Sanglaan

Cast: Joem Bascon, Jess Evardone, Ina Feleo, Flor Salanga, Neil Ryan Sese, Tessie Tomas; Director: Milo Sogueco; Producers: Gay Ace Domingo, Milo Sogueco; Screenwriters: Gay Ace Domingo, Audie Gonzales; Music: Darryl Shy; Editor: J. M. Basa; Genre: Drama; Cinematography: Alma dela Peña; Distributor: Cinemalaya Foundation; Location: Manila; Running Time: 110 mins.;

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

Si Amy (Ina Feleo) ay nagtatrabaho sa isang sanglaan na pagmamay-ari ng kanyang tiyahin na si Olivia (Tessie Tomas), ang nagpalaki sa kanya matapos sumakibalang-buhay ang kanyang mga magulang noong bata pa siya. Bagama’t nalulugi na ang sanglaan ay hindi ito magawang ipasara ng kanyang Tiya Olivia bilang paggalang sa alaala ng yumao nitong asawa kahit pa ang mga anak nito ay nais na siyang ipetisyon sa Amerika. Sa sanglaan at sa kanyang Tiya Olivia umiikot ang buhay ni Amy at kahit siya’y halos tatlumpung-taon gulang na’y hindi siya halos nakakapamasyal mag-isa at hindi pa rin nagkakaron ng nobyo. Hanggang sa makilala at mabibighani siya sa bagong boarder sa itaas ng sanglaan na si David (Joem Bascon), isang seaman na nag-aabang ng magandang kapalaran patungong ibang bayan. Dito magsisimulang magsubok si Amy na buksan ang sarili sa maraming posibilidad ng buhay sa labas ng apat na sulok ng sanglaan.

Malalim ang pinaghuhugutan ng kuwento ng Sanglaan na ginamit ang katahimikan upang maiparating ito. Naging epektibo naman ito sa kabuuan dahil sa magagandang kuha ng kamera at mahuhusay na pagganap ng lahat ng tauhan. Hindi karaniwang pelikula ang Sanglaan sapagkat di tulad ng karaniwang kuwento, walang masyadong aksyon sa pelikula. Walang hagulgulan, walang histerya at walang gaanong gulatan. Ang lahat ng ito’y pawang sinadya ng mga kuwentista ng pelikula: ang ipakita ang pang-araw-araw na buhay ng mga taong nakakahon sa kani-kanilang mundong ginagalawan. Ngunit tila hindi gaanong naging kaaya-aya sa mga manonood. Marahil ay nasobrahan ng katahimikan ang pelikula at hindi nito lahat naiparating ang tunay na mensaheng nais sabihin. Marahil, nagpadala pa rin ang pelikula sa agos ng kombensiyon at hindi pa rin naiwasan ang paminsan-minsang melodramatikong paglalahad. Sa bandang huli’y mas maraming tanong kaysa sagot na maiiwan sa manonood at naroon ang pakiramdam ng pagkabitin hindi lamang sa kuwento ng pelikula kundi pati na rin sa kung ano ang nais nitong sabihin.

Sa kabila ng maraming iniwang tanong ng pelikula, may mangilan-ngilang malinaw na mensahe itong nais iparating. Nariyan ang pagpapahalaga sa mga magagandang ala-ala at sentimyento. Ito ang dahilan kung bakit ayaw ipasara ni Olivia ang kanyang sanglaan. Ito rin ang dahilan kung bakit pilit na sinasalba ng ilan sa mga tauhan ang ilang kagamitang puno ng ala-ala ng kanilang mahal sa buhay. Sa panahon ng kagipitan, nariyan ang sanglaan na siyang magbibigay ng panandaliang solusyon sa pangangailangan ng mga tao. Ngunit ito nga ay panandalian lamang at walang kasiguruhan. Inihantulad ang buhay ng tao sa isang sanglaan kung saan nakasangla ang buhay nating lahat sa isang kapalarang hindi natin nalalaman. Gaano man kahalaga ang ginto, alahas at ilang materiyal na bagay, may ala-ala man itong iniwan o wala, isa ang tunay na mahalaga at dapat pahalagahan ng tao ayon sa pelikula – pagmamahal at makahulugang relasyon. Magagawang isangla ng isang tao maging ang kanyang buhay alang-alang sa taong minamahal.

