in love will overlook physical and social differences of color, race, creed or social standing. Love brings out the best in people because real love is selfless and willing to sacrifice for the sake of what is good and true. Love triumphs over fear, pain and death. Someone who is truly in love will exude goodness and benevolence.

The movie poetically teaches us about love and how one who discovers this will overcome all other obstacles to truth and goodness.

However, because of the gruesome scenes of Ian Stone’s death, very young children may be traumatized or disturbed. It is advisable that mature viewers accompany their children when watching the movie.

Ice Age 3; Dawn of the Dinosaur

Cast: Romano, John Leguizamo, Denis Leary, Simon Pegg, Sean William Scott, Josh Peck, Queen Latifah; Director: Carlos Saldhana; Producer: Lori Forte John Donkin; Screenwriters: Michael Berg Peter Ackerman, Yoni Brenner; Music: John Powell; Genre: Animation/ Sci-Fi Adventure; Distributor: 20th Century Fox; Location: Pre-Historic Times; Running Time: 87 min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers of all ages

Ice Age 3 opens with the usually gentle-mannered Manny (Ray Romano) now a nervous wreck because Ellie (Queen Latifah) is due to give birth anytime. Eventually, Sid (John Leguizamo) turns from delighted to devastate as he realizes he will soon become an outcast to the mammoth family. Meanwhile Diego (Dennis Leary) thinks he has lost his prowess as a hunter when he fails to capture a gazelle he has been stalking and decides to leave his herd. But before he is able to do so, Sid falls into an ice crack and discovers three eggs he believes were abandoned. Despite warning from Manny, Sid decides to adopt the eggs and soon they hatch with 3 baby T-Rexes. Oblivious to what they are, Sid happily ignores his friends warnings and raises his 3 new babies until the angry mommy T-Rex shows up and takes her 3 missing infants and Sin into a hole in the ice. Now Manny and Diego, with a very pregnant Ellie and the usually mischievous possum brothers and the help of their new friend Buck, a one eyed underground living weasel, must rescue Sid in a land beneath the ice where an entire world of dinosaurs have survived.

This 3rd installment of the sub-zero animation comes with a strong storyline and clever script. The CGIs are amazing as audience is treated to a majestic visual depth of 3D animation. The action sequences are exciting both for the intended viewers and their adult companions. The cast obviously has already found their comfort zones and interacts with each other well. And as always, the quirky saber-toothed squirrel Scrat steals the scenes whenever he appears. The movie is well-paced and enjoyable.

In between Sid’s mushiness, Manny’s one-note laggardness are wholesome life-lessons about family and friendship being more important above all. Just like the first 2 films, Ice Age 3 emphasizes the importance of learning to go past ones differences and get along to live in harmony. Being one family and community necessitates going past our personal agendas and individual desires. Instead it calls for us to focus on protecting the interest of each other at all costs.

The plot is straightforward and simple enough for the children to follow although some jokes are better suited to an older audience, the film still delivers a lovely entertaining 97 minutes for the entire family.

Villa Estrella

Cast: Geoff Eigenmann, Jake Cuenca, Maja Salvador, Shaina Magdayao; Director: Rico Maria Ilarde; Producer: Marizel Samson-Martinez; Screenwriters: Joel Mercado, Rico Maria Ilarde, Adolfo Alix, Jr., John Paul Abellera; Music: Malek Lopez; Editor: Renewin Alano; Genre: Horror; Distributor: Star Cinema; Location: Manila, Batangas; Running Time: 90 min;

