Saturday, January 16, 2010

Rebound

Cast: Catherine Zeta-Jones, Justine Bartha; Director: Bart Freundlich; Producers: ; Screenwriters: Bart Freundlich; Producer Bart Freundlich, Mark Gill, Robert Katz, Tim Perell; Music: Clint Mansell; Genre: Drama / Romantic Comedy; Distributor: ; Location: New York, USA; Running Time: 96 mins.;

Technical Assessment: 3
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

Sandy (Catherine Zeta-Jones), has turned 40, separated from her husband and looking for a new job in a new city and trying to get over the pains and heartaches. She rents an apartment above a popular coffee shop with her two children. Aram Finklestein (Justine Bartha), a 25 year old college graduate, also recently divorced and unsure of what to do with his life, decides to work in the coffee shop, wasting his time with dead end jobs until something exciting comes up. Luck has it for Sandy as Aram turns out to be a superb nanny for her two children, allowing her to explore and improve her career and personal life. Aram becomes close to Sandy’s children and eventually to her as well. Conflicts and arguments arise when age and personality differences come in the way. Will this May-December affair have a happy ending after all?

The movie Rebound tickles the heart and appeals to young ones in love as well as young once in a matured love. The story, although not entirely original, develops effectively. The acting is believable and impressive while Zeta-Jones and Barth’s chemistry, although falling short at times, is still authentic. There were issues that could have been explored more to give the movie a new flavor and depth. For instance, while they touch the question of age differences, the subject is never really explored. Technical aspects of the film are well crafted, clean and respectable. Direction is almost brilliant with great visualization of a good nanny and subtle and witty interpretation of the comical romantic scenes. Overall, the movie is quite an enjoyable entertainment.

There are several unacceptable themes within the story. One, the premarital sexual relationship between employer and employee is both inappropriate and immoral. Some would also find imprudent that the movie treats as a joke the scene where Sandy’s children witness the sexual act. On the other hand, REBOUND offers a quick peek at authentic human emotions. Friendship is illustrated when Aram becomes attached to the children and remains friends with Sandy even after five years of separation. True love is exemplified when 15 years in between and the physical distance within five years are not enough reasons to douse each other’s feelings for each other. REBOUND, sans the novelty of a May-December love story, provides a good insight on human relationships. However, because of some problematic themes and situations, the movie is better suited for the mature adult audience.

Friday, January 15, 2010

Puntod

Cast: Baby Forteza, Sheree, Mark Gil, Arnold Reyes, Pekto; Director: Cesar Apolinario; Producer: ADC Productions; Screenwriters: Tammy Dantes, Cesar Apolianrio and Melchor Encabo; Genre: Drama; Location: Manila; Running Time: 100 mins;

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

Si Baby (Barbie Forteza) ay isang pipi’t bingi na bata na lumaki sa isang mahirap na komunidad sa tabi ng estero. Pamumulot ng mga basura sa lawa ng Maynila ang tanging pinagkakakitaan niya mula nang maulila siyang lubos. Araw-araw, tinitiis niya ang kahirapan ng buhay kapiling ang kanyang mapang-abusong nakatatandang kapatid na si Sarah (Sheree). Ang tanging nagpapasaya na lamang kay Baby ay ang palagian niyang pagdalaw sa puntod ng ina. Dito lamang siya nakakaramdam ng kapayapaan at pakiramdam niya’y may karamay siya sa buhay kapag siya’y naririto. Ngunit kahit ang mumunting kasiyahang ito’y mawawala sa kanya nang tanggalin ang mga labi ng kanyang ina sa puntod nito dahil hindi na sila nakakabayad ng kaukulang upa. Dahil dito, pagsusumikapan ni Baby na maibalik ang mga labi ng ina sa puntod nito sa pamamagitan ng pag-iipon ng pera. Sa tulong ng ilang kaibigan, magdodoble-kayod si Baby upang makaipon. Ngunit hindi pa rin magiging madali ang lahat para sa kanya at sa kanyang mga kaibigan.

Maraming ninais sabihin ang pelikula ukol sa kahirapan ng buhay. Ipinakita ng Puntod ang malabis na karukhaan sa mata ng isang batang puno ng pag-asa. Kahanga-hanga na sana ang simulain ng pelikula ngunit naging pawang mababaw at manipis pa rin ang kinalabasan nito sa kabila ng lawak ng sinakop nito sa mga usaping panlipunan. Marahil naging masyadong gigil ang mga may likha ng pelikula na paigtingin ang kanilang mensahe ukol sa kahirapan at kapabayaan ng gobyerno. Labas tuloy ay naging malabis ang pelikula sa pagpapakita ng maraming mukha ng kahirapan na halos wala na ring mararamdamang simpatya ang manonood. Nalimutan nitong maghain ng isang kaiga-igayang kuwento na magpupukaw sa natutulog na damdamin ng mga manonood. Sa halip ay naging isang mahabang sermon at komentaryong pangsosyal at politikal lamang ang pelikula. Sayang at may husay pa naman ang mga nagsiganap. Hindi malaman ng mismong pelikula kung ang nais ba nilang ipahatid ay lungkot o saya sa gitna ng kahirapan. Maraming tauhan at pangyayari ang pawang hindi kapani-paniwala kahit pa hango sa tunay na buhay ang kuwento.

Paano nga ba dapat ipakita ang mukha ng kahirapan? Ano ba ang tunay na kalagayan ng mga mahihirap sa lipunan? Hindi masama at lalong hindi kasalanan ang pagiging mahirap kung kaya’t hindi naman talaga problema kung ipakita man sa pelikula ang mukha nito. Ipinakita sa Puntod ang lahat ng mabaho, marumi, kabulukan at kawalang-pag-asa sa kahirapan, pero hindi pa rin naging malinaw kung ano ang ibig nitong sabihin. Pawang ipinakita ng pelikula ang kawalang-lakas at kawalang kapangyarihan ng mga mahihirap sa lipunan. Wala silang lakas sa mga mayayaman, mga pulitko at maging ang Diyos ay hindi sila pinapakinggan. Pinapalabas ng Puntod na sadyang may mga lugar pa rin sa lungsod ang tila tinalikuran na ng Diyos. Maging ang natitirang mabubuting tao ay nagiging masama rin kalaunan o kung hindi ma’y nauuwi sa masamang kapalaran. Talamak ang kasamaan at ang lipunang ipinakita sa pelikula ay walang kinikilalang Diyos, batas, gobyerno at kahit anumang kabutihan. Ang ilang salitang ginagamit din sa pelikula ay nakakabahala. Maaring ito ay totoong nangyayari ngunit para saan ba ang pagpapakita pa nito? Lumutang naman bilang sentro ng kuwento ang isang batang puno ng pag-asa at pagmamahal sa kapatid at kaibigan ngunit ipinalabas nilang ang kabutihang ito ay napakaliit kung ikukumpara sa napakalawak na lipunang hindi kumikilala sa kahalagahan ng buhay, kabutihan ng tao at pagmamahal ng Diyos. Sa mundong ipinakita sa Puntod, mas nakakalamang ang masama sa mabuti at walang lugar ang pag-asa para sa mahihirap. Ang mga kababaihan ay inaabuso at karamihan ay nauuwi sa maagang prostitusyon. Ilan lamang ito sa maseselang konseptong inilahad sa pelikula na hindi naman nabigyang-hustisya sa kabuuan. Bagama’t ang pangunahing tauhan ay isang bata, hindi nararapat ang pelikula sa mga manonood na wala pa sa hustong gulang.

Alvin & the Chipmunks; Squeakquel

ASSESSMENT ONLY
Cast: Zachary Levi, David Cross, Jason Lee, Justin Long; Director: Betty Thomas; Screenwriters: Jon Vitti, Jonathan Aibel; Genre: Children/Family, Family-Oriented Comedy; Distributor: 20th Century Fox; Location: USA; Running Time: 88 mins;

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

BRIEF FILM SYNOPSIS

The new film, starring the Chipmunks and the Chipettes, follows in the footsteps of the original's blockbuster holiday 2007 release.

Now in the care of Dave Seville's newphew (Zachary Levi), the Chipmunks: Alvin, Simon and Theodore take a break from pop-music stardom and return to school. Almost immediately, the tiny rodents are given the giant task of saving their school's music program by winning a battle of the band's contest. Though the boys think winning the contest will be easy, romantic and musical sparks fly when they meet Brittany, Eleanor and Jeannette – also known as Chipettes.

ADDITIONAL REMARKS: mild rude humor

Tuesday, January 5, 2010

The role of the feminine and the spiritual in the film Avatar (A commentary)

By Teresa R. Tunay
CBCP Office on Women


There’s no doubt that Avatar, director James Cameron’s spectacular opus that’s wowing critics all over, is a comment on the greed of contemporary society, but it’s amusing to see how well-known film critics are spotting “hidden messages” in the movie.

Due perhaps to the profusion of symbols in the film, Avatar lends itself to so many interpretations. Times of London’s Ben Hoyle writes that the movie “contains heavy implicit criticism of America’s conduct in the War on Terror.” Roger Ebert of Chicago Sun-Times gives Avatar a perfect 4/4 score and says in his review that this “allegory on contemporary politics”… “has a flat-out Green and anti-war message (that is) predestined to launch a cult.” Will Heaven of the Daily Telegraph laments the film’s “racist subtext” as being “nauseatingly patronizing” because it is a white man who becomes the virtual savior of a colored people who wear “tribal jewelry” with long Rastafarian hairstyles.

It is not surprising that critics would read messages into the movie if they knew that its director James Cameron (of the Titanic fame) is himself a known environmental activist who publicly points an accusing finger at the industrial society as the chief culprit behind the purported global climate change. Cameron would say that Avatar does make overt references to certain points in American history to underline the greed of humans who shamelessly take what they want from nature and indigenous people without giving anything back in return.

