Everybody;s Fine

Cast: Robert de Niro, Kate Beckinsale, Drew Barrymore, Sam Rockwell; Director: Kirk Jones; Screenplay: Kirk Jones; Story: Giusseppe Tordanatore; Producer: Gianni Nunnari, Glynis Murray, Ted Field, Vittorio Cecchi Gori; Distributor: Walt Disney Pictures; Running Time:95 minutes;; Genre: Drama/ Comedy

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

Lonely widower Frank Goode (Robert de Niro) has been busy for days preparing for a weekend get-together with his busy adult children coming from different distant places. But then he receives phone calls from each of them telling him they could no longer make it. Disappointed, Frank, despite his ill health, decides to pack his bags and travel cross-country to surprise his children. He visits first his youngest, David, only to find out that he’s not yet home and no one really know about his whereabouts. Frank then goes to his eldest, Amy (Kate Beckinsale) but he only receives a cold welcome from her. He then heads to Robert’s (Sam Rockwell) place and their meeting turns out strained as well. When he meets his daughter Rosie (Drew Barrymore) in Las Vegas, he discovers all his offspring are hiding something from him – about their lives and about David.

The film veers away from the dark theme of the original Giusseppe Tordanatore’s Stanno Tutti Bene. This remake, Everybody’s Fine, takes the conventional Hollywood route so the theme appears lighter than it’s supposed to be. The premise remains interesting and the entire viewing experience is really touching. De Niro is as usual consistent with his solid acting backed by a strong support cast of Rockwell, Beckinsale and Barrymore. They make a good ensemble as a family disunited and later on reunited. Although the film has the tendency to be overly melodramatic, it is able to avoid monotony and predictability putting in some new elements of dream sequences that turn out both clever and ingenious. The entire flow of emotions is consistent all throughout and the film delivers its message with utmost clarity. The use of the telephone lines as a symbolic transition device has been an effective thread in putting the story’s complicated pieces together.

Frank’s character represents most of the fathers not only in middle class American setting, but the general family set-up as well. Fathers are expected to be good providers so they work hard all their lives just to make sure there’s food on the table and their children would grow up to become the best they can be. The fathers’ time is mostly spent at work and they are rarely seen home. Until it would be too late for fathers to realize they hardly know their children. As in the case of Frank, aside from the fact that he hardly knows them, they are seem distant to him that they’d rather tell lies about what they’ve become so as not to disappoint him. The film has clearly shown the importance of family and of communication in the home. The crucial role that parents, specifically fathers, play in molding their children. Father’s role after all, does not end in being a good provider but only starts there. What’s more essential is the strong emotional foundation he’s going to give to his offspring by finding and making time for them. The mother remains to be at the center of every home. In the film, the mother’s absence is really felt by both the father and the children. After all, it was the mother who has held their family together with her knack for listening. Although every character in the movie seems not to be fine, the end message is hopeful as they make room for forgiveness, acceptance and tolerance. There are only some minor serious issues in the film such as drug use and abuse, divorce and homosexual relationships, although made and justified in context, these may not be suitable for the very young audiences so CINEMA recommends the film for viewers 13 years old and below with parental guidance.

Babe I Love You

Cast: Anne Curtis, Sam Milby, Tetchie Agbayani, Nikki Bacolod, Megan Young; Director: Mae Czarina Cruz; Distributor: Star Cinema Productions; Genre: Romance: Location: Philippines;