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

Napadpad ang magkakabata at dating magkasintahan na sina Anna (Shaina) at Alex (Jake) sa Villa Estrella, isang lumang resort na pag-aari ng pamilya nina Anna at pinag-iisipan na i-renovate upang muling pagkakitaan. Labag sa kalooban ni Anna ang pagsama kay Alex dahil may bago na siyang kasintahan, pero kagustuhan ng kanyang ama na sumama siya at ayaw niya itong suwayin. Kinailangan nilang manatili ng isang gabi para matapos ang mga dapat asikasuhin at makapag-usap sina Anna at Alex upang maibalik ang relasyon katulad ng nais ng kanilang mga magulang. Samantala si Anna ay matagal ng binabagabag ng masamang panaginip tungkol sa babaeng nalulunod sa swimming pool at tumindi ang epekto nito sa kanya sa pananatili niya sa lumang resort. Maliban kay Alex ay nakapagpayapa naman kay Anna ang ibang tao na nadatnan niya sa Villa kasama na si Giselle or Andrea (Maja) na isa palang multo at siya lang ang nakakita. Ang sandaling pananatili ni Anna sa Villa ay napuno ng takot dahil sa mga kakaibang kaganapan na nakakabagabag kaya nagpasundo siya sa kanyang nobyo na si Dennis (Geoff). Ano ang kaugnayan ng multong si Andrea sa mga nangyayari at ano ang pakay niya kay Anna?

Hilaw ang kuwento at puno ng katanungan kung paano nagkaroon ng mga kaganapan na ipinakita sa pelikula. Sinabayan pa ng hilaw na pag-arte ng mga pangunahing tauhan. Subalit bumawi ang mahinang kuwento at pag-arte ng mahusay na paglalapat na tunog, musika, pangkalahatang disensyo ng produksyon at ilang special effects lalo na ang make-up ng batang nagmumulto. Malaki ang naitulong ng mga nasabing teknikal na aspeto ng pelikula upang magkaroon ito ng saysay. Walang tipikal na sigawan ng takot subalit tagumpay ang direktor sa paghahatid ng mga eksenang nakakagulat tulad ng paglitaw ng mga imahe ng multo bagamat madaling malaman ng manonood kung kelan ito mangyayari. Sa kabuuan ay nakitaan ng pagsisikap ang gumawa ng pelikula na tutukan ang aspetong teknikal. Ganon pa man ay nakakahinayang na hindi masyadong tinutukan ang pag-aayos ng daloy ng kwento na sa kalaunan ay siyang higit na tumitimo at nagmamarka sa isipan ng manonood.

Higit sa lahat, ang buhay ng tao ay mahalaga at dapat proteksyunan. Hindi naging sensitibo ang pelikulang "Villa Estrella" sa pagpapahalagang ito. Sa halip ay ipinakita nito na isang mapaniil na ama ang pinagtiisang pakisamahan at sundin ng anak dahil sa habilin ng namayapang ina. Isang anak na nagpakabulag sa katotohanan ay umayon na ibaon sa limot at itikom ang bibig tungkol sa nasaksihan krimen na ginawa ng ama. Nagwakas ang pelikula na matagumpay sa paghihiganti ang mga ligalig na kaluluwa at pare-parehong nagbuwis ng buhay ang mga inosente at responsableng tao sa krimen. Maliban sa saglit na eksena ng paghingi ng tawad ng ama bago malagutan ng hininga na halos di napansin ay wala ng kaliwanagan o inspirasyon man lamang na inihatid ang pelikula. Sa kabuuan ay nakababahala ang naging wakas ng pelikula dahil di naging payapa ang kaluluwa sa kabila ng mga buhay na nawala.

Pitik Bulag

Cast: Marco Alcaraz, Paloma, Victor Neri; Director: Gil Portes; Screenwriter: Eric Ramos; Genre: Drama; Distributor: ALV Entertainment; Location: Manila; Running Time: 100 minutes;

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

Si Angelo (Marco Alcaraz) ay isang stuntman sa mga pelikula ng kanyang idol na si FPJ. Simula ng mamatay ang huli, humina na ang kita ni Angelo dahil wala nang gumagawa ng pelikulang action. Hindi rin masyadong sinusuwerte si Angleo sa mga audition para sa pelikula kung kaya’t wala siyang maipangtustos sa kanyang asawang si Kara (Paloma) at isang anak na iniwan sa probinsiya. Minsang mangungutang siya sa isang Uncle na dating kasamahan ng kanyang tatay sa trabaho ay makakapulot si Angelo ng isang bag na puno ng pera na umaabot ng sampung milyon. Naisip niyang ito na ang kanyang swerte kung kaya’t dali-dali niyang inilipat ang pera sa kanyang bag. Malalaman niyang ang pera pala ay nahulog galing sa sasakyan ng mga nagnakaw sa isang bangko. Ang malaking pang problema ay naiwan niya ang kanyang wallet kung saan niya napulot ang pera. Nasa panganib ang buhay niya pero ipagsasaalang-alang kaya niya ito para sa inaakala niyang suwerte na babago sa buhay at kinabukasan ng kanyang pamilya?