What the critics seem to miss in Avatar and which CINEMA notes with almost tongue-clucking delight is its focus on the role of the feminine and the spiritual as the real savior of creation.

The message is strong though subtly articulated in the little details that the more intellectual, rational, masculine mind would overlook: respect for nature (don’t we call nature our “mother”?); the planet’s name Pandora (Mother Pandora, as in Mother Earth?); the value of waiting for and obedience to the will of the divine (passive, feminine, very Marian, in fact); the ability to see the divine in palpable phenomena (intuition, a woman’s domain); and the fact that it’s the female characters who are noble, intelligent, strong-willed, and who do the real thinking while the tempestuous, impulsive, bloodthirsty males smugly engage themselves in mindless destruction.

Princess Neytiri ( Zoe Saldana), is the personification of Woman as teacher—superior to her male pupil, of course—anointed to educate and train the earthling-avatar in the ways of the Na’vi. Without losing her femininity she displays the integrity and self-sufficiency of a strong woman, telling the man she likes, “You have a strong heart, but you are stupid and do stupid things; you’re like a baby!” She stands on her own, holds her own—a fearless female who won’t take sh*t from a wishy-washy man, and that’s why she’s beguiling despite her flat chest.

Neytiri’s mother, the queen, is the Na’vi’s version of the high priestess—she alone is entrusted the role of interpreting signs from their deity. She presides at gatherings in the hallowed ground where the Tree of Souls stands like a gigantic and luminous weeping willow tenderly guiding believers in the right path.

There’s the daring woman scientist Grace Augustine (Sigourney Weaver) who at first seems as driven and exacting as the marines she works with but who gradually mellows as repeated interaction with the Na’vi stirs and allows her superior self to justify her efforts and redeem her towards the end. This character shows conversion, an act of grace in the Christian universe of discourse. (Mr. Cameron, does this explain her name Grace Augustine?)

The aviatrix Trudy (Michelle Rodriguez) is another valiant woman whose tough go-go-go exterior belies a maternal conscience that would not tolerate the destruction of the peace-loving and innocent Na’vi.

Even the name of the race, Na’vi, sounds too close to “navel” or “bellybutton” as it’s popularly called: that hollow in the surface of the stomach where the umbilical cord is tied after being cut at birth. We wonder whether writer-director James Cameron intended this. The navel symbolizes the connectedness of the baby to its mother. Might the name “Na’vi” also symbolize the Na’vi’s connectedness to their “mother planet” Pandora? The Na’vi respect and protect their environment; they are aware that they owe their life to it.

Come to think of it, is there anything Na’vi-made on Pandora? Skyscrapers, automobiles, shopping malls, roads, like the man-made things on Earth? It seems only their clothing and jewelry and bows and arrows are Na’vi-made—for protection from elements, aesthetics, hunting and self-defense? Everything else is natural, even the monstrous but graceful flying dragons each Na’vi adult uses for mobility which must be tamed before they can be mounted.

I did not notice Na’vi-made dwellings, for the whole planet—despite the presence of elephant-size rhinoceri with snouts like a hammerhead shark—looks like a generous, hospitable and beneficent home where communities do meet and mate outdoors. So what are they fleeing from when their land is under attack from the gung-ho earthlings? I need to see the movie again.

The Na’vi’s connectedness to nature is made manifest in their bodies, too—they have glitters on their faces, as though they sweat mercury—just like the numerous things bred and nurtured by their land: flora and fauna that mesmerize one with their glow.
The ground from which the Tree of Souls rises shines with a luminosity that seems to issue from the planet’s womb (there again, a feminine thing!). And where healing takes place (if the Divine so wills), life-giving energy comes in the form of light, creeping like veins or tentacles out of the ground and reviving the near-dead. Even the sign demonstrating the anointing of the avatar uses light-emitting creatures—insects or flowers (?) materializing from thin air and alighting like milkweed seed on the chosen one until he dazzles with a white light that burns but neither burns nor blinds. (Talk about the Burning Bush and Jesus’ Transfiguration on Mt. Tabor!) Everywhere on Pandora there is light, light, light!

So, isn’t light a quality of the enlightened? And isn’t enlightenment the desire and work of the Spirit? Avatar is more than just a political statement, a battle-cry to save the environment, or (as some other film-critics see it) a sci-fi movie with a clunky, clicheic script. More than anything else it’s a call to restore our sense of the sacred, a tribute to the primacy of the spirit, and a paean to the power of the feminine to revive the spirit to save a decaying world.

Teresa R. Tunay
CBCP Office on Women/CINEMA

Saturday, January 2, 2010

Wapakman

Cast: Manny Pacquiao, Krista Ranillo, Rufa Mae Quinto, Bianca King; Director: Topel Lee; Producers: Wilson Tieng; Music: Von de Guzman; Genre: Action/ Drama/ Sci-Fi; Distributor: Solar Entertainment Corporation; Location: Philippines;

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above

Ulirang ama si Magno Meneses (Manny Pacquiao) sa kanyang apat na anak at isang ampon, nagtatrabaho naman sa Italya bilang isang DH ang kanyang maybahay na si Magda (Ruffa Mae Quinto) sa internet lamang nila ito nakakausap. Sa kanyang debosyon at sipag na itaguyod ang mga bata, anupa’t siya’y ama’t ina na rin ng mga ito, datapwa’t hindi alam ng mga ito ang kanyang hanapbuhay sa kompanya ng poso negro. Sa isang hindi inaasahang pangyayari, malalanghap ni Magno ang isang imbensiyong kemikal na ipinapanakaw ni Dr. Rex (Jojo Alejar), isang mad scientist, mula sa imbentor nito. Nakapagbibigay ng kakaibang lakas ang kemikal na ito. Darating ang pagkakataong kakailanganin ang pagtulong ni Magno sa isang kahip[itan, at doon niya matutuklasan ang kanyang di pangkaraniwang lakas, hanggang sa siya’y taguriang “Wapakman”

Kapuna-punang pinakamahina sa takilya ang Wapakman noong Manila Film Festival. Nag-iisa po sa sinehan ang CINEMA reviewer noong siya ay manood, at ayon din sa mga takilyera, pinaka-kaunti daw ang benta nito. Marahil, higit na gusto ng madla na panoorin ang tunay na lakas ni Manny Pacquiao bilang boksingero kaysa sa pantasya niyang lakas bilang isang superhero. Kung tutuusin, hindi naman magpapahuli ang Wapakman sa iba pang mga pelikulang tampok sa Manila Film Festival. May pagka-spoof pa nga ito, pinaghalong komedya at drama, at nasa lugar naman ang anumang matatawag nitong “toilet humor” pagkat ang trabaho mismo ng karakter ni Pacquiao ay, sa kanyang sariling salita, “Taga-sep-sep ng ebak.” Kapuri-puri pa nga na sa kabila ng ganitong trabaho, ay hindi kinapital ito ng direktor upang gawing totoong “toilet humor” ang mga patawa dito. Sana lamang ay hindi masaktan ang mga Bisaya sapagkat ang kanilang kakatwang pananalita ang isa sa mga lumutang na puhunan upang mapatawa ang nanonood. Mahusay ang interpretasyon ni Alejar bilang mad scientist; sa kabilang dako, gasgas na plaka na ang arte at pananalita ni Quinto bilang isang sexpot. Mayroon ding nagsasabing tuyot ang pagganap ni Pacquiao, subalit totoo man yon, akma naman sa pagkatao ng papel niya na kimi, siryoso sa buhay, at pasensyosong lalaking na-“torotot” ng kanyang seksing maybahay.

Mapapatawa na marahil ng madla ang ilang teknikal na kakulangan ng Wapakman, sapagkat sadyang hitik naman ito sa mga values na dapat ay itaguyod natin sa mga panahong ito—tulad ng pagmamahal sa gawain gaano mang kahamak ito sa mata ng tao; ng pagiging tapat sa asawa at ulirang ama sa kabila ng kataksilan ng babae; ng paggamit ng kapangyarihan tungo sa ikabubuti ng balana; ng pagiging mapagkumbaba sa kabila ng katanyagan; ng takot sa Diyos at pagiging tapat sa sarili, at iba pa. Ito’y mga aral na mapapakinabangan ng mga “marunong bumasa” sa ating lipunan. Maraming mapapag-usapan ang mga guro at kabataan, ang mga anak at mga magulang, sa pelikulang Wapakman—mga katanungang humihingi ng kasagutang hindi pagtuunan ng pansin ng mga “bingi” sa ating mga tagapamuno. Kailangan ba natin talagang magtrabaho sa labas ng bansa sa kabila ng mga panganib na dulot nito sa pamilya? Ang mga nakatapos lamang ba ng kolehiyo at nagtatrabaho sa malilinis na opisina ang may karapatang ipagmalaki ang kanilang trabaho? Hindi ba sapat nang maging tapat, marangal at malinis ang puso ng ating mga magulang upang sila ay ating ikaligaya at ipagmalaki? May hanggahan bang kinikilala ang pagpapatawad sa nagkasala? Bagama’t may masamang ipinakikita ang pelikula (ang hantarang pagtataksil ni Magda), sa dulo’y mamamasid naman ang tagumpay ng kabutihan sa pagbabagong-loob ng kanyang panganay na anak. Sayang at hindi gasinong pinapansin ng mga manonood ang Wapakman. Lata man ang kuwento nito, tanso man ang pagkakaganap, tunay na ginto ang mensahe ng pelikula. Higit pa sa sulit sa halaga ng tiket.