Julie and Julia

Cast: Meryl Streep, Amy Adams, Stanley Tucci, Chris Messina, Linda Emond, Helen Carey, Mary Lynn Rajskub; Director: Nora Ephron; Producers: Nora Ephron, Laurence Mark, Amy Robinson, Eric Steel; Screenwriters: Nora Ephron, Julie Powell; Music: Alexandre Desplat; Editor: Richard Marks; Genre: Comedy; Cinematography: Stephen Goldblatt; Distributor: Sony Pictures Entertainment; Location: New York, USA; Running Time: 123 mins.;

Technical Assessment: 3.5
Moral Assessment: 4
CINEMA Rating: For viewers 14 and above

The movie is based on two novels Julie Powell’s “Julie and Julia” and Julia Child’s “My Life in France”. It follows the struggles and triumphs of two women from two different eras. Both women are lost and searching to fill up the void in their lives. Julia Child (Meryl Streep) is a 1940s housewife to a sophisticated diplomat, Paul (Stanley Tucci). She is sweet and loving and very bored with her humdrum life. Eventually she finds her fulfillment after taking French cooking lessons in Cordon Bleu and proceeding to write the very first French cookbook in English. Meanwhile, 50years later, Julie Powell (Amy Adam) is about to turn 30 and feels she has done nothing significant in her life, save for working in an agency talking calls to comfort 9-11 survivors. With the encouragement of her husband Eric (Chris Messina), she decides to cook all of Julia Child’s 524 recipes in 365 days.

The movie is a sumptuous visual and emotional feast. Streep delivers a powerful and endearing portrayal of a 1940’s housewife struggling to make sense of her life. Nora Ephron perfectly combines two different lives at the crossroad of an emotional dilemma. The parallelism created is brilliant as two simple plots with two real characters digging deep within themselves to find the courage to transform and become the persons they were meant to be within the context of a successful marital relationship. The production design succeeds in shuttling the audience from the 1940s to 1990s seamlessly.

Julie and Julia pays tribute to marriage and the role of spouses. It presents a very positive view of marriage and value’s the support of the partner in one’s endeavors. The movie also talks about determination and self-reliance amidst the struggle, not only to be successful, but also to be useful and fulfilled. In times, when woman are working and deep into the corporate rat race, it is refreshing to see a movie where the husband does not criticize, compete or forbids the wife. Instead, the husbands in the movie are very supportive and encouraging. Since the subject matter of the movie discusses mature issues, it might not be suitable for very young children. There are some sexual reference and inappropriate language. Teenagers should be accompanied and guided by an adult when watching the film.

G-Force

Cast (Voice): Sam Rockwell, Jon Favreau, Nicolas Cage, Penelope Cruz, Steve Buscemi, Tracy Morgan; Director: Hoyt Yeatman; Producer: Jerry Bruckheimer; Screenwriters: Cormac Wibberley, Marianne Wibberley; Music: Trevor Rabin; Editor: Mark Goldblatt, Jason Hellman; Genre: Action. Adventure, Family, Fantasy; Cinematography: Bojan Bazelli; Distributor: Walt Disney Studious Motion Pictures; Location: Los Angeles, USA; Running Time: 88 min;

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

Veterinarians Ben (Zach Galifianakis) and Marcie (Kelli Garner) have in their laboratory a quartet of “genetically engineered” rodents—guinea pigs Darwin (voice of Sam Rockwell), Juarez (Penelope Cruz), and Blaster (Tracy Morgan); and a mole named Speckles (Nicolas Cage). They’re supposed to be an “elite” FBI team, the “G-Force”—and together with a fly with no speaking parts they are expected to bust the machinations of electronic magnate Saber (Bill Nighy). Saber is a power-tripping billionaire who wants to control the world through home appliances that transform into deadly computerized killers that when clumped together can further transmogrify into high-tech giants stomping on everything and everyone in sight. The G-Force team’s assignment is to squash this megalomaniac’s plot by getting into the heart of his computer network that controls the appliances.