Maganda sana ang kuwentong nais iparating ng Pitik Bulag. Maraming bagong elemento sa paglalahad ng istorya ang makikita sa pelikula. Kaiga-igaya ang paggamit ng pelikulang Pilipino bilang kalugaran ng kuwento. Maihahantulad nga naman ng buhay natin sa isang artista na pilit hinahanap ang kinang ng bituin. Ngunit malaking palpak ang napakarami ring butas sa kabuuan ng pelikula. Ang mga ginawang insidente ay pawang nakaugat sa katangahan. Maging ang maraming imposibleng eksena ay pawang kamangmangan pa rin ang inspirasyon. Wala rin gaanong mararamdaman sa pag-arte ng mga tauhan. May ibubuga pa sana sila kung nabigyan pa ng mas malaman na kuwento at diyalogo. May ilang parte naman sa pelikula at ilang linya na nakakaaliw pero sa kabuuan ay nakakabagot ang malabis na kapalpakan. Maging ang ilang eksena ng paghuhubad ay pawang mga hindi kailangan sa kuwento at nakasira lamang sa kabuuan nito.

Ano nga ba ang gagawin mo sakaling makapulot ka ng malaking pera na maaring bumago sa buhay mo at ng pamilya mo? Ito ang nagsusumigaw na tanong sa Pitik Bulag. Kailan nga ba nagiging tunay na marumi ang pera? Kapag ito’y ninakaw lamang? Paano kung ito ay kusang dumating sa iyo ng hindi mo inaasahan? Sa kabilang banda, pinag-isip ng pelikula ang mga manonood kung ano nga ba ang nararapat gawin sakaling maharap sa ganitong uri ng sitwasyon. Dalisay ang puso ni Kara na ninais ipamahagi ang pera sa iba lalo na sa mga pamilya ng biktima ng pamamaslang ng mga magnanakaw ng pera. Si Kara rin ang nagsilbing kunsensiya ni Angelo sa kung ano ang tama at hindi tamang gawin sa perang napulot nito. Nalagay rin sa alanganin ang buhay nila Angelo dahil sa pag-angkin nila sa pera. Tunay na hindi dapat angkinin ang anumang hndi sa atin lalo ang perang hindi pinaghirapan at galing sa masama. Pero nakababahala pa ring palabasing isang bayani ang isang taong madaling masilaw ng salapi. Si Angelo ay kitang likas rin ang katamaran na umaasa lamang sa suwerte. Ang ituring na kabayanihan ang kanyang ginawa ay tunay na nakababahala. Higit sa lahat, nakababahala ang maraming eksena ng hubaran sa pelikula. Nariyan pa ang lesbianismo at homosekwalidad na pawang walang kinalaman sa kuwento at halatang inilagay lamang para maging kontrobersiyal ang pelikula. May ilang karahasan din sa pelikula na nararapat lamang sa mga manonood 18 gulang pataas.

Transformers: Revenge of the Fallen

Cast: Shia LaBeouf, Megan Fox, Josh Juhamel, Tyrese Gibson; Director: Michael Bay; Producers: Ian Bryce, Tom DeSanto, Lorenzo di Bonaventura, Don Murphy; Screenwriters: Ehren Kruger, Roberto Orci; Music: Steve Jablomsky; Editor: Roger Barton, Tom Muldoon, Joel Negron, Paul Rubell; Genre: Action/ Adventure/ Science Fiction; CinematographBen Seresin; Distributor: Dreamworks; Location: New Mexico, USA; Running Time: 150 min.;

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

Long ago, the first time Transformers came to Planet Earth, there took place a huge war wherein the key to a giant weapon was hidden. Now, the robots are back—Optimus Prime, Bumblebee, Megatron, etc. The Decepticons are the villains in the story, and they’re headed for Earth under the leadership of The Fallen (voice of Hugo Weaving). The Fallen has sent an advanced troop to resurrect Megatron (voice of Hugo Weaving) and kill Optimus Prime (voice of Peter Cullen), intending to invade Earth in order to get the missing key and the giant weapon it runs, and then destroy Earth’s sun. But first they must capture Sam (Shia LeBeouf) and his girlfriend Mikaela (Megan Fox) who are in possession of a precious shard of the Allspark. A destructive chase after this otherwise insignificant human being Sam represents the meat of the story.