Mano Po 6; A Mother's Love

Cast: Sharon Cuneta, Zsa Zsa Padilla, Heart Evangelista, Ciara Sotto, Christopher de Leon, Kris Aquino, Boots Anson-Roa; Director: Joel Lamangan; Screenwriter: Roy Iglesias; Genre: Drama; Distributor: Regal Films; Location: Manila; Running Time: 120 mins;

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

Si Melinda (Sharon Cuneta) ay bunga ng pagmamahalan ng dalawang lahi. Ang kanyang ina (Boots Anson-Roa) ay isang purong Tsino habang ang kanyang ama naman ay isang Pilipino. Ito ang dahilan kung bakit itinakwil sila Melinda ng pamilya ng kanyang asawang purong Tsino (Christopher de Leon). Malas daw ang kanilang pagsasama dahil hindi puro ang pagka-Tsino ni Melinda. Magkakaron sila ng apat na anak pero ang pangalawa sa panganay na si Stephanie (Heart Evangelista) ay mapapalapit ng husto sa pamilya ng asawa ni Melinda, at dahil hindi gusto ng mga ito si Melinda ay sisiran siya ng mga ito sa kanyang anak. Nangunguna sa paninira kay Melinda ang kanyang hipag na si Olive (Zsa Zsa Padilla). Tuluyang mapapalayo si Stephanie sa kanyang ina nang mamatay ang kanyang ama at palabasin nila Olive na si Melinda ang dahilan. Aangkinin nina Olive ang mga anak ni Melinda at maiiwan lamang sa kanya ang kanyang panganay na si Carol (Ciara Sotto). Gagawin lahat ni Melinda ang paraan upang mabawi ang kanyang mga anak ngunit sadyang makapangyarihan at maimpluwensiya ang pamilya ni Olive. Nang mamatay ang ina ni Melinda, pansamantala niyang ititigil ang pakikipaglaban para makuha ang mga anak. Magsusumikap siyang umangat sa buhay upang maging mayaman at makapangyarihan nang sa gayon ay magkaron siya ng lakas na mabawi ang mga anak. Magawa pa kaya niya ito gayong tuluyan nang lumayo ang loob sa kanya ng kanyang mga anak lalo na si Stephanie?

Muling ipinakita ng Mano Po 6 ang pagsasanib ng kulturang Tsino at Pilipino. Naging epektibo ito sa ilang aspeto ngunit hindi pa rin matagumpay sa kabuuan. Sa dami ng tauhan, madalas malihis ang kuwento sa kung sino-sino at kung anu-ano. Masyadong abala ang kuwento sa maraming bagay at nalilimutan nitong pagtuunan ng higit na pansin ang nararapat na daloy ng damdamin. Naging karikatura lahat ng tauhan sa kuwento. Walang totoong tao sa kanila. Maliban sa mga tunay na Tsinong nagsiganap, hindi kapani-paniwala ang pagiging Tsino ng marami sa tauhan. Walang gaanong maramdaman sa mga eksena dahil hindi binusisi ang pag-arte maging ang kabuuang kwento. Sayang ang ilang magagandang kuha ng kamera at malinis na musika at tunog. Ang mada-drama sanang eksena ay nagiging komedya dahil sa maling pag-trato ng direktor. Sa halip na magbigay ng makabago at angkop na larawan ng mga Tsino sa Pilipinas, pinaigting pa ng Mano Po 6 ang anumang masamang imahe meron ang mga Tsino sa Pilipinas.

Pinaka-sentro ng kuwento ng Mano Po 6 ang dalisay at walang maliw na pagmamahal ng isang ina sa anak. Maliwanag itong naipakita sa dalawang henerasyon ng ina sa pelikula na ipinaglaban ang kani-kanilang mahal sa kabila ng pagtutol ng ilan. Kahanga-hanga ang ipinamalas na pagmamahal ni Melinda sa kanyang mga anak. Yun nga lang, may ilan pa ring pag-abuso sa kapangyarihan na ipinakitang katanggap-tanggap sa pelikula katulad ng pakikipag-sabwatan sa pulis upang idiin sa maling krimen ang isang tao. Hindi man ito ang pangunahing kuwento, nakaapekto pa rin ito sa dapat sana’y dalisay na katauhan ni Melinda. Nabahiran na rin siya kahit papaano ng kaunting kasamaan dahil sa kanyang pag-angat sa buhay nang gawin niya ito. Naging malabis naman ang pagrerebelde ng anak sa magulang sa pelikula. Ipinakita pang isa itong paraan upang mapansin ng magulang. Nariyan din ang pagtatalik sa labas ng kasal. Ngunit sa kabuuan ay lumutang naman ang magagandang mensahe ng pelikula ukol sa pagpapahalagang moral, pagmamahalan at pagpapatawad. Sa bandang huli’y nagwawagi pa rin ang mga inaapi at ang masasamang-loob ay napaparusahan kundi man ng batas ng tao ay ng batas ng Diyos. Pinahalagahan din ng pelikula ang pagtitiyaga at pagtitiis bilang mahalagang parte ng kabuuan ng isang pagkatao. Nariyan din ang aral ng pelikula ukol sa mga pamihiin ng suwete o malas. Na ang tao ang gumagawa ng kanyang kapalaran at hindi ang ano pa mang kaugalian o maling paniniwala. At sa Diyos nanggagaling ang anumang biyaya. Higit sa lahat, binigyang halaga ng Mano Po 6 ang kahalagahan ng pamilya sa lipunan, anumang lahi ang pinagmulan.

Nobody, Nobody but Juan

Cast: Dolphy, Eric Quizon, Eddie Garcia, Pokwang, Heart Evangelista, Jeffrey Quizon, Eugene Domingo, Vandolf, G Tongie; Director: Eric Quizon; Producer: Rodolfo Quizon; Screenwriters: Eric Quizon and Bibeth Orteza; Music: ; Editor: ; Genre: Comedy/ Light Drama; Location: Philippines and US; Running Time: 100 mins;

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

Residente si Juan Dela Cruz (Dolphy/Jeffrey Quizon) sa isang "home for the elderly" sa America. Bagamat pag-aari ng sarili niyang anak na si Mario (Eric) at ng asawa nitong si Alana (G Tongie) ang institusyon ay hindi masaya si Juan sa pananatili niya dito dahil si siya sang-ayon sa pagbabawal sa kanilang mga matatanda na makapanood ng paborito nilang programa sa telebisyon na tangi nilang libangan. Naiibsan nito ang pangungulila ni Juan sa Pilipinas at mga alaala ng pagkakaibigan nila ng mga nakasama niya sa entablado noong panahon ng hapon na sina Toribio a.k.a Tu (Eddie Garcia/Vandolf), Lolay (Pokwang) at unang niyang pag-ibig na si Aida (Gloria Romero/Heart). Nang nagkaroon ng matinding alitan ang mag-asawang Mario at Alana ay lumipat muna si Juan sa isa niyang anak sa America na si John. Dito magkakaroon siya ng pagkakataon na mahawakan ang passport at makapag-withdraw ng pera sa bangko upang makabalik sa Pilipinas. Ano ang naghihintay kay Juan sa kanyang pagbabalik sa sariling bayan?

Sa kabila ng masalimuot na takbo ng istorya ay nai-sentro naman sa karakter na si Juan ang pelikula. Nakatulong dito ang pagtagni-tagni ng mga flashback scenes. Pero tila mas lumutang ang promosyon ng programang "Wowowie" at cable channel na TFC. Nakitaan din ang director ng pagsisikap na mailabas kahit papaano ang sentimyento ng mga matatanda subalit hilaw naman ang intensyon nito na makapagpatawa, mabuti na lamang at may mga likas na talento sa patawa ang mga nagsiganap. Maingay at parang nagtatalo ang tunog at linya ng mga artista. Akma lamang ang ilaw, make up at disenyo ng produksyon. Subalit tila limitado ang mga kuha ng background scenes sa mga light rail trains. At walang kaugnayan ang sikat na awiting "Nobody Nobody.." sa pelikula. Sa kabuan ay walang masyadong naihain ang teknikal na aspeto.

Isang maipagmamalaking kultura sa Pilipinas ang pagkalinga sa mga nakatatanda lalo na sa pamilya. Madalas ay nagiging susi ang mataas respeto sa kanila upang magkaisa ang pamilya o matapos ang anumang alitan. Subalit dahil sa kaibahan ng istilo ng pamumuhay sa banyagang bansa ng Amerika ay muntik ng mabalewala ang pagpapahalagang ito ng pamilya ni Juan Dela Cruz. Mabuti na lamang at hindi naging huli ang lahat at napagtanto na bawat isa ang kanilang mga pagkukulang, kahinaan at kalakasan upang muling magbuklod bilang pamilya at maging masaya ang matanda sa pamilya. Binigyan-diin din sa pelikula ang kahalagahan ng tapat na pagkakaibigan, pagsasakripisyo, pagtanggap at pagpapatawad. May aral ang pelikula subalit dahil sa mga eksena na nagpapakita ng magaspang na trato sa matatanda ay dapat gabayan ang mga batang manonood.

