Kimmy Dora

Cast: Eugene Domingo, Dindong Dantes, Zanjoe Marudo, Baron Geisler, Meriam Quiambao, Ariel Ureta; Director: Joyce Bernal; Producers: Piolo Pascual; Screenwriter: Chris Martinez; Music: Brian Cua; Editor: Vanessa de Leon; Genre: Comedy; Cinematography: Shayne Clamente; Distributor: Spring Films; Location: Manila; Running Time: 105 min.;

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

Kahit na kambal sina Kimmy at Dora (Eugene Domingo) ay labis na magkaiba ang kanilang personalidad at ugali. Matalino ngunit mapagmataaas at magaspang ang ugali ni Kimmy. Siya ang naatasang mamamahala sa malaking negosyo ng kanilang pamilya Go Dong Hae. Bagama't mahina ang utak at isip-bata, mapagmahal at mapagkumbaba naman si Dora na laging inaapi ni Kimmy ngunit minamahal naman ng labis ng kanilang ama (Ariel Ureta). Nariyan ding ang lalaking gusto ni Kimmy (Dingdong Dantes) ay mas gusto si Dora. Kaya't nang malaman ni Kimmy na mas malaki ang iiwanang pamana kay Dora, labis na lang ang pagdaramdam at sama ng loob nito. Aakalain naman ng kanyang tauhan (Baron Geisler) na nais niyang ipapatay at ipakidnap si Dora. Ngunit dahil sa isang kalituhan, si Kimmy ang makikidnap at mapipilitan si Dora na magpanggap bilang Kimmy upang hindi maapektuhan ang kanilang ama at mapangalagan din ang kapakanan ng kanilang negosyo. Saan kaya hahantong ang palitang ito nina Kimmy at Dora?

Isang tunay na nakakaaliw na pelikula ang Kimmy Dora. Naiiba ang kuwento at talaga namang angat ang uri ng komedya nito. Tama ang timpla ng bawat elemento. Mahusay ang pagkakahabi ng kuwento na hindi lamang basta nakakaaliw kundi may lalim rin. Maganda ang kuha ng kamera at mahusay ang editing. Napakahusay ng pelikula sa kabuuan kaya't nararapat lamang bigyang papuri ang lahat ng nasa likod ng pelikulang ito lalo na ang direktor. Ngunit kung may natatanging yaman ang pelikula, yan ay ang pangunahing tauhan nito na si Eugene Domingo. Tanging siya lamang sa hanay ng mga komedyante ngayon ang makakapag-bigay katarungan sa tauhan nina Kimmy at Dora na bukod sa dual role na ay kinailangan pang magpanggap at magpalit bilang isa't-isa. Hindi magiging matagumpay ang kabuuan ng pelikula kundi dahil sa husay at talino ni Domingo.

Paano nga bang nagiging magkaiba ang pagkatao ng kambal? Sa kabila ng magkalapit at halos parehong itsura, parehas na mga magulang at parehas na pagpapalaki ay nagiging magkaiba pa rin ang dalawa sa bandang huli. Kung anong buti ng ugali ni Dora ay siya namang sama ni Kimmy. Naipakita naman ng pelikula na ang pag-uugaling ito ay may malalim na pinanggagalingan at wala naman talagang taong likas na masama. Kapuri-puri ang pagkatao ng kanilang ama na walang kinikilingan sa dalawa. Alam lamang niya na mas kinakailangan ni Dora ng pagkalinga kung kaya't mas malaki ang oras at atensiyon ang ibinibigay niya dito habang si Kimmy naman ay may sapat na kakayanan upang alagaan ang sarili. Sa kabila pa rin nito'y labis pa rin ang pagmamahal niya dito. Hindi nga lang ito naramdaman ni Kimmy sa simula kung kaya't inakala niyang siya'y hindi minamahal. Naging salat tuloy sa pagmamahal si Kimmy at nauwi sa galit ang inggit sa kapatid. Sa bandang huli nama'y natutunan parehas nila Kimmy at Dora ang halaga ng bawat isa at namayani pa rin ang pagmamahal sa pagitan ng magkapatid. Pagkatapos ng lahat ng unos sa magkapatid ay hindi pa rin maitatanngi na iisa ang dugong nananalaytay sa kanilang ugat at hindi nila matatakasan ang natatanging dahilan ng kanilang pagkatao – pag-ibig. Bagama't kapuri-puri ang aral ng pelikula ay hindi pa rin ito angkop sa mga batang manonood dahil sa tema nito na may ilang eksena ng krimen, karahasan, at mangilan-ngilang sekswalidad, kung kaya't nararapat lamang ang pelikula sa mga may edad 14 pataas.