Transformers: Revenge of the Fallen has all the characteristics of a bedtime story for preschoolers: it does not have to be a coherent story; its plot need not be logical but it must offer non-stop ticklers to engage the imagination; its characters do not have to be credible but some of them need to be cute; the fight between good and evil is so protracted that in the end the kids won’t care a hoot who wins. The movie’s length is the other thing that makes it perfect as a bedtime story for kids who can’t seem to have enough: at two and a half hours running time, it will surely put them to sleep before it ends. The big thing about Transformers: Revenge of the Fallen is the special effects. Although most of the time, the robot wars make it hard to distinguish the bad robots from the good robots, the men behind the computers must be given Oscars for their labors. Makes you wonder what they’re going to come up with next. Here it’s handsome cars morphing into Hulk-y robots, and there are robot flies, robot ants, robot pumas, robot blenders, robot girlfriends—ooops, no offense to Megan Fox, but the camera (or the cameraman) is fixated on making her look like Angelina Jolie’s baby sister minus the brains. But that’s okay because she’s paired with Shia LeBeouf who himself can pass for the baby brother of Russell Crowe minus the brawn. Meowing aside, if we could we would award the CGI geniuses.

Let’s give it the benefit of the doubt and say Transformers: Revenge of the Fallen has good intentions. Besides keeping the movie clean enough for young viewers, it also offers you tidbits on which to build your own moral conclusions, although that might seem like squeezing milk out of pyramid blocks. Some practical lessons that pop up at the oddest moments are: one, marijuana should be kept out of reach of adults; 2, pretty girls who throw themselves at you are always suspect—especially when they can grow metal tails that can strangle the hell out of you; 3, handsome cars are more reliable than pretty girls—they’ll be there for you till kingdom come; but 4, look twice before buying your sons Matchbox cars—you’ll never know when a shard from outer space will transform them into nasty little bug robots—it might be safer to get them Megan Barbies instead. Ho-hum.

Echelon Conspiracy

Cast: Shane West, Edward Burns, Ving Rhames, Yuriy Kutsenko; Director: Greg Marcks; Producers: Alexander Leyviman, Steve Richards, Roee Sharon; Screenwriter: Michael Nitsberg; Music: Bobby Tahouri; Editor: Joseph Gutowski, James Herbert; Genre: Action/ Adventure; Cinematography: Lorenzo Senatore; Distributor: Hyde Park International; Location: Bangkok, Thailand; Running Time: 105 min.;

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

Max Petetson (Shane West) comes to Thailand to render his computer expertise, particularly password protection, to a certain company. After finishing the job, he receives a mysterious gift through mail sent at his hotel that turns out to be a cutting-edge, top of the line cellular phone. He receives equally mysterious text messages from an unknown sender. The first one is a warning for him to change his flight home. He follows and the plane he was supposed to be on crashes. Then he receives another text message suggesting him to invest in a certain stock and its price skyrockets by more than 300%. The text message instructs Max to go to a casino in Prague, Czech Republic and the sender recommends slots machines and blackjack tables where winning is guaranteed. Unfortunately, Max’s good luck draws attention of the casino’s security chief, John Reed (Edward Burns), and of FBI agent Dave Grant (Vhing Rhames). Everyone wants to know whose sending the text messages and what will they instruct Max next. It then turns out that Max’s life for cellular phone’s history reveals a body count.

Echelon Conspiracy’s concept could’ve been promising but the shallow storytelling and the series of implausible events leaves the feature with many loose ends. How could a machine be so powerful and omniscient? The action sequences appear to be less exciting as it should be and the performances of the casts are apparently misguided. There are some scenes that seem too long that eventually looses audience’s interest. Too much computer jargons also alienates the audience at times and the supposedly suspense scenes become less thrilling towards the movie’s end.