The plot looks promising enough: guinea pigs versus coffeemakers, blenders, refrigerators, etc. Picture that: if all the gadgets you can plug into your home’s electrical circuit are programmed to attack you, what are your chances of being saved from doom by guinea pigs? Although they are “genetically engineered” to outsmart computer wizards, don’t we either just welcome rodents as mere caged pets or eradicate them as pests in our homes? For all its CGI sophistication G-Force comes across as a bland dish which needs much more chili and garlic than its spunkiest voice-performers Penelope Cruz and Nicolas Cage can provide. Lovers of furry little things that we are, we sort of expected some real original stuff that would finally win the world’s respect for these humble creatures—after all, rodents make up more than one-third of all living mammal species on earth. We hoped G-Force would make us ooh and aah, like Up, or Wall-E, but instead, we came out of the theatre thinking, “Yeah, they’re cute.” Period. And the human characters (Galifianakis, Gerner, Nighy) served as mere props—they might have appeared more alive had they been animated.

There is one important message that is in danger of being buried under all that madcap action, and that is: the value of believing in yourself. It’s articulated towards the end of the story, as something is revealed to the rodents that threatens to dampen their enthusiasm for their world-saving mission. Notice also that the mice outsmart men here, but not because they’re smarter than humans per se, but because this being a good-vs-evil story, the fight is between those who destroy and those who save others from destruction. Of course, those who save, win. Visually, young children will enjoy G-Force; thinking adults will benefit from it.

Fame

Cast: Naturi Naughton, Kay Panabaker, Megan Mullaly, Charles S. Dutton, Kelsey Grammer, Bebe Neuwirth and Debbie Allen ; Director: Kevin Tancharoen; Producers: Mark Canton, Gary Lucchesi, Tom Rosenberg, Richard S. Wright; Screenwriters: Allison Burnett, Christopher Gore; Music: Mark Isham; Editor: Myron L. Kerstein; Genre: Romance, Comedy, Musical; Cinematography: Scott Kevan; Distributor: Metro-Goldwyn-Mayer (MGM); Location: Los Angeles, USA; Running Time: 107 min.;

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

Fame is a remake of a 1980’s film of the same title. In is set in a New York performing arts school named Fiorello H. LaGuardia High School of Music & Art and Performing Arts where we see aspiring actors, singers and dancers from their auditions until their graduation four years later. Jenny (Kay Panabaker) wants to be an actress but is too uptight and shy to let go. Marco (Asher Book) is a carefree singer who falls in love with Jenny. Meanwhile Denise (Naturi Naughton) studies classical piano at her parents insistence when she longs to be a pop singer and Malik (Collins Pennie) hides from his mom that he is enrolled as an actor-rapper. Making sure that the students are well rounded is Principal Angela Simms (Debby Allen) and several other performing arts teacher who show the students how life and drama are intertwined.

There is no reason to produce a Fame remake other than to ride on the success of other musical films. The angst and struggle that made the 1980 version successful is no longer present in the 2009 version. While the characters and their issues are cleaner, the passion and brilliance are disappointing. A main problem is that it tries to present 10 different stories spanning four years in 107 minutes. So no one goes beyond being sketchy caricature stereotypes. The production design’s shoddiness is emphasized over time as none of the characters change appearance even though the plot spans four years. The musical numbers, though, are entertainingly good, showcasing the talents of the casts. Director Kevin Tachareon manages to bring energy to the scenes.

Fame challenges parental authority especially when what they want contradicts what their children feel should be done. No matter if parents only have their child’s welfare in mind. Although being assertive and determined to achieve something important and fulfilling is a laudable virtue, it should not be made at the expense of a strict or uncompromising parent who wishes only to ensure that their children are always on the right path. Fame questions fame itself. It presents success and popularity secondary to having Christ at the center and being fulfilled personally. Fame is not the product of discipline, perseverance and talent but a bonus to being accomplished as a person, as a member of society and as a child of God. Fame emphasizes being true to oneself and using this honesty to harness and unleash one’s creativity and talent. However, the movie contains scenes involving suicide, a sexual situation, underage drinking, bad language and compromising scenes and situations--definitely not suitable for very young audiences.