Land of the Lost

"ASSESSMENT ONLY"
Cast: Will Ferrell, Danny McBride, Anna Friel, Jorma Taccone; Director: Brad Silberling; Producers: Jimmy Miller and Sid & Marty Krofft; Screenwriter: Chris Martinez; Music: Michael Giacchino; Editor: Peter Teschner; Genre: Comedy/ Fantasy; Cinematography: Dion Beebe; Distributor: Universal Studios; Location: USA; Running Time: 93 min.;

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


BRIEF FILM SYNOPSIS

On his latest expedition, Dr. Rick Marchall is sucked into a space-time vortex alongside his research assistant and a redneck survivalist. In this alternate universe, the trio make friends with a primate named Chaka, their only ally in a world full of dinosaurs and other fantastic creatures.


OUTSTANDING FEATURES OF THE FILM:

ADDITIONAL REMARKS: May be intended for children but there are sexual insinuations for adults.

Up

Cast (Voice): Edward Asner, Christopher Plummer, Jordan Nagai, Bob Peterson, Delroy Lindo, Jerome Ranft; Directors: Pete Docter, Bob Peterson; Producer: Jonas Rivera; Screenwriters: Pete Docter, Bob Peterson; Music: Michael Giacchino; Editor: Katherine Ringgold; Genre: Animation; Cinematography: Ricky Nierva; Distributor: Walt Disney Studious Motion Pictures;

Technical Assessment: 4.5
Moral Assessment: 4.5
CINEMA Rating: For viewers of all ages

The freckle-faced boy Carl had an idol—the explorer Charles Muntz (voice of Christopher Plummer) making news by flying his zeppelin over South America trying to capture a colorful 13-foot bird. Carl would soon meet, fall in love with and marry Ellie, a girl who shared his adventuresome spirit. They would have a dream of building a house on a mesa by Paradise Falls, but before this dream could come true, Ellie died. The real life adventure of Carl Fredericksen (voice of Ed Asner) begins when the widower is now a balloon street vendor, and as grumpy as anyone who’s approaching his 80s with an unfulfilled dream. Pestered by real estate developers who wants him committed to a home for the aged, Carl fastens thousands of helium-filled balloons to his house, and using a clothesline as a sail, literally gets away from it all, flying off to the blue yonder to follow his dream. But he has unwanted baggage he cannot shake off—an 8-year old boy scout whose collection of honor medals lacks but one to complete. And that one missing medal is awarded for “assisting the elderly.” Sharing the fragile house held afloat by toy balloons, the dreamer-septuagenarian and the eager boy scout go through a weird and wonderful adventure of a lifetime, along the way meeting talking dogs, the explorer Muntz now a recluse in his zeppelin, and the 13-foot squawking bird that Muntz so desperately wants to capture.

Disney/Pixar (maker of Wall-E and Cars) outdoes itself with this perfect story that has something worthwhile for viewers of any age or inclination. The animation is flawless, the flow of action smooth, and the world created by the colorful characters is at once down-to-earth and otherworldly—a feat seldom achieved by a “cartoon movie”. The use of the montage showing the love story of Carl and Ellie from childhood is a masterstroke at storytelling without words. More than all the glowing praises CINEMA and countless movie critics the world over can heap upon Up, it’s the values in the movie that will take it to the heights of filmdom success. Superior substance and technical excellence make for a winner, and Up certainly has both—and more.