In the history of humankind, man has attempted for countless times to be God-like in manipulating the world. Consequently, man has failed in all these countless attempts for they can never contain the power of God. Echelon Conspiracy is another attempt to put to test the extent of man’s power to control the universe through modern-day machines like computers and cellular phones. Such machines are created to make human lives easier but it can also do otherwise. In the evil intention of invading one’s privacy and accumulating illegal wealth, such machines can also be of help. It is clear in the film that the one manipulating is evil, however, Max’s character surrenders to the wills of the said sender for the promise of fortune without hesitation and remorse in the end. This makes the entire feature disturbing. Until he has really learned the danger the machine could bring to him, he has no plans of questioning its motives as long as it bring him good luck. Ultimately, it is disturbing how the government could manipulate human beings for no specific noble cause. This means, humans themselves, and at the authority at that, creates machines for their own destruction and they do not realize it. If this is the case, we are really indeed living in a dangerous world.

The Coffin

Cast: Karen Mok, Ananda Everingham, Napakpapha Nakpasitte, Andrew Lin, Suchao Pongwilai, Tassawan Seneewongse, Aki Shibuya; Director: Ekachai Uekrongtham; Directors: Mickey M. Bonura, Daniel Ingraham; Producer: Shawn Ramagos; Screenwriters: Mickey M. Bonura, Daniel Ingaraham; Music: Marco Werba; Editor: Kristopher Hoffman; Genre: Horror; Cinematography: Kristopher Hoffman; Distributor: Scorpio East Pictures, MediaCorp Raintree Pictures & Cathay-Keris Films: Location: Thailand; Running Time: 90 min.;

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

Two people journey to Thailand to participate in a horrifying ritual to save one’s self or one’s beloved. Chris‘s (Ananda Everingdam) is a claustrophobic architect whose fiancé, Mariko, is dying slowly while Sue (Karen Mok) is a health conscious nutritionist who just learned she has cancer. After participating in the Thai ritual, they momentarily experience miracles as Mariko awakens and Sue escapes a near death accident and is declared cancer-free. However, the happiness is short lived as a woman and her baby haunt Chris, and Sue’s fiancé dies but continues to stay with her. Soon they find themselves with a paranormal professor as they frantically try to exorcise the ghosts and reverse their luck before another misfortunate befalls on them.
For a horror film, The Coffin is exquisite as it features beautiful Thailand with its magnificent century old temples and historic cemeteries. The production design is cinematically eerie with scenes like hundred of coffins arranged around a giant Buddha and a closet stretching endlessly with mirrors facings each other on both sides. The horror is brilliant as it delivers a shock right after one has relaxed with the seemingly harmless settings. The performances are raw and vulnerable, drawing the audience with the characters’ lives and emotions. However, the script and storyline fail to develop seamlessly with a few loose ends here and there. The efforts to add drama at the end is weak and clichéd. Overall, the movie is thrilling enough to hold the audience for an hour and half at the edge of their seats.
The movie is inspired by a controversial north eastern Thai ceremony where fate and karma are merely elements of ritual as disturbing as lying in a coffin. The movie, though, takes this a step further and says the world is merely balanced by good and bad karmas where receiving a good fortune must necessarily bring on a misfortune to somebody else. As much as we would understand how hopeless and helpless people cling on to any prospect of salvation, we must also be reminded that the best piece of hope is one’s inner strength that comes from one’s fervent prayers. As Catholics, we throw up our hands and resign to the will of the Almighty but we also do so with a conscious desire to participate in the sufferings and offerings of the Body of Christ. We do not rely on karma but depend on the mercy and blessing of our Creator. And while doing so, we also employ all means humanly possible to alleviate and solve our problems and concerns. We need to emphasize the value of prayer and self-reliance instead of the quick fixes and easy way out.