Beyond a Reasonable Doubt

Cast: Michael Douglas, Jesse Metcalfe; Director: Peter Hyams; Producers: Mark Damon, Limor Diamant, Mosche Diamant, Michael P. Flannigan, Ted Hartly, Peter Hyams; Screenwriters: Peter Hyams, Douglas Morrow; Music: David Shire; Editor: Jeff Gullo; Genre: Action, Drama; Cinematography: Peter Hyams; Distributor: Anchor Bay Entertainment; Location: USA; Running Time: 105 min.;

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

Ambitious TV reporter and journalist C.J. Nicholas (Jesse Metcalfe) is doubtful of star district attorney Mark Hunter's way of putting criminals behind bars. C.J. is convinced that Hunter presents planted evidence through DNA results in cases reliant on circumstantial evidence in order to convict criminals and set outstanding record for his political ambitions. As C.J. aspires for a Pulitzer Prize, he frames himself for the murder of a prostitute to prove his convictions about Hunter. He records himself setting-up circumstantial evidence point to him until he is caught. He then waits for the perfect timing in court to catch Hunter in the act of presenting falsified evidence. But then Hunter turns out to be more ruthless than he thought so things do not turn out as planned.

The film is an inferior remake of a 50's film noir. The premise remains to be controversial and interesting but apparently flawed and quite stupid. Implicating one's self in a crime to prove a point is preposterous especially if what's at stake is just an ambitious and imaginary award like a Pulitzer for TV reporting. The first act is definitely dragging and boring and Tamblyn's role is nothing but functional until the end of second act. Douglas delivers well but appears over-the-top in the presence of amateurish Metcalfe. The film gets exciting though towards the climax but the display of other twists and turns is quite a disappointment and spoils the entire experience of viewers.

The film effectively portrays how one's ambitions could turn into corruption. One that is present even in the judicial system just for one’s personal interest and gain. Hunter's character is a clear manifestation of the flawed justice system. But Nicholas' selfish ambition does not make any difference. His interest is pure and noble at the onset and the journalistic method to find out the truth is commendable but it proves to be as cruel, if not more cruel than Hunter's. In the end, the audience is left with more questions and a stronger dismay of truth's relativity and elusiveness. Farrel's character, although functional, has remained consistently pure and loyal to truth and justice which eventually prevailed in the story. One very disturbing message though is the casual sexual intercourse between her and Nicholas which is obviously outside the confines of marriage. This and the film's entire theme and premise are fit only for audiences 18 years old and above.

The Ugly Truth

Cast: Katherine Heigl, Gerard Butler, ; Director: Robert Luketic; Producers: Kimberly di Bonaventura, Gary Lucchesi, Deborah Jelin Newmyer, Steven Reuther, Tom Rosenbeg, Kirsten Smith; Screenwriters: Nicole Eastman, Karen McCullah Lutz; Music: Aaron Zigman; Editor: Lisa Zeno Churgin; Genre: Romantic Comedy; Cinematography: Russell Carpenter; Distributor: Columbia Pictures; Location: Los Angeles, California; Running Time: 95 min.;

Technical Assessment: 2.5
Moral Assessment: 1.5
CINEMA Rating: For mature viewers 18 and above

Abby Ritcher (Katherine Heigl) is an award-winning producer of a morning show whose ratings are slowly dropping. Mike Chadway (Gerard Butler) is crude host of a late night talk show entitle the Ugly Truth. Abbey is a conservative control freak who can’t get a man to date her after their first dinner. Mike is a cynical chauvinist who thinks women try to hard when men are only after sex. After a heated argument on-air, Abbey and Mike are forcibly teamed up when he is hired by her boss to spice up the ratings of her program. As expected, the two clash at every occasion as Abby finds Mike vulgar and disgusting while Mike thinks Abby is uptight and domineering. However, Mike does spruce up the ratings, salvages the relationship of his married anchors and proves to make the right decision so Abby can get her neighbour Colin (Eric Winter) interested in her. Thing take another twist when both realize they have feelings for each other and share a passionate kiss. But the ugly truth is the relationship cannot work.

The ugly truth about The Ugly Truth is that is tries so hard to be original and funny but ends up being a poor deconstruction of When Harry Met Sally. The scenes rely on crude sex jokes for laughs and fail to elicit genuine tickles and brilliant comedy. The story is predictable and offers nothing new to keep the audience watching after the first 30 minutes. Romance does not surface with Heigl and Butler’s non-existent chemistry and their flat and unsympathetic performances. Even the hot air balloon chroma looks crude and old. The only thing memorable about the movie is the choices of contemporary music.