Up opened the Cannes Film Festival this year, gave the critics a high, and has since been uplifting moviegoers everywhere. It’s not a fairy tale, a superhero adventure, or an action thriller. It has a love story but the lovers don’t live happily ever after. It offers adventure but its hero fights the enemy with a walking cane. And just look where all that action comes from! There is something breathtaking and magical about seeing a fully-furnished house being lifted up, up and away by thousands of toy balloons. It wakes up the child in us, makes us believe in the impossible, heightens our sense of wonder, emboldens us to pursue unforgettable dreams. The message in Up is a life-giving one, and being such may be read any which life-giving way by anyone. CINEMA dares to put forth a hypothesis: it is a symbolic yet concrete illustration of the soul’s ascent to God. Heavy? Wait. Listen. Tie some balloons around your neck.

To a child, balloons could very well represent a vehicle that takes one up to the mysterious blue skies it calls heaven—and heaven is, to a child, the dwelling place of God. But a child grows into an adult, and the succession of lights and shadows, highs and lows, sunshine and storms, make up the experience which accompanies the process of growth into adulthood. But, again, adulthood is accompanied by pleasures and desires that lead to attachment, hindering one’s ascent to freedom. In the movie this is graphically illustrated—by the need to lighten up and discard things inside the house in order for the deflating balloons to lift it up again. A picture of Ellie which falls off the wall and breaks is a lesson in detachment from the past, no matter how fulfilling it has been. And the arrival of unfamiliar creatures and unexpected misfortunes presents a challenge to live the moment, be attentive to the present, brave death in order to find your hidden strength. There is so much more to “read” in Up, but you must do it yourself. For now it suffices to say that Up has a subliminal appeal to the contemplative in each of us, but it has to take the form of a movie for children, because it is only through a child’s eyes can we see that part of us that’s aching to take our soul to its final and deathless destination.

District 9

Cast: David James, Sharito Copley, Elizabeth Mkandawie, Greg Melvill-Smith, Jason Cope, John Summer, Nathalie Boltt, Nick Blake, Sylvaine Strike, William Allen Young; Director: Neill Blomkamp; Producer: Peter Jackson; Screenwriters: Neil Blomkamp, Teri Tatchell; Music: Clinton Shorter; Editor: Jukian Clarke; Genre: Sci-Fi; Cinematography: Trent Opaloch; Distributor: Sony Pictures Entertainment; Location: South Africa; Running Time: 110 min.;

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

In Johannesburg, South Africa, an isolated camp 200 kilometers away from civilization has been home to several insect-shaped alien refugees who landed on earth 30 years ago. Apparently, they survived a disaster in their home planet and were stranded on earth because of a mechanical problem in their spacecraft. Finding the aliens hideous and useless, the humans forcibly confined them to live in substandard conditions inside District 9. The aliens, or “prawns” as the humans call them, are too scared and confused to fight back and live by scavenging and selling whatever possessions they have left. The camp is controlled by Multi-National United (MNU), a defense subcontractor who wants to take hold of the aliens’ superb technology and advance weaponry, which, however, turn out to be useless without the alien’s DNA. Over the years, people have grown more hostile towards the aliens and now want them transferred to another isolation camp. The task of serving their eviction was given to a shy but annoying MNU employee named Wikus Van De Merwe (Sharlto Copley). He carries out the job with arrogance and ruthlessness until an accident with a deadly chemical that turns him into one the prawns. Wilkus is forced to be a fugitive from the government and becomes an outcast like the prawns. He then realizes the mistakes of prejudice and segregation. He befriends an alien who was given the human name Christopher Johnson (voiced by Jason Cope), and works against odds to save their race.