Saturday, December 26, 2009

Panday

Cast: Ramon Revilla Jr., Philip Salvador, Iza Calzado, Rhian Ramos, Robert Villar; Direction: Mac Alejandre; Director: Rico Gutierrez; Producers: Annette Gozon-Abrogar, Jose Mari Abacan, Ramon Revilla, Jr; Music: Von de Guzman; Editor: Augusto Salvador; Genre: Fantasy/ Adventure; Cinematography: Regiben Romana; Distributor: GMA Films; Location: Pulang Lupa;

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

Hango sa nobela ni Carlo Caparas, Jr at isang remake ng pelikula ni Fernando Poe, Jr. nuong 1981, muling masusundan ang pinagmulan at pakikipagsapalaran ni Flavio bilang tagapagligtas ng mundo. Nang sakupin ni Lizardo (Philip Salvador) at ng kanyang mga kampon ang mundo, kumapit na lamang ang mga tao sa pag-asang darating ang isang binata na magliligtas sa kanila at magpapabalik sa paghahari ng kabutihan. Sa Pulang Lupa, si Flavio (Bong Revilla) ay isang masigasig at matapat na panday na kasalukuyang nakatira kina Lolo Isko (Jonee Gamboa) at Bugoy (Robert Villar). Bagamat atubii, tinanggap ni Flavio na siya ng manlilgtas nang makita niyang nagiging espada ang punyal na gawa mula sa bumagsak na bulalakaw mula sa langit. Dali-dali niyang tinahak ang landas papunta sa kuta ni Lizardo upang mailagtas ang kanyang minamahal na si Maria (Iza Calzado). Lingid sa kanya ay sinundad siya nina Bugoy at Estelita (Rhian Ramos) na kapwa may maghanga at pagmamahal sa kanya. Samantala, ihinasik ni Lizardo ang kanyang mga kampon upang hadlangan ang pagdating ng panday at matuloy ang kasal niya kay Maria.

Sa larangang ng visual effects at CGIs, napakalaki ng ikinahusay ng pelikulang ito at talaga namang maipagmamalaki na ang kanilang pagsusumikap na pagandahin ang aspetong teknikal upang makipagsabayan sa mga gawang Hollywood. Buong buo ang konsepto ng mga disenyo ng kasuotan, ng make-up at ng set at props ng Ang Panday. Para kang dinala sa ibang dimension kung saan ang mga tao ay nasa gitna ng makaluma at mahikal na panahon at hindi mukhang palabas sa entablado o pipitsugin palabas sa telebisyon. Nadala ni Revilla ang katauhan ng isang maginoo, mabuti at matapang na mandirigmang mortal at nakakasulasok ang kasamaan ni Lizardo sa pagganap ni Salvador. Nagawa ni Calzado na paghaluin ang misteryo at bighani sa katauhan ni Maria at nakakahawa ang kulit ni Bugoy at ng nagdadalagang si Estelita. Maaliwalas at nakakaigaya ang mga panoramic at panning shots na nagpakita ng ganda ng mga tanawin. Dahil sa mga dahilang ito, tama nga na mabigyang gantimpala ang pelikula. Kaya nga lamang, may tatlong kakulangan ang produksyon. Unang-una na ang higpit ng pagsasalaysay ng kwento. Maraming eksena at tauhan ang tila ba isiningit lamang at hindi naipaliwanag mabuti. Dagdag pa ang editing na parang nagtagpi-tagpi lamang ng mga di magkakaugnay na eksena. Ikalawa ang kakatwang pagganap ni Salvador bilang Lizardo na magkahalong Joker ng The Dark Knight at Uncle Fester ng Addams Family. Sana ay gumawa na lamang siya ng sarili niyang tauhan sa halip na manggaya ng iba. Nakakatawa rin na pagkatapos ng bawat laban ay gagawin na ni Revilla ang “panday pose” ng ilang segundo. At ikatlo, sapagkat pinagbuhusan ng panahon at ginastusan ng malaki ang mga special effects, tiniyak ng direktor na makikitang mabuti ang mga ito. Ang resulta, mabagal na aksyon, nakasasawang eksena at mga indulgent special effects.

Isang aspeto ng pagkatao ang sinikap na talakayin subalit hindi maayos na nagawa. Ito ang eksena kung saan binigyan ng pangaral ng Diwata ang bulag na si Flavio. Aniya, ang paggawa ng kabutihan, paglilingkod sa kapwa at pakikipagtunggali sa kasamaan ay isang gawaing nangangailangan ng patuloy na pag-aalay ng sarili. Hindi batayan ang ilang tagumpay, bagkus kailangang paulit-ulit na makipaglaban, masaktan, mag-alay hanggang hindi naghahari ang kabutihan. Bilang manliligtas at Christ-figure, inaasahang maraming pagsubok at paghihirap at pagdaraanan. Ang kanyang pagsuko at pagkawala ng pag-asa ay tanda ng kahinaan ng loob at pananalig sa biyaya ng Diyos. Si Hesus ay nagdaan din sa katakut-takot na pagsubok at paghihirap subalit ni minsan ay hindi siya sumuko at nawalan ng pag-asa. Gayundin, isa itong paanyaya sa bawat isa sapagkat sa mga mumunting paraan, tayo ay nagiging mga “manliligtas” na susugpo sa mga maling gawain at magpapaibayo sa kabutihan. At sa tungkuling ito, kailangan ng palagian tatag ng loob at pananalig na may isang Diyos na magbubuhos ng biyaya at paggabay.

I Love You Goodbye

Cast: Angelica Panganiban, Gabby Concepcion, Kim Chiu, Derek Ramsay, Matet de Leon, Liza Lorena, Arlene Muhlach, Ketchup Eusebio ; Director: Laurice Guillen; Screenplay: Mark Meily; Producer/ Distributor: Star Cinema; Location: Manila; Genre: Drama; Running Time: 110 mins

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

Magka-live-in sina Lizelle (Angelica Panganiban) at Adrian (Gabby Concepcion) na malaki ang agwat ng edad at estado. Ang 25 anyos na si Lizelle ay isang ulilang lubos na nagta-trabaho bilang serbedora sa coffee shop nang makilala ni Adrian, mahigit 40 anyos at may mataas na katungkulan bilang doktor sa isang malaking ospital. Maraming tutol sa kanilang relasyon lalo na ang anak ni Adrian na si Ysa (Kim Chiu) na halos kasing-edad ni Lizelle. Magugulat sina Lizelle at Adrian sa pagpapakilala ng bagong manliligaw ni Ysa na si Gary (Derek Ramsay). Sa simula pa lang ay halata ang pagkadismaya ni Adrian kay Gary, habang si Lizelle naman ay hindi mapakali. Malalaman na ito palang si Gary ay dating kasintahan ni Lizelle na iniwan siya nang walang paalam dalawang taon na ang nakararaan upang magtrabaho sa barko. Si Adrian ang siyang sumalo sa kalungkutan ni Lizelle. Ngayon si Gary ay nagbabalik sa buhay ni Lizelle upang buhayin ang dati nilang pag-ibig at si Ysa ang kanyang gagamitin upang makalapit siya dito.

Maayos ang pagkakagawa ng pelikula. Mahusay ang pagkakadirehe ni Guillen na hindi matatawaran ang galing sa paghahagod ng tamang emosyon sa bawat eksena. Maging ang pinaka-simpleng eksena ay nagniningning dahil sa hitik at lalim nang pinaghuhugutang emosyon ng mga karakter. Hindi naging melodramatiko ang pelikula. Walang katakot-takot na sampalan, walang gaanong histerya. Sumunod lamang ito sa natural na daloy ng mga pangyayari at sa mga nararapat na reaksiyon ng mga tauhan. Naging mas makapangyarihan ang pelikula sa mga sandali ng katahimikan nito kung saan madarama ng manonood ang pinagdadaanang pighati ng mga tauhan. Pawang mahuhusay lahat ng nagsiganap at bumagay sa kanila ang kani-kaniyang papel. Lumutang nang husto ang galing ni Panganiban sa pag-arte sa pelikulang ito. Kuha niya ang nararapat na komplikasyon ng tauhan na kanyang ginampanan. May ilan nga lang problema sa editing ang pelikula dala siguro marahil ng pagmamadali, pero maari na rin itong palagpasin dahil di naman gaanong nakaapekto sa kabuuang daloy. Sayang nga lang dahil kung mas napagtuunan pa ito ng pansin at napaglaanan ng panahon, magiging mas maayos pa sana ang pelikula.

Tinalakay ng pelikula ang isang sensitibong paksa ng pakikiapid. Makikita sa pelikula ang hirap na pinagdadaanan ng isang taong nasa masalimuot na relasyon. Nariyang hindi siya tanggapin ng mga kaanak at harap-harapang kutyain dahil hindi siya tunay na kapamilya. Sinundan pa ito ng mas maraming komplikasyon nang magbalik ang dating pag-ibig. Nakaugat naman ang lahat sa lalim ng emosyon at hindi lang sa tawag ng laman kung kaya't hindi mahirap unawain ang pinagdaanan ng mga tauhan. Sadyang may mga sandali na hindi mapipigil ng tao ang bugso ng kanyang damdamin. Nakakabahala ang ipinakikitang pagtatalik sa labas ng kasal. Hindi man sinabi ng pelikula na ito'y tama, hindi pa rin ito magandang halimbawa. Marahil ang mga eksenang ganito ay kailangan upang ipakita ang lalim ng relasyon ng mga tauhan, ngunit ang ganitong dahilan ay mauunawan lamang ng mga manonood na may hinog na kaisipan at nasa wastong gulang. Hindi nararapat ang ng ito sa mga manonood na wala pang 18 taong gulang.