The movie tries to intellectualize men-women differences and relationships. It has hoped to say two important things. One, that no matter how cruel fate has been, there is always a window for happiness if one dares to jump into the moment. Two that a relationship can never be based on concepts and theories and that true love begins when one accepts the other for who she really is. However, all it achieves is to be a collection of offensive uncensored sex jokes and bad language. Not only has the movie trivialized man-women interaction and reduced relationship as an excused to be licentious, it also portrays men as shallow and insensitive primates. The movie is not suitable for young impressionable teenagers and a waste of time for the adults.

Nandito Ako..... Nagmamahal Sa'yo

Cast: Kris Bernal, Aljur Abrenica, Baron Geisler, Ana Capri, Julio Diaz, Lloyd Samartino, Valeen Montenegro; Director: Maryo J. delos Reyes; Screenwriter: Jake Tordesillas; Genre: Drama; Distributor: Regal Films; Location: Manila and Bohol; Running Time: 105 min.;

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

Si Tata (Aljur Abrenica) ay mag-isang pinalaki ng kanyang ina (Ana Capri) sa Quiapo. Dahil sa hirap ng kanilang buhay ay mapipilitan ang ina ni Tata na kumapit sa patalim nang lingid sa kanyang kaalaman. Masasangkot ito sa ilegal na bentahan ng droga at mapipilitan itakas ang pera bunsod ng malubhang karamdaman. Ang lahat ng ito ay hindi malalaman ni Tata hanggang marating nilang mag-ina ang Bohol, ang lugar ng kanyang hindi nakilalang ama. Ipapakilala si Tata sa kanyang ama (Lloyd Samartino) ngunit hindi siya nito agad na matatanggap lalo pa't mayroon na itong pamilya at ang nag-iisa niyang anak na si Prince (Baron Geisler) ay abala sa kanyang kasal. Nang malaman ni Prince ang tungkol kay Tata ay tatanggapin niya ito sa kundisyong magpapa-DNA test muna. Gayunpaman, magiging maayos naman ang pakitungo nila kay Tata. Ngunit makikilala ni Tata ang pakakasalan ni Prince na si Steph (Kris Bernal) at siya'y mabibighani dito. Sapagkat abala sa maraming bagay si Prince, maiiwan madalas si Steph kay Tata at silang dalawa'y magkakalapit. Dahil dito'y magsisimulang malito si Steph sa kanyang nararamdaman kay Prince at hindi nito malaman kung itutuloy pa niya ang pagpapakasal.

Bagama't kung tutuusin ay gasgas na ang kuwentong inihain ng pelikula, nagawa pa rin nitong bigyan ng bagong bihis ang lumang istorya sa pamamagitan ng paglalagay nito sa dalawang magkaibang lugar – ang magulo't masalimuot na Quiapo at ang matulain at payapang Bohol. Ito rin ang dalawang lugar na nag-uugnay sa dalawang pangunahing tauhan. Maganda ang mga kuha sa Bohol at talaga namang nakabibighani at mapapaibig ang sinumang makakapunta rito. Sayang nga lang at hindi gaanong napagyabong sa kuwento ang pag-iibigan ng dalawang pangunahing tauhan at hindi rin gaanong naging napakabigat ang tatsulok na pag-ibig dahil halata at pilit na ginawang bagay sina Tata at Steph at si Prince ay naging pawang panggulo lamang. Samakatuwid ay pawang wala naman talagang dapat pagpilian si Steph sa simulang-simula pa. Labas tuloy ay sadyang mahina ang kanyang karakter pagdating sa pamimili at pagdedesisyon. Kakatwa rin ang ilang mga linya na sa halip na lumabas na madrama ay nagiging katawa-tawa. Isang malaking kahinaan ng pelikula ang kalamlaman ng pag-arte ng dalawang panghunahing tauhan. Wala tuloy epekto ang daloy ng emosyon dahil hindi nila ito naipakita at naipadama ng maayos.