DISTRICT 9 is a well crafted story that re-contextualizes the alien theme from man’s most shameful moments during the 1966’s apartheid. The storytelling technique using hand held and continuous cinematography engages the audience closer to the drama. The plot develops smoothly with a strong performance from the protagonist and a clever socio-political commentary about discrimination. The CGIs and production design are decent and satisfactory. But the real strength of the movie is in the director’s interpretation of the script that turns a violent science fiction into a powerful statement against prejudice.

Amidst the blood and gore, the movie develops the theme of acceptance quite well. It illustrates how people should learn to go beyond appearance, race or beliefs. The physical and moral metamorphosis of Wilkus shows how the world would be so much better when man achieves universal solidarity. The secondary theme of marital love is also demonstrated by loyalty and sincerity of Wilkus to his wife.

As a whole, the film is a tight production with a strong message. However, it contains several scenes of graphic violence, brutal action and offensive language. The explicit dark tones of the movie may not appeal to the sensitivities of most viewers. Adults and parents should guide their very young children when watching the movie.

Tarot

Cast: Marian Rivera, Roxanne Guinoo, Ana Capri, Dennis Trillo, Gloria Romero; Director: Jun Lana; Producers: Jun Lana, Rosselle Monteverde-Teo; Screenwriters: Jun Luna, Elmer L. Gatchalian; Editor: Tara Illenberger; Genre: Horror; Cinematography: Mo Zee; Distributor: Regal Films; Location: Philippines; Running Time: 102;

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

Nakalakihan ni Cara (Marian Rivera) ang panonood sa kanyang Lola Auring (Gloria Romero) na mabisang nanghuhula sa pamamagitan tarot cards kaya di nakapagtataka na matutunan din niya ito. Subalit ng mamatay si Lola Auring ay wala siyang pinamanahan ng baraha sa halip ay hiniling niya na isama ito sa kanyang puntod. Makalipas ang panahon ay naging kasintahan ni Cara si Miguel (Dennis Trillo). Naisipan nila na mamasyal sa gubat kung saan misteryosong maglalaho si Miguel. Hindi matanggap ni Cara na mawala ng tuluyan ang nobyo kaya naisipan niyang gamitin ang bisa ng tarot cards ng kanyang lola upang matunton ang nobyo. Di naman siya binigo ng tarot na hinukay pa niya sa puntod ng kanyang lola dahil nagkita at nagkasama uli sila ni Miguel. Subalit kasabay ng kanilang pagtatagpo at paghawak ni Cara ng tarot cards ay ang pagkakaroon ng mga nakakatakot na kaganapan at pagbabanta sa kanilang buhay.

Masalimuot ang kuwento ng Tarot at parang pinilit lang na ipasok ang tema ng pagbabasa ng tarot cards sapagkat tipikal na katatakutan lang na dulot ng mga ligalig na kaluluwa ang istorya nito. Tila kulang sa pagpiga ng emosyon katulad ng tila lumipas lang na pagbubuwis ng buhay ng isang ina at walang hatid na kilig ng tambalang Marian at Dennis dito. Gayunpaman ay tagumpay sa layunin na makapanakot ang pelikula dahil sa mahusay na paglalapat ng tunog at special effects. Mahusay ang transition ng mga eksena mula sa panaginip at imahinasyon pabalik sa katotohanan. Halata na naging maingat ang aspetong ito ng editing. Sa kabuuan ay naisalba ng mga nabanggit na aspetong teknikal ang mahinang kuwento.