The Taking of Pelham 1 2 3

Cast: Denzel Washington, John Travolta, Luis Guzman, Victor Gojcaj; Director: Tony Scott; Producers: Todd Black, Jason Blumenthal, Tony Scott, Steve Tisch; Screenwriters: Brian Helgeland, John Godey; Music: Harry Gregson-Williams; Editor: Chris Lebenzon; Genre: Crime/ Drama/ Thriller; Cinematography: Tobias A. Schliessler; Distributor: Columbia Pictures; Location: New York, USA; Running Time: 106 min.;

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

A psychopath with an axe to grind against New York City’s bureaucracy, Ryder (John Travolta) hijacks the subway train Pelham 123, aided by his band of thugs (Luis Guzman, Victor Gojcaj, Robert Vataj). With the 17 passengers and the train conductor held hostage, Ryder makes known his demands to the train dispatcher on duty, Walter Garber (Denzel Washington), a high ranking transit official facing suspension for suspicion of taking a bribe. Ryder wants $10 million within one hour, or he’ll kill the passengers one by one. When police hostage negotiator Lt. Jack Cambria (John Turturo) takes over as Garber goes off duty, Ryder reacts violently and shoots the conductor dead. He wants only to negotiate with Garber whose unruffled manner of dealing with him seems to rub the psychopath the right way.

The Taking of Pelham 123 (2009) is a second remake of the 1974 film, novelist John Godey’s best seller (with the same title) which was also made into a TV movie in 1998. For a psychological thriller with a lot of action thrown in, this version rather lacks the tension needed to evoke terror in the audience. Is it due to the lighting? The music? The photography? Perhaps Travolta as the hooligan boss doesn’t look menacing enough in spite of his handlebar moustache and the four-letter words he relentlessly spews out. When he flashes that smile at Washington, who’d believe he’s sick? Why, he looks “as normal as Kansas in August”—as amiable, in fact, as a headwaiter at an Italian pizza joint. The thugs racing to escape with bags of cash are captured to fast too soon. Washington is credible enough as the low-key Garber, sporting a pot belly for his family-man role, and speaking his lines as though he meant them.

This hijack movie is more about developing an odd friendship than collecting ransom. It seems providential that the calm train dispatcher happens to be on duty when the psychopath hijacker only needs to be listened to. Perhaps if his folks paid attention to him as a kid he wouldn’t be the criminal he is now, frittering away precious minutes making small talk with the negotiator. Well, not really that small, because it leads to a revelation—without which the story would just annoy you with cusswords that outnumber the bullets fired. Although the ending appears to be redemptive for both Ryder and Garber, the movie’s moral ambiguity should be pointed out. Ryder the psychopath is raised a Catholic, prays, then makes the right decision—fine. Garber risks his life and more than makes up for his past indiscretion—good. The ransom money is recovered—who could ask for more? But what about the body count? Cops dying in line of duty, hapless train passengers shot in cold blood as though in a video game. Due to the troubling content, CINEMA can only approve The Taking of Pelham 123 for mature audiences.

Kamoteng Kahoy

Cast: Nash Aguas, Robert Villar, Gloria Romero, Ana Capri, Sharlene San Pedro, Yul Servo; Director: Maryo J. delos Reyes;Screenwriter: Ricardo Lee; Genre: Drama; Distributor: APT Entertainment; Location: Bohol; Running Time: 100 min.;

Technical Assessment: 2.5
Moral Assessment: 3.5
CINEMA Rating: For viewers of all ages

Payak at tahimik ang pamumuhay ng mga tao sa San Isidro sa gitna ng ilang komplikasyon ng kanilang mga relasyon. Malapit na magkaibigan ang mga batang sina Ariel (Nash Aguas) at Rosemarie (Sharlene San Pedro). Dahil sa kahirapan ng buhay, si Ariel ay nais ipaubaya ng kanyang ina (Ana Capri) sa kanyang ama (Gerard Madrid) na may iba nang pamilya, ngunit labag ito sa kalooban ni Ariel na hindi pa rin mapatawad ang ama sa ginawa nitong pag-iwan sa kanila. Maayos naman ang pamilya ni Rosemarie at malapit sa mga ito si Ariel. Sa kanilang eskuwelahan, nagtitinda ng mga kakanin si Lola Idang (Gloria Romero) na may matinding hinanakit sa kanyang mga anak na umiwan sa kanya liban sa isa (Yul Servo). Malalason ang isang daang mga mag-aaral kasama na sina Ariel at Rosemarie pagkatapos kumain ng bibingkang kamoteng kahoy ni Lola Idang. Mamamatay si Rosemarie habang makakaligtas naman si Ariel. Labis na maapektuhan si Ariel sa pagkamatay ni Rosemarie, ngunit mapapalapit naman ito kay Atong (Robert Villar) ang kanilang kaklaseng walang kaibigan dahil sa kanyang itsura, amoy at pag-uugali; lingid sa lahat, si Atong ay minamaltrato ng kanyang malupit na tiyahin (Irma Adlawan). Kamumuhian si Lola Idang ni Ariel at ng mga magulang na namatayan, at halos kukulungin naman ito ng kanyang anak upang hindi tugisin ng mga mga galit na taong bayan.