Ang Darling Kong Aswang


Cast: Vic Sotto, Christine Reyes, Jean Garcia, Richie D Horsey; Direction: Tony Reyes; Location: Metro Manila; Genre: Comedy; Distributor: MZet Productions

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

Ang mag-inang sina Ida (Agot Isidro) at Eliza (Christine Reyes) ay mga aswang na mababait. Sa halip na tao ay mga hayop lamang ang kanilang pinapatay at kinakain. Subalit kinailangan nilang lumikas at lumipat ng tirahan nang makarating ito sa pinuno ng kanilang sektang si Barang (Jean Garcia). Nakituloy sila sa isang kamag-anak sa baranggay kung saan naninirahan din ang biyudong si Victor (Vic Sotto). Mabait at ulirang anak at ama si Victor. Handa siyang isakripisyo ang pag-ibig kung ito ang magiging kagustuhan ng kanyang dalawang anak. Mabuti na lamang at nakasundo ng kanyang mga anak si Eliza kaya’t natuloy ang kasal ni Victor sa dalaga. Ang tanong, matatagalan ba ni Victor ang pagbabagong-anyo ng kabiyak? Gaano katagal maitatago ni Eliza ang pagiging aswang sa bago niyang pamilya? At papaano na kapag natagpuan sila ng kampon ni Barang?

Nakakaaliw ang pelikula at wala pa ring kupas si Vic Sotto sa pagbitaw ng linya. At nakakabilib din ang husay ng mga CGIs at special effects na ginamit dito. Malayo na ang ikinagaling nito kumpara sa mga naunang pelikula. Bukod rito, wala ka nang makikitang dahilan upang panuorin ito. Maraming elemento ang hindi malinaw dahil hindi man lamang ito pinagka-abalahang busisiin. Ang daloy ng kwento at ang mga eksenang ginamit para umusad ang pelikula ay para bang hindi na pinag-isipan. Bago umabot sa sentro ng kwento ay katakut-takot na mga pasakalye at walang saysay na eksena ang ipinakikita. Halos ikatlo ng palabas bago pa magkita at magkatuluyan sina Victor at Eliza. Ubod tuloy ng bagal ang pag-usad ng pelikula. Kulang din ang aspetong malikhain ang pelikula. Una, walang kabuhay-buhay gumanap si Reyes. Kulang ang alindog niya bilang kaakit-akit na dalaga at napakalamya naman niya bilang mabangis na aswang. Bukod pa rito, nakakailang na halatang-halata ang kapal ng make-up ni Reyes bilang isang probinsyanang aswang. Ni hindi man lamang pinag-aksayahan ng panahon turuan ang mga babaeng aswang ng tamang tindig at porma sa pakikipaglaban. Bagamat mahusay magpatawa, mababaw ang pagkakabuo sa katauhan ni Sotto. Siya pa rin ang Sottong napanuod sa Okay Ka Fairy Ko hanggang Iskul Bukol noong nakaraang taon. Sayang lamang ang busisi sa aspetong teknikal dahil napakababaw ng pagkakabuo sa pelikula.

Ang pinakamalaking problema ng pelikulang Pinoy ay ang pagkakatuon lamang nito sa kikitain. Basta’t may sikat na artistang bida at medyo ikakapit at pamagat o istilo ng kwento sa sikat na awitin o naunang palabas, pwede na. Hindi man lamang pagsumikapang tiyakin na malinis, hindi lamang ang teknikal na kalidad, kundi ang pinakamahalagang sangkap ng pelikula—ang takbo ng istorya at paghubog ng mga tauhan.

Sinikap ng Ang Darling Kong Aswang na sundan ang nakakikilig na dalisay na pag-iibigan sa Twilight at New Moon. Magkaibang lahing may iisang tibok ng puso. Sinuong lahat ng panganib at hadlang alang-alang sa pag-ibig. Mainam sana ang mensahe nito, kaya nga lamang, natabunan lamang ito ng mga eksenang patawa at tauhang pang comic relief. May aspetong ispiritwal din sana, kung saan ipinakitang mas mataas ang pananalig sa Diyos kaysa sa anu pa mang makalupang kapangyarihan o lakas. Kaya nga lamang, ewan kung maalala pa ito ng nanuod dahil tila ba paningit na lamang ito ng direktor sa dulong bahagi ng pelikula.

Bagamat maaring panuorin ang pelikula kahit ng mga bata, mas mabuting gabayan sila ng isang responsable at marunong na nakatatandang kasama sa panonood.

Friday, December 18, 2009

Avatar

Cast: Sam Worthington, Zoe Saldana, Stephen Lang, Michelle Rodriguez; Director: James Cameron; Producers: Cameron, Jon Landau; Screenwriter: James Cameron; Music: James Homer; Editor: James Cameron, John Refoua, Stephen E. Rivkin; Genre: Sci-Fi Adventure; Distributor: 20th Century Fox; Running Time: 123 mins;

Technical Assessment: 4
Moral Assessment: 2.5
CINEMA Rating: For viewers 14 and above

Pandora is one of the smaller planets some 4.3 light years from Earth. It is a luscious and unspoiled home to the 10 foot tall blue skinned Na’vi. The humans of the Earth has encroached deep into Pandora’s forest in search for valuable minerals but are held back by the planet’s atmosphere which is deadly to them. Meanwhile, Jake Sully (Sam Worthington), a former US Marine now paralyzed from waist down is selected to participate in the Avatar program, wherein genetically-bred human Na’vi hybrids are created to adapt to Pandora’s atmosphere. In exchange for the ability to move and walk again, Jake must serve as a scout for the human soldiers who follow him in Pandora’s jungles. However, when Jake learns of the Na’vi culture and falls in love with Princess Neytiri (Zoe Saldana), his loyalty becomes torn between his obligation as a spy and his new found love.

AVATAR is a visual feast that tells an entertainingly tight story. Director James Cameron manages to recreate a world so charming and dreamy with its sharp CGIs and brilliant attention to technical detail. The story’s development and screenplay falls a little short as it tries hard to be relevant. Over-all the creative lapses are overtaken by the superb visuals.

At the core of a person is his loyalty to what is right and what is good. At some point, a person might be influenced by power or authority or persuaded by debt of gratitude but almost always, there will be that small voice whispering to choose love, unity, peace and brotherhood. The film illustrates a person’s hierarchy of needs and desires. It seems that man wants most what he has lost or is incapable of. He thinks he will sell even his soul just to get back what he has lost. However, at the end of the day, what will truly make one happy and content is not merely fulfilling those needs and desires but following what is true and good as dictated by the soul and heart.

The movie contains several intense war-related violence, some profanity and crude language. The film is inappropriate for very young children. Parents are strongly advised to guide their children who would like to watch the film.

Friday, December 11, 2009

Walang Hanggang Paalam

Cast: Lovi Poe, Joem Bascon, Jacky Woo, Jake Roxas, Ricardo Cepeda; Director: Ramos and Paulo Villaluna; Producers: Forward Group and Feminine Annex; Screenwriters: Ellen Ramos, Paulo Villaluna, Caloy Santos, Patricia Evangelista, Raymond Amonoy; Genre: Drama; Location: Baguio City; Running Time: 90 min.;

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

Maglalayas ang 16-taong-gulang na si Maria (Lovi Poe) sa poder ng kanyang amain (Ricardo Cepeda) upang sumama sa kanyang kasintahang si Ryan. Sa Baguio sila tutuloy na dalawa at dito ay makikilala nila sa magkahiwalay na pagkakataon si Yoshi (Jacky Woo) isang Hapon na nagbalik sa Pilipinas upang hanapin ang dating pag-ibig bago man lamang siya bawian ng buhay dahil sa sakit na cancer. Habang si Ryan ay nagnanais na makasiping sa wakas si Maria, ang huli nama’y nais na maglibang sa labas ng kuwarto. Sa labis na pagkainip ay aalis mag-isa si Maria at dito ay makakasama niya at makikilala ng mas malalim si Yoshi. Mapapalagay ang loob ni Maria dito. Samantala, ang amain naman niya ay umupa ng imbestigador (Jake Roxas) upang ipahanap siya. Hawak nito ang susi sa isang pinakatatagong sikreto na magbabago sa buhay nilang lahat na nagsasanga-sanga ang mga kuwento sa maliit na siyudad ng Baguio.

Sa umpisa’y pawang may lalim na nais ipahatid ang kuwento ng Walang Hanggang Paalam. Pinaiisip nito ang manonood sa kung paanong magkakaron ng koneksyon ang iba’t-ibang tauhan na may kani-kaniyang pinanggalingan. Nababalot ng katahimikan at lungkot ang kabuuan ng pelikula. Karamihan sa mga nais nitong sabihin ay maririnig sa nakabibinging mga katahimikan. Pero ang katahimikan ding ito ang siyang dahilan kung bakit sa bandang huli’y walang malinaw na nasabi ang pelikula. Sayang sapagkat mahusay sana ang mga nagsiganap. Natali lamang sila sa limitadong materyal na hindi nagsubok payabungin ng maayos ang daloy ng emosyon. Kulang sa tamang hagod ang mga eksena at magtatalo ang lohika at emosyon sa karamihan ng mga pangyayari. May ilang koneksyon din na sadyang nakasanga sa kabuang kuwento anumang pilit gawin na ito ay ikonekta. Kung susumahin, mayroon naman talaga sanang kuwento na nais itong iparating. Yun nga lang, hindi naging gaanong epektibo dahil sa maaga at pilit na pagbunyag ng ilang sikreto na dapat sana’y kalaunan pa lamang malalaman ng manonood.

Ninais marahil ng mga may-akda ng Walang Hanggang Paalam na maglahad ng naiibang kuwento na tumatalakay sa pre-marital sex, insesto at homoseksualidad bagama’t hindi na naman na talagang bago ang mga ito. Wala ring bagong mapapala sa pelikula kung aral ang pag-uusapan. Nagsimula ang kuwento sa pagrerebelde sa magulang. Matapos ay sumama sa kasintahang ang nais naman ay makuha ang pagkakababae ng nobya. Mahihirapan ang nobyo ngunit kataka-takang maagang bibigay ang babae sa isang estranghero. Hindi rin malinaw kung bakit kinailangang ilagay pa sa kuwento ang ilang eksena na patungkol sa homosekwalidad. Pati ang insesto ay hindi na rin naharap at natalakay ng husto. Pawang pinalabas lamang na ang mga ito ay nangyayari at ginagawa ng walang anumang malinaw na dahilan at sadyang wasak na ang batayang moral ng mga kabataan pati na ng mga nakakatanda sa lipunan. Labis na nakakabahala ang pelikulang ito at nararapat lamang sa mga manonood na may hinog na pag-iisip. Bagama’t walang hubaran sa pelikula, ang kabuuang konsepto nito ay masyadong sensitibo kung hindi man eskandaloso para sa mga manonood.