Ipinakita sa pelikula na ang panghuhula katulad ng pagbabasa ng tarot cards ay maaaring masapian ng masamang elemento o pwersa at makapaghatid ng kapahamakan o kamatayan sa mga nilalang. Samakatwid ay di dapat panaligan sa halip ay dapat mag-ingat dahil wala namang tahasang makapagsasabi ng mangyayari sa hinaharap. Marami din namang positibong mensahe ang pelikula katulad ng tapat na pagmamahal ni Cara kay Miguel, pagmamalasakit sa kaibigan, at katatagan ng loob sa kabila ng mga pagsubok. Kapansin-pansin lamang na sa kabuuang daloy ng pelikula ay tila walang pag-uukol sa paghingi ng kalakasan sa Diyos na siyang pangunahin sa kultura ng mga Pilipino. Nagwakas ang pelikula sa nakababahalang patuloy na paghahasik ng takot at pinsala ng masamang elemento sa buhay ng tao.

Bandslam

ASSESSMENT ONLY
Cast: Gaelan Connell, Vanessa Hudgens, Alyson Michalka, Lisa Kudrow; Director: Todd Graff; Producer: Elaine Goldsmith-Thomas; Screenwriters: Josh A. Cagan, Todd Graff; Editor: John Gilbert; Genre: “Dramedy” Comedy, Drama, Music; Cinematography: Eric Steelberg; Distributor: Summit Entertainment; Location: USA; Running Time: 111 min.;

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


BRIEF FILM SYNOPSIS

When gifted singer-songwriter Charlotte Banks (Michalka) ask new kid in town Will Burton (Connell) to manage her fledgling rock band, she appears to have just one goad in mind: go-head-to-head against her egotistical musician ex-boyfriend, BEN (Porter), at the biggest event of the year, a battle of the bands. Against all odds, their band develops a sound all its own with a real shot at success in the contest. Meanwhile, romance brews between Will and SA5M (Hudgens), who plays a mean guitar a has a voice to die for. When disaster strikes, it's time for the band to make a choice: Do they admit defeat, or face the music and stand up for what they believe in?

OUTSTANDING FEATURES OF THE FILM: Peer influence on the character development of a teenager, as presented in the movie, is commendable for discussion.

Shorts

Cast: James Spader, Wiliam Macy, Leslie Mann, Jon Cryer, Jimmy Bennet, Jake Short, Trevor Gagnon, Jolie Vanier; Director: Robert Rodriguez; Producers: Robert Rodriguez, Elizabeth Avellan; Screenwriter: Robert Rodriguez; Music: Robert Rodriguez, Carl Thiel; Editor: Robert Rodriguez, Ethan Maniqius; Genre: Fantasy Comedy, Children’s film; Distributor: Warner Bros.; Location: USA; Running Time: 99 min.;

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

The story is set in a community called Black Hall where Mr. Carbon Black (James Spader) its richest and most powerful citizen owns a monolithic corporation that manufactures a super-gadget called the Black Box. This little box can be carried around, deconstructed in various shapes and can do all kinds of tasks, trivial or significant say be a cellphone, a computer or hair trimmer. Mr. Black’s corporation employs most of the townspeople and he tyrannically wants them to aggressively market this device, eliminating all competition. Anyone who does not foe the line gets fired. The Box has greatly affected the lived of most of the townspeople. In the community, there are lot of queer people, and families have become dysfunctional, like the family of nine-year-old Toby “Toe” Thompson (Jimmy Bennett). Toe is detached from his family (who miscommunicates with one another), lacks self-confidence, has no friends and is often bullied, especially by the evil children of Mr. Black. Toe’s situation improves when he comes into the possession of a multicolored stone which has magical powers so anyone who holds it can wish for anything. Nine year old Loogie (Trevor Gagnon) and his two friends find it after a thunderstorm and have wished for the most incredible things. Somehow, the stone inadvertently gets passed around from one person to another granting all preposterous wishes. The rock affects (often negatively but hilariously) the lives of various families including Mr. Black’s. Will it be able to destroy the Black Box or vice-versa?