Isang mapangahas na kuwento ang Kamoteng Kahoy, na hinalaw mula sa isang tunay na pangyayari sa lalawigan ng Bohol ilang taon pa lamang ang nakakalipas. Naipakita nang maayos ang payak na pamumuhay sa probinsya. Maganda ang mga tanawin at nakakaaliw sa pagkapayak ng produksiyon. Magagaling ang mga nagsipagganap lalo na sina Irma Adlawan, Robert Villar, Nash Aguas, at Gloria Romero bagama’t hindi gasinong lumalim ang kanilang mga karakter gawa ng pagkaka-”sabog” ng istorya. Pinilit maging maayos ang daloy ng kuwento ngunit sadyang nakakalito sa dami ang mga kuwentong pinagtagni-tagni at isiniksik sa isang malaking trahedya. Hindi mo tuloy malaman kung kanino o sa ano ba talaga umiinog ang kuwento? Ang dapat sanang bigat ng kuwento na kay Lola Idang at ang kanyang panindang kamoteng kahoy (kaya nga ito ang pamagat ng pelikula, dip o ba?) ay hindi gasinong naramdaman pagkat malabo ang pagkakalahad ng kanyang pagkatao. Nangibabaw naman ang punto de bista ni Ariel dahil laman siya ng pelikula mula simula hanggang wakas ngunit pawang karaniwan lamang ang kanyang pinagdaanan, di tulad ni Atong na may pinakamakulay na buhay ngunit ginamit lamang na “tungkod” sa kuwento ni Ariel. Ito ang matinding problema ng pelikulang maraming tauhan: hindi nabibigyan ng kaukulang pansin ang halaga ng bawat isa. Malaki sana ang potensiyal ng pelikula, subalit lumabas itong parang bibingkang napakaraming budbod, bukayo, latik, asukal at niyog sa ibabaw ngunit hilaw naman ang kamoteng kahoy na binubudburan.

Mapapatawad na natin ang minsa’y eksaheradong pag-arte ng mga naghihinanakit na tauhan sa Kamoteng Kahoy sapagkat malinaw at kahanga-hanga ang mensahe ng pelikula ukol sa pagpapatawad. Ipinasisilip nito sa atin kung gaanong kahirap matutuhan ang pagpapatawad—mahapdi at sadyang mapait na proseso ito na hindi kailanman maaring ipilit o apurahin. Habang matinding hinagpis ang pinagdadaanan ng buong bayan sa nangyaring trahedya sa mga bata ay may kani-kaniya naman silang suliranin na kinakailangan nilang lutasin sa loob ng kani-kanilang mga tahanan. Dalisay ang debosyon ni Lola Idang sa 20-taong pagtitinda ng kamoteng kahoy sa paaralan, ngunit nababalutan pa rin ang kanyang katauhan ng poot sa kanyang mga anak—bagay na naging sanhi ng walang saysay na pagkamatay ng isang-daang mga bata at halos nagtulak sa kanya sa tiyak na kapahamakan. Ipinakita sa Kamoteng Kahoy kung paanong ang galit ay nagiging isang matinding lasong kumikitil sa kaluluwa—higit pa sa lasong pumapatay lamang sa katawan. Hangga’t may galit at walang pagpapatawad sa puso ay hindi kailanman magiging maayos ang buhay ng isang tao, ng isang pamilya, at maging ng isang bayan.