Dalisay ang kuwentong pag-ibig na ipinakita sa pelikula. Kitang pinahahalagahan nito ang pagkakabuklod ng pamilyang Pilipino, lehitimo man o hindi ang anak ay dapat bigyang ng pantay na suporta at pagmamahal. Nakatutuwang makita na bagama't lumaki sa isang magulong lugar na tulad ng Quaipo ay nagawang palakihin ng kanyang ina si Tata na may pananampalataya at takot sa Diyos. Si Steph naman na lumaki sa karangyaan ay pinalaking nanalig sa Diyos at mapagpakumbaba. Nakababahala nga lang ang ginawang pagkapit sa patalim ng ina ni Tata upang makapunta lamang sila ng Bohol at masiguro ang pagsuporta ng ama nito sa kanyang pag-aaral. Maaari naman itong unawin sa kadahilanang nauubusan na rin siya ng panahon dahil siya ay may karamdaman na. Yun nga lang, bakit sa bandang huli'y mas nagtagumpay pa rin ang masasamang loob sa halip na sila ay maparusahan? Bagama't kita sa mga mata ni Tata ang pagnanasa kay Steph sa unang araw pa lamang ng kanilang pagkikita ay pilit niyang pinigilan ito at hindi siya gumawa ng anumang hakbang na ikasisira ng kanilang pagkakaibigan at pati na rin sa relasyon niya sa kanyang kapatid sa ama. Marahil ay kapalaran na ang sadyang nagtutulak sa dalawa kung kaya't sila'y naging magkalapit at tunay nga namang mas karapat-dapat sila sa isa't-isa. Pinakita rin ang kabanalan ng sakramento ng kasal na hindi dapat ipinipilit ayon lamang sa kagustuhan ng ibang tao. Ang sakramentong ito ay iginagalang at dapat na pinagbubuhusan ng malalim na pagpapasya hanggang sa pinakahuling sandali.

Pandorum

ASSESSMENT ONLY
Cast: Dennis Quaid, Ben Foster, Cam Gigandet, Antje Traue; Director: Christrian Alvart; Producers: ; Screenwriter: Travis MIlloy; Music: Michl Britsch; Editor: Philipp Stahl, Yvonne VAldez; Genre: Science Fiction/Fantasy; Cinematography: Wedigo von Schultzendorff ; Distributor: Cinestar; Location: Berlin, Germany; Running Time: 110 min.;

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

BRIEF FILM SYNOPSIS

It tells the terrifying story of two crew members stranded on a spacecraft who quickly realize they are not alone. Two astronauts awaken in a hyper-sleep chamber aboard a seemingly abandoned spacecraft. Its pitch black, they are disoriented, and the only sound is a low rumble and creak from the belly of the spacecraft. They can't remember anything – who are they, what is their mission? The only way out of the chamber is a dark and narrow airshaft. Corporal Bower (Foster), the younger of the two, crawls inside, while the other, Lt. Payton (Quaid), stays behind for guidance on a radio transmitter. As Bower ventures deeper and deeper into the ship, he begins to uncover a terrifying reality. Slowly the spacecraft's shocking and deadly secrets come unraveled, and the astronauts realize that the survival of mankind hinges on their actions.

Horsemen

Cast: Dennis Quaid, Ziyi Zhang, Lou Taylor Pucci, Clifton Collins, Patrick Fugit; Director: ; Producers: Michael Bay, Brad Fuller, Andrew Form; Screenwriter: Dave Callaham; Music: Jan A.P. Kaczmarek; Editor: Jim May, Todd E. Miller; Genre: Crime, Drama, Horror, Mystery, Thriller; Cinematography: Eric Broms; Distributor: Lions Gate Films; Location: USA; Running Time: 110 min.;

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

Aiden Breslin (Dennis Quaid) is a workaholic detective who specializes in forensic dentistry. He buries himself in his work in order to fill in the void left by the death of his wife after she lost her battle with cancer. In the process, Breslin has become an uncaring and detached father to his two sons and is more concerned with the mystery behind a series of killings rooted in the Biblical Prophesy of the Four Horsemen of the Apocalypse. As he is lead from one murder to another and draws closer to solving the puzzle, he realizes the shocking connection between himself, the four cases and the family he has abandoned.

HORSEMEN begins with a story about four psychologically imbalanced people impersonating the symbols of death and destruction in Revelations and ends to become a frustrating mellow drama about the victims of social indifference and parental desertion. The director’s attempt to force feed the message to his audience turns to be a muddled series of carnage scenes and lecture about not neglecting our loved ones. The camerawork is not tight enough to deliver effective tension filled moments. The post production works are decent but not outstanding. And for a mystery-thriller, it fails to achieve that “edge of your seat” experience for the audience.