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

Hindi maganda ang simula ng pagkakakilala ng sales promo girl na si Sasa Sanchez (Anne Curtis) at architecture professor na si Nico Borromeo (Sam Milby). Naunang nakatikim si Sasa ng kasupladuhan ni Nico ng alukin niya ito ng produktong alak at nang masamain ng huli ang pagtulong nina Sasa kasama ang mga kaibigan upang iligtas si Nico laban sa mga holdaper. Hindi tinantanan ni Sasa si Nico ng paniningil sa idinulot na pinsala ng pagtulong sa kanya sa hiniram niyang sasakyan at sa kanyang leeg. Upang tumigil sa maiskandalong paniningil ni Sasa ay napilitan si Nico na pumayag ipagmaneho ito upang makapaghanapbuhay habang nagpapagaling ng neck injury. Sa "arrangement" nilang ito ay magkakaroon sila ng pagkakataon na makilala ang isa't isa at makikita ang mga magagandang katangian sa kabila ng mga katayuan sa buhay. Masaya na mahirap ang pamilya ni Sasa na binubuo ng ina at tatlo pang kapatid na iba-ibang ama. Samantala may sariling isyu si Nico sa kanyang pamilya partikular sa kanyang ina na isang sikat na book writer at mayamang academician dahil siya at ang kanyang nakaraan bilang pasaway na anak ang sinisisi sa maagang pagkamatay ng kanyang ama. Sa kahirapan ng kanyang loob ay pinipilit niyang abutin ang kanyang ina subalit paano mangyayari ang lubos na pagkakasundo nila ng ina kung tuluyan siyang ma-involved sa katulad ni Sasa na mayroon din pangit na nakaraan?

Gasgas na at madaling mahulaan ang kwento ng "Babe, I love You" subalit nabigyan ng kulay na mahusay na produksyon at timpla ng direktor. Maganda ang pagkakahatid ng pinagsamang light at heavy drama. May mga tampok na eksena ang mga pangunahing tauhan at epektibo na naihatid ng mga nagsiganap. Maganda ring ideya ang voice over bago matapos ang pelikula kung saan literal na ibinahagi ang mahalagang aral at mensahe. Akma ang pag-iilaw sa mga eksena may kinakailangang bigyan-diin, gayundin ang paglalapat na musika. Bagama't madalas na pa-cute ang dating ng mga close-up shot sa mga bida at medyo eksaherada ang focus ng camera sa magagandang legs ni Anne ay nabawi ito ng magagandang aspetong teknikal ng pelikula.

Binigyan-diin sa pelikulang "Babe, I Love you" na ang hindi magandang nakaraan ay maaaring pagsikapan na mabawi at tuluyang makapagbago kung mabibigyan lamang ng panahon at pagkakataon. Sa ganitong sitwasyon ay malaki ang gampaning papel ng pamilya, mga kaibigan, lipunan, ng tanging minamahal at ng pananalig sa Diyos na nagbibigay ng pag-asa. Mahalaga ang ituon ang pansin sa gustong makamit, alamin ang pangunahin sa buhay at bigyan dignidad ang sarili sa pagtahak sa landas ng tagumpay. Salat sa yaman at limitado sa kaalaman si Sasa, may panahong naging mahina sa kanyang nakaraan, pero nagsikap na iwasto at ituon ang serbisyo sa pamilya sa maayos na paraan. Pagtanggap sa pagkakamali, kapatawaran at pamamayani naman ng pagmamahal ang namagitan kina Nico at kanyang ina. Dito sila kapwa humugot ng lakas upang harapin ang sakit ng paghihiwalay at pagpapalaya sa isa't isa. Pinahalagahan nila ang panahon na ibinigay nila sa kani-kanilang mga sarili at hindi sila nabigo na matuklasan ang magandang idinulot nito sa kanila sa muli nilang pagkikita. Positibo sa mensahe at madamdaming tagpo ang pelikula na kapupulutan ng aral ng mga manonood.