Shorts may be a children’s movie but it is likely that a child will not find it easy to follow and understand the film. Using the non-linear method of storytelling, it is presented in episodes which are jumbled up with no attempt at chronology or logic. It is narrated by Toe Thompson who zigzags through the tale of the wishing rock like only a nine year old boy can. It begins with episode 2, goes back to episode 1 and goes on merely rearranging and presenting colorful, kinetic and engrossing images (to the child at least) with some newly minted characters like the giant one-eyed booger monster. The children get to be happily entertained and never mind if the film is quite confusing with the virtual absence of a plot. The adults may find some humor (though rude at times) in the absurdity of it all. The film is populated by such weird characters that one wonders if anyone can identify with any of them. Perhaps a nine year old who gets bullied outside the home and finds no adult sympathetic or interested in his plight inside his supposed place of refuge, can connect with Toe Thompson. Ironically, this character maybe considered a misfit but he is not rare in our own “saner” world. Though at times exaggerated for effects in their acting, the cast especially the children characters do adequately well. The photography is acceptable. Director Robert Rodriguez probably wanted to do something similar and yet different from his earlier well received work, Spy Kids.

In Shorts, one observes the effects of miscommunication or lack of it. It can make a family like the Thompsons dysfunctional. But better communication and getting “connected” can help make the family whole again. Also, one sees the effects of wishing for things that are inappropriate for one’s situation. Like Loogie and his friends who get the wish of a fortress surrounded with a moat and protected by crocodiles and snakes only to realize the danger they find themselves in. And one sees how ridiculous and limiting life can be if one is extremely obsessed with anything like Dr. Noseworthy with his horror of germs. And probably, one realizes like Mr. Black that rather than create a black-box that can be used to terrorize and indignify people, one can instead create something that can make life better for each one.

Love On Line

Cast: Sotto, Jose Manalo, Paula Taylor, Gina Pareno, Leo Martinez, Ricky Davao, Manilyn Reynes; Director: Tony Reyes; Distributor: Octoarts Films; Location: Manila; Running Time: 110 min.;

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

Madalas pag-initan ni Samson (Vic Sotto) ang kasambahay na si Tot (Jose Manalo) dahil sa katamaran nito. Hindi nga lang magawang palayasin si Tot dahil tanging ito lamang ang nakakapag-bigay ng dugo para sa ina ni Samson (Gina Pareno) na may kakaibang karamdaman. Sa halip na gawin ang trabaho, nauubos ang oras ni Tot sa Internet kakahanap ng magiging kasintahan. Minsang nilagay ni Tot ang larawan ni Samsom sa kanyang profile sa isang social networking website, dumagsa agad ang mga nais makipagkaibigan sa kanya. Isa sa nagustuhan ni Tot si Paula (Paula Taylor) at pumayag agad itong makipag-eyeball o makipagkita sa kanya. Sa una’y magagalit si Samson nang malaman nitong ginamit ni Tot ang kanyang larawan ng walang paalam ngunit kalauna’y mapapapayag din niya ito na makipagkita kay Paula dahil ang alam ni Paula, si Tot ay si Samson. . Agad na magkakasundo at magkakamabutihan sina Samson at Paula na labis na ipagseselos ni Tot at dahil diyan, gagamitin ni Tot ang isang mahika kay Samson kung saan ay magkakapalit sila ni Samson ng pagkatao sa loob ng tatlong oras araw-araw. Magdudulot ito ng kalituhan kay Paula na siyang magpapagulo sa sitwasyon ng kanilang relasyon. Malusutan kaya ito ni Samson?

Ang Love On Line ay tumutukoy sa makabagong teknolohiya ngayon, ang Internet at ang lawak ng impluwensiya nito maging sa pakikipagrelasyon. Ngunit naging pawang mababaw at makaluma pa rin ang naging pagtrato ng pelikula sa dapat sana'y napapanahon at modernong konsepto. Ang pagpasok ng mahika sa gitna ng pelikula ay pawang hindi angkop sa nais nitong palabasin. Nakapanghihinayang na sa kabila ng hindi matatawarang galing sa pag-arte ng mga tauhan, hindi pa rin nakawala ang Love On Line sa pagiging slapstick nito sa pagpapatawa. Nariyan pa rin ang pambabatok, pananampal, paggamit sa mga bakla at pangit bilang mga instrumento ng patawa. Labas tuloy ay pawang kulang sa sinseridad ang buong kuwento at walang anumang bigat o lalim ang buo nitong daloy. Hindi iniaangat ng Love On Line ang komedyang Pilipino, sa halip ay pinapalala pa nito ang kalagayan ng naghihingalong industriya.