Is work priority over family? The obvious and expected answer is “no”, however, there are instances when this is easier said than done. In these times, when most families have both parents working to support the needs of their children, it is almost easy to rationalize that the time spend away from the home is actually time sacrifice to build the home. But is it really worth it? The movie reminds us that parents need to care for their children physically and emotionally. Nothing can ever replace the time one spends with them to share memories, lessons and experiences. However, this message is drown in the series of senseless killings, gruesome violence, offensive scenes and language.

Yaya & Angelina; The Spoiled Brat Movie

Cast: Ogie Alcasid, Michael V., Iza Calzado, Aiko Melendez, Jomari Yllana, Leo Martinez, Roxanne Guinoo, Sheena Halili, Victor Aliwalas; Director: Mike Tuviera; Producers: Jose Mari Abacan, Ogie Alcasid, Mike Tuviera, Michael V.; Screenwriters: Ogie Alcasid, Michael V., Uro Q. dela Cruz; Genre: Comedy; Distributor: GMA Films; Location: Manila; Running Time: 100 min.;

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

Bagama't may angking talino ay labis naman ang kapilyahan ni Angelina (Ogie Alcacid) kung kaya't walang tumatagal ditong yaya. Matapos ang pagkuha ng ilang mga yaya para kay Angelina, tanging si Yaya Rosalinda (Michael V.) lamang ang makakatagal sa kakulitan ng alaga. Sa umpisa'y maayos ang pakikisama ni Angelina kay Yaya Rosalinda, ngunit hindi magtatagal ay magiging sunod-sunod na rin ang kapilyahang gagawin nito sa yaya hanggang sa dumating ang araw na mapilitan rin ang mga magulang ni Angelina na palayasin si Yaya Rosalinda. Ngunit isang araw ay kakailanganin ni Angelina ang tulong ng yaya nang ito ay makidnap ng mga teroristang gustong patayin ang bibisitang Dukesa ng Wellington. Makaligtas kaya sila at magkaayos pa kaya silang dalawa?

Kahanga-hanga ang talino ng dalawang pangunahing tauhan na sina Michael V. at Ogie Alcacid na mga mismong nakaisip ng karakter ni Yaya at Angelina. Mula sa mumunting mga kuwentong mag-yaya na sumikat sa telebisyon ay nagawang pelikula na ang kanilang mga likhang tauhan. Nakakaaliw silang makita sa sinehan lalo pa't kilala na ang kanilang tambalan. Maayos at manlinaw ang kuha ng kamera at mahusay maging ang pagkakaganap ng mga pangalawang tauhan. May mga mangilan-ngilan ding nakakatawang eksena. Ngunit pawang nasayang ang pelikula dahil hindi nito napalawig ang kuwento at relasyon ng mag-yaya. Tulad sa palabas sa telebisyon, nanatili itong mababaw na walang hinangad kundi ang magpatawa. Hindi naghangad man lang ang pelikula na maglahad ng mas malalim at mas makabuluhang kuwento maliban sa pagpapatawa. Marami pa sanang pwedeng gawin sa kuwento ngunit nakuntento na lamang silang manatili sa manipis na hibla ng kwentong mag-yaya.

Bagama't lumaking spoiled brat at may kapilyahan, kitang dalisay naman ang puso ni Angelina. May taglay man siyang kakulitan, hindi naman niya sinasadya ang mga nagagawang pananakit. May ilang eksena nga lang na nakakababahala tulad ng mga pagsabog at pananadyang pananakot at pagpapahiya sa kanyang mga yaya. Hindi ito dapat tularan ng mga bata at dapat silang magabayan sa panonood. Higit na kahanga-hanga si Yaya Rosalinda na nanatili ang malasakit sa- alaga sa kabila ng kakulitan at kapilyahan nito. Hindi sumusuko si Yaya Rosalinda sa alaga kahit pa hindi niya ito kadugo. Bagay na mahirap hanapin sa mga kasambahay at yaya sa kasalukuyang panahon. Ang nabuong relasyon sa mag-yaya ay dapat magsilbing halimbawa na wala sa dugo ang pagmamahal at pagmamalasakit, bagkus ito ay kusang tumutubo basta't mayroon pagmamahal at mahabang pang-unawa ang mga higit na nakakatanda. Hindi rin magtatagumpay kailanman ang kasamaan sa kabutihan. Kahit pa walang armas, ay nagawa nila Yaya at Angelina na labanan ang mga armadong terorista sa masama nitong binabalak.