Romeo at Juliet

Cast: Alessandra de Rosi, Victor Basa, Max Eigenmann, Bing Pimentel, Jay Manalo, Rosanna Roce; Director: Adolf Alix, Jr. ; ; Running Time: 90 minutes; Genre: Drama; Location: Manila

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

Si Angel (Alessandra de Rossi) ay namasukan bilang isang high class escort service sa gabi upang matustusan ang sarili sa kanyang pag-aaral sa araw. Makikilala niya si Joseph (Victor Basa), isa ring estudyante na gaya niya at agad itong mabibighani sa kanya. Hindi alam ni Joseph ang lihim na buhay ni Angel sa gabi. Sa gitna ng kanilang umuusbong na pagmamahalan ay ang komplikasyon ng kani-kanilang masasaklap na nakaraan at karanasan sa kani-kanilang mga magulang. Si Angel ay inaabuso noon ng kanyang ama (Jay Manalo), habang si Joseph naman ay pinagmamalupitan ng konserbatibong ina (Bing Pimentel). Ito at ang madilim na lihim ni Angel ang magdadala sa kapahamakan ng kanila sanang pag-iibigan.

Bagamat karaniwan ang kuwento ng Romeo at Juiet, kakaiba pa rin ang dating nito sa pagbibigay ng makabagong koneksyon sa klasikal na nobela ni William Shakespeare. Mahusay ang pagkakatagni ng kuwento na ginamit ang mga kabanata sa nobela upang bigyang kahulugan ang bawat bahagi ng paglalahad sa pelikula. Walang itulak kabigin din ang pag-arte nina de Rossi at Basa, lalo na ang ilang beteranang nagsiganap. Maganda ang kuha ng camera at maayos naman ang pagkakadirehe. May malaking pagkukulang lang ang kuwento sa dahilang hindi gaanong napagigting ang dapat sana'y malalim na pag-iibigan ng dalawang pangunahing tauhan. Hindi masyadong ramdam ang bigat at lalim ng kanilang samahan. Marahil dahil madalas lumihis ang kuwento sa pagmamahalan ng dalawa. Marahil nasobrahan din ang pagpapaliwanag sa ilang bagay na hindi naman sentro ng pelikulla. Tuloy walang gaanong dating ang kinalabasan ng kuwento sa kabuuan.

Bukod sa pagmamahalang mauuwi sa trahedya, mayroong lumulutang na mensahe ang pelikula patungkol sa kinahihinatnan ng isang tao base sa klase ng magulang at pagpapalaki na mayroon siya. Sinasabi nito na malaki ang papel na ginagampanan ng isang magulang sa magiging buhay ng kanilang anak. Sa uri ng pagpapalaki na ito mahuhubog ang kaisipan ng isang bata sa paggawa niya ng mga desisyon sa buhay at ito'y dadalhin niya hanggang sa paglaki. Sa aspetong ito ay may magandang punto ang pelikula dahill pinahahalagahan nito ang papel ng magulang at pamilya sa buhay ng isang tao. Ngunit mayroong kaunting pagmamalabis ang pelikula sa pagpapakita ng maraming eksena na may patungkol sa sekswalidad. Hindi naging malinaw ang tayo ng pelikula ukol sa maraming bagay na bumabagabag sa ating lipunan sa usaping ito. Sa kabuuan, ang pelikula ay maaring mag-iwan ng hindi magandang impluwensiya sa mga batang manonood at tunay naman na maraming maseselan na usapin sa pelikula kagaya ng insesto, pang-aabusong sekswal, pre-marital sex, prostitusyon, pornograpiya, sekswal na dibersyon at marami pang iba. Kaya nararapat lamang ang pelikula sa mga may edad 18 pataas.

I Love You Philip Morris

ASSESSMENT ONLY
Cast: Jim Carrey, Ewan McGregor, Leslie Mann, Rodrigo Santoro; Directors: Glenn Ficarra, John Requa; Producers: Andrew Lazar, Far Shariat; Screenwriters: John Requa, Glenn Ficarra; Music: Nick Urata; Editor: Thomas J. Nordberg; Genre: Drama/ COmedy; Cinematography: Xavier Perez Grobet; Distributor: Cinestar; Location: USA; Running Time: 110 min;

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

BRIEF FILM SYNOPSIS

The movie is a true story of Steven Russell (Carrey), a married father whose exploits landed him in the Texas criminal justice system. He fell madly in love with his cellmate (Ewan McGregor), who eventually was set free, which led Russell to escape from Texas prisons four times.