Ang pangunahing tauhan na si Samson ay wagas at dalisay ang hangarin sa ngalan ng pag-ibig. Hindi rin matatawaran ang pagmamahal niya sa kaniyang ina na hindi niya iniiwan sa gitna ng karamdaman nito at tinutulungan pa niya ito sa negosyo.. Ngunit hindi maiaalis na ang buong kuwento ay halos sumentro kay Tot, isang taong tamad, mapagkunwari at mainggitin. Maaring si Tot ay simbolo ng mga taong walang pag-unlad dahil na rin sa taglay nitong masasamang katangian. Nariyang ubusin ang oras sa Internet para sa mga walang kapararakag gawain, at nagbabalatkayo para lamang makakuha ng atensiyon lalo na sa mga kababaihan at pawang hindi naman relasyon ang hanap nila kundi panandaliang aliw lamang. Gayunpaman, naging instrumento pa si Tot upang matutong umibig muli si Samson na nakaugat naman sa pagbabalatkayo. Tuloy kahit mali ay kinunsinte na rin ni Samson si Tot. Mababaw naman ang samahang Samson at Paula na hindi halos maaaring ituring na tunay na pag-iibigan. At sa dami ng kabataang gumagamit ng Internet sa ngayon ay hindi magandang halimbawa ang pelikula sa paghubog nito sa makabagong konsepto ng pag-ibig. Hindi masama ang teknolohiya hanggat ito ay ginagamit sa kabutihan sa halip na sa pagbabalatkayo. Ang paggamit rin ng kapangyarihang itim at mahika na labis na nakaapekto sa daloy ng kuwento ay nakababahala rin. Hindi dapat paikutin ng mahika o teknolohiya ang takbo ng buhay ng tao.

The Time Traveler's Wife

Cast: Eric Bana, Rachel McAdams, Ron Livingston, Arlis Howard; Director: : Robert Schwentke; Producers: Brad Pitt, Nick Wechsler, Dede Gardner; Screenwriter: Audrey Niffeneger, Jeremy Leven, Bruce Joel Rubin; Music: Mychael Danna; Editor: Thom Noble; Genre: Sci-fiction Romance; Cinematography: Florian Ballhaus; Distributor: Warner Bros; Location: Chicago; Running Time: 107 min.;

Technical Assessment: 2
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

On a snowy Christmas day, young Henry DeTamble (Alex Ferris) and his mom drive through the slippery streets, singing jolly Christmas songs to their hearts content, unmindful of the approaching car ahead. But just before they crash, young Henry slowly disappears inside the back seat and reappears a few yards away with an older man who tells him he is the future version of himself. This incident begins a series of time tossing to the past and future for Henry. His time travels are beyond his control and he is unable to take anything with him, even his clothes on his body, which forces him to break into houses and steal people’s belonging’s to cover himself and survive. The next time we see him is in the library where he meets Clare Abshire (Rachel McAdams), who recognizes him instantly although he has never seen her before. Apparently, Clare recognizes him because of several meetings they had in the past beginning when she was 6 years old. Eventually, they get married despite his genetic “chrono-impairment” condition which gets worse whenever he is stressed or upset. At first they seemingly have a happy life until Henry disappears for awhile and reappears again, sometimes as an older man, sometimes a young boy.