Inglourious Basterds

Cast: Brad Pitt, Melanie Laurent, Christoph Waltz, Eli Roth, Michael Fassbender, Diance Kruger; Director: Quentin Tarantino; Producer: Lawrence Bender; Screenwriter: Quentin Tarantino; Editor: Sally Menke; Genre: Drama/ War; Cinematography: Robert Richardson; Distributor: Universal Pictures; Location: France; Running Time: 153 min.;

Technical Assessment: 4
Moral Assessment: 2
CINEMA Rating: For mature viewers 18 and above

During the 1941 World War, Shosanna (Melanie Laurent) becomes the lone survivor after Col. Hans Landa (Christoph Waltz) has her entire family murdered because they are Jews. Meanwhile, 1st Lieutenant Aldo Raine (Brad Pitt) recruits several Jewish American soldiers to parachute into France and savagely kill as many German soldiers as they can to cause panic and chaos amongst their army. “The Basterds”, as they are to be known, make sure to leave one survivor with the swastika carved on his forehead so that he may forever remember the atrocities he has done. Four years after, Soshana, under a new identity, operates a small theatre in Paris. When Frederick Zoller, a celebrity German soldier whose life story has been turned into a propaganda film, convinces the Nazi propaganda minister to premiere his movie in her theatre, she decides to avenge the death of her family and burn down her movie house with all the Nazi high ranking officials inside. Simultaneously, the British learn about the premier night and send Lieutenant Archie Hicox, (Michael Fassbender) under the guise of a film critic, to team up with the Basterds for a surprise attack on the theatre. Unfortunately, Landa remains quick-witted and tries to unfold the assassination plan. Who gets whom first will be revealed when the lights turn low and the opening credits start rolling.

Inglourious Basterds, title deliberately misspelled by Tarantino, is a clever war film loosely based on the 1978 films like Dirty Dozen and Inglorious Bastards. He emphasizes, however, that his story is strictly his. Although it is obvious that the movie thrives on a fantasy world during the war and none of the characters or scenes are possible, Tarantino still delivers a powerfully entertaining movie beyond rationalization. The performances of the three main characters are outstanding; particularly Waltz, who deserves his Cannes award for his portrayal of a sleazy cold blooded sadist. The production values are surreal but penetrate the subconscious and leave a lasting memory long after the scene has passed. Technically, the movie is as Tarantino as Tarantino has been. You can only appreciate the visual poetry if you are attuned to the filmmaker’s way of interpreting reality.

Violence begets violence. When one’s measure of justice is in the form of revenge, you can be sure that both the aggrieved and the aggressor will have neither peace nor satisfaction. To think that violence is the solution to everything is a twisted view of life. The movie (as most Tarantino movies are) is laden with visual and psychological brutality with very little regard to its moral consequences. It emphasizes revenge and aggression as a way of life and a form of rectification.

The movie is not suitable for the very young or sensitive audiences.

Friday, December 4, 2009

Ninja Assassin

Cast: Rain, Sung Kang, Randall Duk Kim, Jonathan Chan-Pensley, Yuki Iwamoto, III-Young Kim, Ben Miles, Naomie Harris; Director: James McTeigue; Producers: Grant Hill, Joel Silver, Andy Wachowski, Larry Wachowski; Screenwriters: Matthew Sand, J. Michael Straczynski; Music: Ilan Eshkeri; Editor: Gian Ganziano, Joseph Jett Sally; Genre: Action/ Crime/ Drama/ Thriller; Cinematography: Karl Walter Lindenlaub; Distributor: Warner Bros. Pictures; Location: Berlin, Germany; Running Time: 99 min.;

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: For viewers 14 and above

Lord Ozunu (Sho Kosugi) is master of a secret society that abducts children, adopts orphans and then raises them to become ninja assassins. One of the orphans trained from childhood is Raizo (Rain), groomed by Lord Ozunu (Sho Kosugi) to become his successor, and favored over his own son Takeshi (Rick Yune). Raizo manages to escape the isolated training camp when his sweetheart, a fellow trainee, is ordered killed by Lord Ozunu as she is caught one rainy night while attempting to escape. Soon a fugitive in Europe, Raizo crosses paths in Berlin with Mika Coretti (Naomi Harris), a Europol agent who traces a link between the Ozunu and recent political assassinations. In hot pursuit of Raizo, the Ninja assassins move West, marking for assassination Mika and everyone else involved in the Europol investigation. Raizo manages to escape the Ninja assassins while protecting Mika from the same, but the long and bloody trail of dead bodies finally leads to a confrontation between Raizo and Ozunu and Takeshi.

Ninja fans would perhaps go for the action here, finely choreographed combat scenes that spill blood at every twist, kick, chop and turn. The story is of revenge, flimsy and implausible, and certainly possesses no motive that would ever justify the body count—that is, if the viewer can even keep track. If you are sensitive, you might wince at certain scenes, as when a very young boy is whipped mercilessly with nary a whimper allowed to express his pain. Beastly! You might also tend to duck in your seat when those double-edged, four-point star-shaped blades virtually whiz past you to decapitate or mutilate human beings. The fight scenes, though, are rather dark—to minimize the revolting visual violence?—but what the eyes cannot see, the ears can hear in the superbly engineered sound design: guns bursting, chains, swords and other deadly metal gadgets clashing, immersing the audience in all in the name of revenge.

99 minutes of unadulterated murder and bloodletting can weary even the most insensitive viewer. Telling ourselves the fight scenes are only dance steps—and the blood only ketchup—we endured it to the finish in order to give it Ninja Assassins fair judgment. But we also found ourselves wondering if people that inhuman could really exist—kidnapping or adopting orphans and raising them into ogres. It reminded us of photographs circulating in the net of 8-year old boys armed with assault rifles and programmed to hate humanity and kill half of it. One thing we have learned from CINEMA’s nine-year existence is: if some movies are not to your liking—like slapstick, stupid horror flicks and this bloody thing—you can still get your money’s worth if you let them lead you into closely examining the human condition. All movies—from corn to porn—reflect reality somehow, reality outside or inside our minds, and being aware of the sickness in reality could provide us with the impetus to work for its healing. Meanwhile, be warned: the carnage in Ninja Assassins is enough to make burgers to feed America for a day. Pass the ketchup, please.

Biyaheng Lupa


Cast: Jacklyn Jose, Angel Aquino, Eugene Domingo, Andoy Ranay, Coco Martin, Julio Diaz, Allan Paule, Carlo Guevarra, Susan Africa, Shamaine Buencamino; Director: Armando Lao; Producer: Joji Alonso; Screenwriter: Armando Lao; Genre: Drama; Distributor: Quantum Films; Location: Manila/ Bicol; Running Time: 90 min.;

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers 14 and above

Lulan ng isang bus na magmumula sa Maynila patungong Legaspi ang iba’t-ibang klase ng pasaherong may kani-kaniyang dalahin sa buhay. Sa bawat pagsara ng pintuan ng bus, tatahimik ang lahat at maririnig lamang ng mga manonood ang iba’t-ibang saloobin ng mga pasahero na tumatakbo lamang sa kanilang mga isip. Sa pamamagitan din nito makikilala ang iba’t-ibang tauhan: si Helen (Jacklyn Jose) ay kakatagpuin ang kalaguyo nitong higit na mas bata sa kanya. Lingid ito sa kaalaman ng kanyang asawa kung kaya’t gayon na lang ang pagtatago niya sa sulok ng bus sa takot na may makakita sa kanya. Si Alex (Julio Diaz) naman ay inaasam na makumbinse ang kapatid na kanyang pupuntahan upang hikayating sumali sa kanyang negosyong networking. Ito raw ang magpapayaman sa kanya. Si Obet (Coco Martin) naman ay maghahanap ng trabaho sa tulong ng kaibigan upang takasan ang responsibilidad sa nabaldadong ina. Si Mickey (Carlo Guevarra) naman ay isang pipi’t-bingi na pupuntahan ang puntod ng tunay na ina lingid sa kaalaman ng pamilyang umampon sa kanya. Si Fina (Shamaine Buencamino) ay kakatapos lamang sumali sa isang game show sa Maynila. Uuwi siyang luhaan at talunan. Ito at marami pang ibang kuwento ang masasaksihan habang tumatakbo ang bus kasabay ng ilang mga aberya, abala at paghinto-hinto nito sa mga estasyon. Makarating kaya silang lahat ng maluwalhati sa kanilang patutunguhan?

Kakaiba ang konsepto ng pelikula. Walang bida, walang kontrabida. Wala ring gaanong dayalogo at tanging mga nasa sa isip ng mga tauhan ang kadalasang maririning ng mga manonood. Tunay nga namang malaman at hitik sa kuwento ang isipan ng bawat taong nasa isang mahaba at halos nakakainip na biyahe. Mahusay ang pagkakasulat ng pelikula. Bagama’t wala itong pinanghahawakan na masasabing kuwento, may mga naipaabot naman itong malinaw na saloobin at damdamin. Nakatulong din nang malaki ang mahuhusay na artistang nagsiganap bilang mga interesanteng mga tauhan sa bus. Markado ang bawat sandali nila sa pelikula. Bagama’t ang kanilang kuwento ay maririnig lamang at hindi makikita, damang-dama pa rin ang mga ito dala ng mga nangungusap nilang mga mata at kilos. Halong lungkot, takot, tuwa ang mararamdaman ng manonood sa mga patong-patong na kuwentong masasaksihan nila sa loob ng isang bumibiyaheng bus.