ADDITIONAL REMARKS: Same sex relationship with sexual activities is presented as normal and acceptable; it can be misleading to the youth.

Book of Eli

Cast: Denzel Washington, Gary Oldman, Mila Kunis; Directors: Albert Hughes, Allen Hughes; Producers: Broderick Johnson, Andrew A. Kosove, Joel Silver, David Valdes, Denzel Washington; Screenwriter: Gara Whitta; Music: Atticus Ross, Leopold Ross, Claudia Sarne; Editor: Cindy Mollo; Genre:; Cinematography: Don Burgess; Distributor: Warner Bros. Pictures; Location: USA; Running Time: 118 mins;

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

The movie takes place in a world of chaos and mayhem 30 years after the apocalypse. Eli (Denzel Washington) has been travelling on foot in search for water source. He is generally peaceful and quiet but has superb combat skills he will not hesitate to use if provoked. He enters a dilapidated town built and run by Carnegie (Gary Oldman), an ambitious gang leader who desires to build more towns if only he can find the only remaining copy of the Bible. Impressed by Eli’s skills, Carnegie decides to have him seduced by his blind concubine’s daughter, only to find out later that he carries the very book he has been searching for. Carnegie then plots to kill Eli and take possession of the only copy of the King James Bible, while Eli, believing that God is on his side, uses all his skills to protect his precious cargo until he is able to properly turn it over.

The movie offers a fresh breath of treatment for an old plot - a peaceful man with a mission who is capable of killing his enemies single handedly if provoked. The production is decent and engaging with an authentic interpretation of a world that survived the worst. One can see semblances of old Western movies and modern action flicks with its staging and cinematography. The script is intriguing but there are several loopholes in the storyline’s logic and Eli’s character. Fortunately, the visual play each scene provides balances its shortcomings. Washington and Oldman play their respective roles convincingly.

The Book of Eli presents a bit of a predicament. On the one hand, it might be possible to excuse the brutality of the film and take this in the context of a chaotic world after the war. On the other hand, one might wish to just look at all the objectionable violence and dismiss the movie's values altogether. The movie may appear to be merely a violent film but if you will take a closer look the movie is interspersed with several religious ideologies. First, there is Eli’s journey to faithfully carry out and complete the mission entrusted to him. Second, amidst a world consumed by chaos and violence, the Word of God seems to be a beacon of hope and change. Third, Eli’s spirituality is almost authentic as he not only carries and protects the Bible but also reads passages daily and has even memorized the entire book. He also prays a lot, frequently quotes and shares passages from the Bible and emphasizes the need to look at the spirit not just the words of the passages. He reveals that he walks by faith and not by sight. However, several scenes have intermittent strong language, violence and sexual innuendos, although not endorsed as a way of life, they will still disturb the sensibilities of most people.

Film might not be appropriate for children younger than 14 and parents are cautioned to guide their teenagers when watching the movie.

Alice in Wonderland

Cast: Mia Wasikowska, Johnny Depp, Helena Bonham-Carter, Anne Hathaway, Allan Rickman; Director: Tim Burton; Producer: Richard Zanuck; Screenwriter: Linda Woolverton; Genre: Fantasy; Distributor: Walt Disney; Location: UK; Running Time: 105 min;

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

Young Alice has been having a recurring dream of going down a dark hole leading to a strange-looking place. When she reaches 19 years old, Alice (Mia Wasikowska) is obliged to accept a public wedding proposal from a suitor whom she has no affection for. So when a white rabbit wearing a waistcoat distracts her, she runs from the crowd to follow the strange creature. In her pursuit of the rabbit, Alice falls into the rabbit hole and finds herself in a place that she has already seen in her dreams, Wonderland. However, it’s no longer the happy place it once was. Alice bumps into Mad Hatter (Johnny Depp) and from him she discovers that her coming has been foretold for she is believed to be the only one who can save the land by slaying the Red Queen’s (Helena Bonham-Carter) huge flying dragon, the Jabberwocky, and restoring power to the White Queen (Anne Hathaway). However, Alice is reluctant for she believes all these are just part of a dream and she would soon wake-up.