Time Traveler’s Wife is the film adaptation of Audrey Niffeneger’s novel of the same title. Although, director Schwentke remains faithful to the literary version, the execution is weak and faulty. For one, Bana and McAdams do not have enough chemistry to make the audience believe and sympathize with their unrequited love. The plot development is confusing and stuck at the surface level. The characters critical to push the story forward are mere cardboard cut-outs used to fill in some gaps in the scenes. By the time we get involved with Clare and Henry, the end credits are already rolling.

The film underscores the power of love against time, distance and uncertainty. Henry and Clare’s love for each other is admirable and courageous. Despite the struggle and complications their relationship poses, they choose to remain faithful and committed to their marriage. Their situation can mirror most marriages nowadays when one spouse has to work away from home for a long time and husband and wife’s relationship is challenged by the loneliness and temptations created by time and distance. Further, the movie reiterates the value of life despite the many difficulties surrounding pregnancy and motherhood.

There is some light nudity, non-graphic premarital relations, and mild inappropriate language in the movie. Parents are advised to guide their young children who might watch with them.

The Hangover

Cast: Bradley Cooper, Ed Helms, Zach Galifianakis, Justin Bartha, Jeffrey Tambor, Rachel Harris, Heather Graham, Rob Riggle; Director: Todd Phillips; Producers: Daniel Goldberg, Todd Phillips; Screenwriters: Jon Lucas, Scott Moore; Music: Christophe Beck; Editor: Debra Neil-Fisher; Genre: Comedy; Cinematography: Lawrence Sher; Distributor: Warner Bros. Pictures; Location: Las Vegas, USA; Running Time: 100 min.;

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

On the day of the wedding, three groomsmen Phil, Stu and Alan (Bradley Cooper, Ed Helms and Zach Galifianakis) wake up in a $4,200-a-night-suite in Las Vegas with a chicken in the bedroom, a tiger in the bathroom, and a baby in the closet—but without the fourth member of the past night’s stag party: bridegroom Doug (Justin Bartha). They had meant to spend Doug’s last night as a bachelor by drinking and gambling and be home for the wedding the next day, but now they must first find the bridegroom. Phil, Stu and Alan have absolutely no memory of the night before, and in their search for Doug, they encounter people who remember them and recall for them bit by bit what took place during the (unmemorable) night. Encountering more mishaps in their search, they piece together the events until the fact surfaces that Alan had secretly laced their drinks with a drug that would disable the memory while the user is under its influence.

Much of the humor in and the structure of the The Hangover revolve around the four friends’ getting lost. Clueless about what they have done since they shared some potent drinks on the roof of Caesar’s Palace and desperately trying to find explanations for a virtual “rude awakening”, they provide really funny situations to an otherwise inconsequential movie. The movie succeeds in involving the viewer in this ridiculous whodunit situation, and the acting and dialogue are so good that you may even come to the point of caring about the crazy quartet, believing in the angelic-faced hooker, being entertained by the diminutive but mean Chinese mobster, hoping they find the groom safe and sound, and praying that nothing that bad happens to the baby in the pram tailing a delivery truck. This movie deserves credit for its being specifically written, not assembled from recycled parts of other comedies corny, vulgar, half-baked or all three combined. There is a solid story, and the extraordinary level of detail in the dialogue complements the characterization to a credible degree.

A plus in the movie is the power of friendship—what friends would go through to ensure the wellbeing of another. Ironically, this positive element also constitutes the negative one—what stupid and dim-witted risks these friends would take for the sake of the missing one. This is a movie men would enjoy and whose characters they would secretly relate to. Women should also learn something about male instincts from this movie, and brides can take a hint or two about how to occupy their fiancés to spare the latter from similar situations a few nights before the wedding day. While the laughable parts of the movie seem harmless enough for younger viewers, CINEMA would still rate it for adult viewers 18 years old and up for its raunchy theme depicted in flash still shots towards the end, and its treatment of life-trivializing and therefore life-endangering situations (tiger in a bathroom, baby in a pram towed through traffic).