Shinjuku Incident

Cast: Jackie Chan, Naoto Takenaka, Daniel Wu, Xu Jingle, Bingbing Fan, Lam Suet, Masaya Kato; Director: Derek Yee; Producers: Willie Chan, Solon Su, Jackie Chan; Screenwriters: Derek Yee, Tin Nam Chun; Music: Peter Kam; Editor: Ka-Fai Cheung, Chi-Leung Kwong, Man To Tang; Genre: Action/ Drama; Cinematography: Nobuyasa Kita; Distributor: Emperor Motion Pictures; Location: China, Tokyo (Japan); Running Time: 114 min.;

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

Steelhead (Jackie Chan) lands in Japan’s Wakasa Bay with hundreds of illegal Chinese immigrants in search for a better life in the 90’s when China’s economy was far from being robust. But Steelhead, a simple farm worker from a remote Northeastern Chinese village, heads for Tokyo for the primary purpose of searching for his long lost girlfriend Xiu Xiu (Jinglei Xu). In the Shinjuku redlight district, he joins other illegal refugees including Jie (Daniel Wu) and Old Ghost (Suet Lam) who show him the ropes to survive in the harsh environment. They manage to do so by indulging in petty crime and taking on grueling work that no Japanese is willing to do. They learn to steer away from immigration officers as well as notorious gangs. Naturally kind, Steelhead saves a cop Inspector Kitamo (Naoto Tasenaka) from death and develops an unlikely friendship with him. He finds out that his girl friend Xiu Xiu has taken a Japanese name and is married to a rising Japanese Yakuza gangster Eguchi (Masaya Kato). In the turf wars between the different Japanese crime lords, the illegal immigrants are enmeshed. By a twist of fate, Steelhead saves the life of Eguchi, Xiu Xiu’s husband. Later, Eguchi takes Steelhead under his wing. In acquiescing to live a life of crime, Steelhead intends to improve the lives of his fellow refugees. How will each one fare in the new set-up?
Being a Jackie Chan film and directed by well-known Derek Yee, Skinjuku Incident (also titled San Suk Si Gin or Xin Su Shi Jian in Chinese) was the most awaited picture in the Hongkong International Film Festival held in the summer of 2009. It did not disappoint his fans but it presents an entirely different Jackie Chan from the usual superhuman persona that his admirers had always expected of him. There is no clowning around as Jackie demolishes the bad guys. Yes, there is the quick thinking with the equally quick deadly strokes but the display of his usual martial arts prowess is not as sensational as in his previous films. The movie has a lot of action, excessively violent and gory in some parts, especially involving the well choreographed gang wars. But this is primarily a somber, realistic drama with a serious protagonist. In his first more dramatic role, Jackie may have had limited success with his morally ambiguous character but it is still his movie and he does adequately well. Initially cowardly, Daniel Wu’s Jie almost upstages Jackie with his adept character transformation. As in most Chan movies, the women do not have much to do except look beautiful. The movie tries to put in several sub-plots perhaps to project multiple messages but the introduction of such is haphazardly done and proves unwieldy.

In Shinjuku Incident, Jackie Chan deviates from his usual lighthearted entertainment fare. It presents the harsh conditions in the lives of the Chinese illegal immigrants in Japan and in a way celebrates their undying spirit of trying to adapt to these grim realities in order to better their lives. It projects how the refugees try to unite to improve each one’s lot and to forge a strong community by helping one another. Portraying strength in solidarity, determination and compassion, the film, however, also projects betrayal and self interest. It shows how quick success and power ca change and corrupt even basically simple, good hearted people and bring out selfishness and disunity that weaken the community and make each one vulnerable again to discrimination and exploitation. Jackie Chan’s Steelhead remains unselfish and never wavers from his goal of improving the lives of his countrymen but one cannot agree with some of the ways he uses to achieve his goal. For instance, he did not hesitate to kill for a deal to secure legality of status and wrest power from a rival Taiwanese gang. The cruel and gruesome torture methods of the gangs graphically shown as well as other excessive and shocking in your-face type of violence are not images that the viewers should be exposed very early in life. Repeatedly imbibed subliminally, such exposure may desensitize the viewers to violence. Immature minds may be ill-prepared to handle and properly understand the adult themes.