Naging napakalawak ng sakop ng pelikula kung usaping moral ang pagbabalingan. Hindi naman kasi nagbalak ang may-akda nito na magparating ng lehitimong kuwento. Sa halip, ang pelikula ay naglatag lamang ng iba’t-ibang uri ng saloobin. Mga sitwasyon ng buhay na talaga namang nangyayari. Ang babaeng nakikiapid sa kuwento ay pilit na itinatago ang ginagawang kasalanan. Hindi siya nagsisisi sa kanyang ginagawa ngunit hindi rin naman niya ito ipinagmamalaki at kitang walang kapayapaan ang kanyang isip. Ang taong walang inisip kundi pera at pagiging ganid ay wala ring kasiyahan at kapayapaan. Hindi rin matahimik ang isang babaeng nabuntis sa pagkadalaga at itinakwil ng mga magulang. Ang isang anak na tinangkang takasan ang pag-aaruga sa ina ay nagsisi at bumalik din. Ito at marami pang ibang kuwento ang maaring kapulutan ng aral o pagninilay sa pelikula. Sa bandang huli’y sinasabi ng pelikula na ang tao kailanma’y hindi nag-iisa sa paglalakbay sa buhay. May mga tao siyang makakasabay, makakasalamuha at makakaisa ng damdamin. Sadyang nilikha ang tao upang mapabilang sa isang pamilya, isang komunidad at isang simbahan. Magkakaiba man ang landas na tatahakin, sa bandang huli’y malalaman nating iisa rin ang nais nating patunguhang lahat – ang walang hanggang ligaya at kapayapaan at yan ay siguradong hindi matatagpuan sa lupa, gaano man kalayo ang ating lakbayin.

Thursday, December 3, 2009

Amelia

ASSESSMENT ONLY
Cast: Hilary Swank, Richard Gere, Ewan McGregor, Christopher Eccleston, Joe Anderson; Director: Mira Nair; Producers: Ted Waitt, Kevin Hyman, Lydia Dean Pilcher; Screenwriters: Ron Bass, Anna Hamilton Phelan; Music: Gabriel Yared; Editor: Allyson C. Johnson, L. Percy; Genre: Drama; Cinematography: Stuart Dryburg; Distributor: Searchlight Pictures; Location: USA/ Africa/ Asia; Running Time: 111min.;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For viewers 14 and above

BRIEF FILM SYNOPSIS

Visionary. Lover. Dreamer. Fighter. Legend. Icon. AMELIA.

An extraordinary life of adventure, celebrity and continuing mystery comes to light in AMELIA, a vast, thrilling account of legendary aviation pioneer Amelia Earhart (two time Academy Award® winner Hilary Swank).

After becoming the first woman to fly across the Atlantic, Amelia was thrust into a new role as America's sweetheart - the legendary "goddess of light," known for her bold, larger-than-life charisma. Yet, even with her global fame solidified, her belief in flirting with danger and standing up as her own, outspoken woman never changed. She was an inspiration to people everywhere, from First Lady Eleanor Roosevelt (Cherry Jones) to the men closest to her heart: her husband, promoter and publishing magnate George P. Putnam (Golden Globe® winner Richard Gere), and her long time friend and lover, pilot Gene Vidal (Ewan McGregor). In the summer of 1937, Amelia set off on her most daunting mission yet: a solo flight around the world that she and George both anxiously foresaw as destined, whatever the outcome, to become one of the most talked-about journeys in history. --Fox Searchlight

Saturday, November 28, 2009

Disney's A Christmas Carol

Cast (Voice): Jim Carey, Steve Valentine, Daryl Sabara, Amber Gainey,Meade; Director: Robert Zemeckis; Producers: Jack Rapke, Steve Starkey, Robert Zemeckis; Screenwriters: Charles Dickens, Robert Zemeckis; Music: Alan Silvestri; Editor: Jeremiah O’Driscoll; Genre: Animation/ Drama/ Family/ Fantasy; Cinematography: Robert Presley; Distributor: Walt Disney Studious Motion Pictures; Running Time: 96 mins.;

Technical Assessment: 3
Moral Assessment: 3.5
CINEMA Rating: For viewers age 13 and below with parental guidance

The classic tale of Charles Dickens comes to life in this 3D animation: Ebenezer Scrooge (Jim Carrey) has been living a miser’s life of indifference towards the less fortunate. He maintains such attitude with crankiness and grumpiness of an old man even during Christmas season wherein he outwardly dismisses any idea of generosity, good will and merry-making. On Christmas eve, the ghost of his business partner, Jacob Marley (Gary Oldman), visits him to warn him about the chains he would bear if he does not change his ways. He is further warned of the three ghosts who will visit and show him the error of his ways. Indeed, on that same night, Scrooge is visited by the ghost of his Christmas past, present and future to show him everything that he has become, and all the things he has lost and about to loose if he doesn’t change.

This latest animated version remains faithful to the text of the Charles Dickens classic tale. It works quite well given the premise that it is the same classic story the audience is about to see only with a different twist of some imaginative 3D animation. The result is a pretty impressive visual treat that is able to combine the story’s drama, humor and horror. It only feels a little odd to hear characters speak the classic Victorian language in what appears to be a techno-heavy animation. But then, Jim Carrey pulls it off with his enthusiastic performance. He is effective in all the characters he voiced in the movie. Other voices come out very well too including that of Gary Oldman. But given the dark treatment, the movie may not appeal well to the younger audience who is supposedly the film’s target. As the movie tries hard to please and encompass all audiences of all generations, it ends up as just another 3D animation. The exhilarating feel of 3D experience is there while watching but it never lingers after.

A Christmas Carol is one classic tale that tells one classic moral – charity, the very essence of the Christmas season and the core of Christ’s teachings. Scrooge is one classic character that audiences can easily relate to.

There is actually a Scrooge in every one of us whenever we act greedy, selfish, insensitive or indifferent to the needs of others. Although the film shows how one person becomes who he is by the circumstances that happened in his life, it strongly suggests that humans still has the capacity to change his own circumstance only if he so will it. The message is clear: we can do nothing with our past but we certainly can still do something with our present and future. But then, such message is told is a quite dark manner using horrific ghosts and images that can be a bit disturbing for the younger audience. The film also talks about death all along which might not be grasped by children without the guidance of an adult. But the entire context of the film would teach the young ones and the young-at-heart valuable lessons in life so it remains to be worth watching. CINEMA strongly recommends parents to accompany their children in watching the movie.

Thursday, November 26, 2009

Paranormal Activity

Cast: Katie Featherston, Micah Sloat, Mark Fredrichs, Ashley Palmer, Amber Armstrong; Director: Oren Peli; Producers: Jason Blum, Oren Peli; Screenwriter: Oren Peli; Editor: Oren Peli; Genre: Horror/ Thriller; Distributor: Paramount Pictures; Location: San Diego, California, USA; Running Time: 86 min.;

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

Live-in partners Katie (Katie Featherston) and Micah (Micah Sloat) move in to a large, hardly used house in San Diego. Katie has been hounded since childhood by strange presences, and this time it seems a presence has followed her to this new residence. Strange happenings at night in a bedroom upstairs stirs Micah to document it with his new handheld camera. Experimenting with the camera like a little boy with a new toy, Micah shoots Katie and the house interior from various angles. Then he hits upon a bright idea: why not set up the camera on a tripod at the foot of their bed and leave it running to record happenings while they sleep. The camera indeed records paranormal activity—like the bedroom door moving by itself, to begin with. Katie calls in a psychic (Mark Fredrichs) who upon entering the door refuses to stay, saying it is not just a ghost in the house with Micah and Katie but a demonic presence. The recordings get eerier and eerier each time until Katie, seriously disturbed now, begs Micah to leave the house. But Micah would hear none of it, obsessed as he is with his experiment, thinking that everything could be explained if he took enough evidence of the nocturnal activity. One night, something happens that hurts Katie and scares Micah to the point of urging her to abandon the house. But this time, Katie, seemingly too weak to move, begs Micah to just stay.

Paranormal Activity is a nifty little horror film so flawlessly done you’d think it’s a true story. The devises used make the story appear as though the camera findings—recorded in black and white— were discovered after the fact. The movie does away with the usual opening credits other films have, saying only in a soundless frame that it “thanks the families of Katie Featherston and Micah Sloat”; it also ends with a similar frame saying “current whereabouts unknown” to make the viewer think they have just seen a documentary. The characterization and acting, especially Katie’s, is seamless as far as the purpose of the movie goes. Both acting and wardrobe—loose t-shirts and boxer shorts for sleeping and unattractive clothes for daily wear—create a true image of the characters as ordinary people: Katie as a graduate student, and Micah as a day trader. For a movie that has only two principal actors and shot mostly inside the house, Paranormal Activity succeeds in holding the viewer’s breath through all of 96 minutes. It knows how to play upon the audience’s imagination and fear of the unseen, and presents the camera, an inanimate object, as a credible and objective witness to the paranormal activity.

How Katie and Micah end up is what merits scrutiny here. As the paranormal activity escalates to a critical turning point, it becomes obvious that there is something more than the paranormal in the movie’s message, and that is the very “normal” tendency of an immature man to be insensitive to a woman’s cry for help. (Spoiler coming!) Katie could have been saved were it not for Micah’s fixation with his camera. His goal was to document everything, not to help Katie. Too pragmatic for his own good, he failed to sympathize with Katie in her darkest hour, angrily took the wooden cross from her grasp and threw it to the fire. The consequence? See for yourself.

Saturday, November 21, 2009

The Twilight Saga; New Moon

Cast: Robert Pattinson, Kristen Stewart, Taylor Lautner; Director: Chris Weitz; Producers: Wyck Godfrey; Screenwriters: Melissa Rosenberg, Stephenie Meyer; Music: Alexandre Desplat; Editor: Peter Lambert; Genre: Drama/ Fantasy/ Romance; Cinematography: Javier Aguirresarobe; Distributor: Summit Entertainment; Location: USA; Running Time: 130 mins.;

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

In The Twilight Saga: New Moon, gentleman vampire Edward Cullen (Robert Pattinson) breaks off with his mortal sweetheart Bella Swan (Kristen Stewart) as the whole clan leaves sunless Forks, Washington, to reside in Tuscany in Italy. He makes the sacrifice in order to put her out of danger—she being so hopelessly in love with a vampire—but she clings to him. So he tells her coldly instead that he’s leaving because he doesn’t want her anymore, and that he doesn’t want her because she’s not good for him. So he disappears with the rest of the Cullens.

The depressed Bella floats through school most of the year, crushed by mixed emotions of dejection, confusion and general angst. In Edward’s absence, Bella gradually finds consolation in being with the American Indian boy Jake Black (Taylor Lautner), a solicitous friend and covert admirer but who has a dark secret of his own to keep.

Partly in desperation and partly to prove her courage to herself, she dives off a seaside cliff, something that the clairvoyant Alice Cullen in Tuscany perceives to be a suicidal act. Alice returns to Forks to support Bella who readily agrees to fly with her to Italy. Meanwhile, Edward, believing Bella to be dead, would rather be killed than join the powerful Volturi vampires trying to recruit him. As he strips to expose himself to the sunlight to invite death by murder, Bella arrives and rushes to his arms. To make a long story short, the reunion climaxes in the burning issue—Bella wants forever, so she must become a vampire herself. Edward says no because to be immortal as a vampire is to be damned, and because he truly loves her, he says no again and again. As they kiss tenderly, the question burns on: to bite or not to bite.

New Moon divides moviegoers, although it seems one goes into the theater with one’s mind already made up to be turned either on or off by the Gothic romance. Playing to full houses, New Moon will satisfy its target audience—the cooing, sighing and gasping tween-agers and believers in romance of all ages, but the movie will be impaled over the barbecue pit by those predisposed to find the ridiculous in Stephanie Meyer’s brand of vampirism.

Prejudices among the audience run high. The con-camp says Pattinson with his paler-than-pale skin, lipstick-red lips and dead-pan acting is too wooden to be real; voices from the pro-side claim that’s to be expected of a century-old vampire raised at a time when good manners were in. One side cringes with disappointment at the lack of fantabulous CGI (as may be found in good disaster movies or any Harry Potter sequel); the other side goes gaga over the cool werewolves. Cynics think New Moon is corny and boring; fans think it’s the ultimate high.

But that’s the hidden attraction in New Moon—audiences are hardly aware that they are strongly emotionally involved, whether they are for or against the fiction they’re watching on the screen. The fact is, both are buying tickets to see it, so who’s the real winner here? On its opening day, it already whets the audience’s appetite for its sequel: Will Bella finally become a vampire? Will they marry? Will they have children? Will the children also be vampires? Or are vampires allowed to have sex at all? Who’ll finally emerge as winner in the end—the Cullens, the Volturi, or the werewolves who eat vampires? Reality check: Hey, guys, it’s only a movie—and the real winner is the one who has the formula to provoke or to stroke you, the paying public.

Meanwhile, where does CINEMA stand? What does it say to benefit its own audience who look to it for guidance in film appreciation? CINEMA has received nudges from devout Christians who frown upon New Moon in the same way they censure Da Vinci Code or Harry Potter, crying out, “Why promote vampirism? The bible says yadda-yadda-yadda…”

While acknowledging such protests as valid in their own right, CINEMA also goes steps further to examine the Twilight series’ phenomenal lure and sees it as a writing on the wall. What sets this romance apart from the rest? When you watch it in a theater, be sensitive to reactions around you: when do the females squeal, when do they hold their breath? Are the males quiet because they’re bored or because they’re too embarrassed to admit they are getting carried away just like the females?

The Edward character looks like a Vogue fashion model walking off the ramp but behaves like a desirable but unattainable vestal virgin. If she wanted to, the Bella persona could very well be a sought-after queen among mortals but instead she is willing to give up her very soul to be with her beloved forever and ever. What is this saying to moviegoers grown inured to movies where explicit and illicit sex has become de rigueur? What is its message to a society where wife-swapping or so-called sexually liberated celebrities blatantly change bedmates as often as they change bedsheets?

Outstanding in the Edward-Bella love story is the innocent interaction between the lovers. Lust is not the overpowering force that draws the lovers to each other—it is the tension that arises between self-satisfaction and self-denial. Love here is not an overnight affair—it is genuine caring for the loved one and the desire to give oneself to the other completely at all cost. Might it not be that deep down inside people are really longing for chastity and commitment in love relationships?

Friday, November 20, 2009

2012

Cast: John Cusack, Chiwetel Ejiofor, Amanda Peet, Thandie Newton, Oliver Platt, Danny Glover; Director: Ronald Emmerich; Producers: Harald KLoser, Larry Franco; Screenwriters: Harald Kloser, Ronald Emmerich; Music: Harald Kloser, Thomas Wander, James Seymour Breet; Editor: David Brenner, Peter S. Elliott; Genre: Sci-fi – Disaster Suspense; Cinematography: Dean Semler; Distributor: Sony Pictures / Columbia Pictures; Location: Los Angeles – Himalayas; Running Time: 153 mins.;

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

In 2009, Adrian Helmsley (Chiwetel Ejiofor) travels to India to meet Satnam (Jimi Mistry) and finds out what his friend has discovered about the rapidly increasing temperature of the earth’s core. He proceeds to Washington DC and submits a report to the Chief of Staff, Carl Anheuser (Oliver Platt) and to the President (Danny Glover). The succeeding years see the world preparing for the inevitable end while billionaires start buying tickets for a guaranteed slot in a ship for the selected few who will be saved. The story jumps to 2012 where Jackson Curtis (John Cusack), a divorced father working as a limousine driver and writer takes his two children on a camping trip to Yellowstone National Park. He meets Charlie Frost (Woody Harrelson), a local radio announcer who talks about the Mayan doomsday prediction. By the time Jackson returns his children to his ex-wife Kate (Amanda Peet) the earth has began to crack and crumble. Jackson races back and saves his children, Kate and her boyfriend Gordon with the plane he has hired. But they discover that the ships that were built to save humanity are in China and fly on board the plane of Russian billionaire Yuri (Zlatco Buric) and his family. They crash land in the Himalayas and are abandoned by Yuri as he presents the ticket he has bought for himself and his twin sons two years ago. Jackson’s group is rescued by Buddhist Monk Nima (Osric Chau) and his family. Meanwhile, Adrian convinces the world leaders to allow more people to board the ship. As the gates are lowered, Jackson’s group are pinned to the bottom of the ship and the device they used to enter gets stuck between the gears. The ship, unable to start its engines, is swept by the strong current towards Mt. Everest. With a time ticking fast, will they be able to save themselves and assure the continuation of humanity?

2012 promises spectacular effects and heart-stopping suspense and successfully delivers just that. The two and half hours pass almost unnoticeably as viewers are engrossed with the massive destruction on screen. Other than that, the movie is just another hi-tech end-of-the-world /disaster flick— entertainingly empty, with the plot being a little more than a framing device for the movie. Jackson Curtis is just too heroic, and the Curtis family just too darned lucky escaping gaping earth and lava missiles. The side stories that should have provided the drama and highlighted humanity are trite and predictable. (Imagine having a literal deus ex machina take care of a boyfriend so that protagonist and leading lady could get back together!) The attempt to inject humor is not enough to salvage a badly written script. Overall, the movie is a visual treat with astounding CGIs and effects, but lacks the creative prowess to be memorable.

If the movie becomes “memorable” at all, it would be for the distasteful way Emmerich kills six billion earthlings as though the end of the world were just another computer game. The only one moral function of a disaster movie is to focus on man’s altruism in times of crisis. We see how people begin to work together despite previous differences. We witness how a stranger is suddenly willing to sacrifice his safety or at times his life to save another. And almost, always, we hear a grandstanding from one of the characters about unity, humanity and sacrifice. 2012 has all these and delivers the same message: humanity ends when we stop fighting for each other. Unfortunately, Emmerich portrays disaster and destruction in such a brutal and unsettling manner that it creates a discord between the movie’s message and its presentation. Good disaster movies leave the audience teary-eyed with hope and triumphant compassion for the survivors, but with 2012, you are just glad no one else has to die again. (On another note, one will observe why mostly Catholic icons were destroyed. In Rome, the Sistine Chapel ceiling splits open right where the fingertips of God and Adam meet; the dome of St. Peter’s Basilica topples over and crushes the praying masses at the Square. In Rio de Janeiro, the Christ the Redeemer statue on Corcovado Mountain in Rio de Janeiro tumbles ingloriously to the ground. A venerable Buddhist monastery is washed away, but not one minaret is shown destroyed. The sharp-eyed might also notice images in the chapel where the black US president prays—one wonder if that is intended to endear Obama to the Catholics). The movie is not suitable for very young and sensitive audiences.