This children’s classic by Lewis Carroll is re-lived in this latest and updated version that comes in 3D technology. As expected, Tim Burton’s adaptation is dark yet full of substance. The core message remains faithful to the original although the entire feel is made contemporary and the look borderlines into surreal aesthetics that is Burton’s signature. Audiences are taken into a visual treat this time with live characters and colorful magnificent backdrops. The sound, scoring and cinematography are all in place. The real gem in the film is the performance of its actors. Wasikowska, perfect for her role, does an excellent job playing the grown-up Alice. Her unique charm and combination of cleverness and innocence make her a memorable character. Hathaway’s appearance is comparatively brief but interesting just the same. Depp is as usual fantastic, but Bonham-Carter as the Red Queen with the oversized head dominates every scene she’s in with her

Alice in Wonderland has brought its audience to a place that exists only in one’s wild imagination. The film has shown the power of believing in the impossible. The Red and White Queens clearly represent the battle between good and evil, and this helped bring to the fore the maturing of Alice from adventuresome girl to courageous young woman. She has held dearly the teachings of her parents, except, understandably, when forced to marry somebody she does not love. In this sense, she has come of age, defying authority and unexamined social traditions to use her own mind to do what is right. Alice’s character strongly depicts self-confidence and optimism, traits that are given recognition in the end when she is granted the opportunity to venture into the real world with real characters and real challenges.

Due to the dark depiction and images (i.e., chopped fingers used as potion, smoking cat, animals treated cruelly, etc.) that may not appear wholesome to the very young audience, CINEMA strongly recommends parental guidance for audiences below 13 years old.

Green Zone

ASSESSMENT ONLY
Cast: Matt Damon, Greg Kinnear, Amy Ryan, Brendan Gleeson; Director: Paul Greengrass; Producers: Tim Bevan, Eric Fellner, Lloyd Levin, Paul Greengrass; Screenwriter: Brian Helgeland; Music: John Powell; Editor: Christopher Rouse; Genre: Action/ Adventure/ War; Cinematography: Barry Ackroyd; Distributor: Universal Pictures; Location: Baghdad, Iraq; Running Time: 125 mins;

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: For mature viewers 18 and above

BRIEF FILM SYNOPSIS

Green Zone is a film set in the chaotic early days of the Iraqi War when no one could be trusted and every decision could detonate unforeseen consequences.

During the U.S.-led occupation of Baghdad in 2003, Chief Warrant Officer Roy Miller (Damon) and his team of Army inspectors were dispatched to find weapons of mass destruction believed to be stockpiled in the Iraqi desert. Rocketing from one booby-trapped and treacherous site to the next, the men search for deadly chemical agents but stumble instead upon an elaborate cover-up that inverts the purpose of their mission.

Spun by operatives with intersecting agendas, Miller must hunt through covert and faulty intelligence hidden on foreign soil for answers that will either clear a rogue regime or escalate a war in an unstable region. And at this blistering time and in this combustible place, he will find the most elusive weapon of all is the truth. (Universal Pictures.)

OUTSTANDING FEATURES OF THE FILM: Can be resource material for discussion on the morality of war.

The Red Shoes

Cast: Marvin Agustin, Nikki Gil, Lisa Lorena, Techie Agbayani, Tirso Cruz III, Iwa Moto; Director: Raul Jorolan; Writer: James Ladioray; Producer/ Distributor: Tony Gloria/Unitel; Running Time: 110 minutes; Location: Manila; Genre: Drama, Romance;

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

Nang mapatalsik sa puwesto ang mga Marcos noong 1986, pinasok ng mga taong-bayan ang Malacanang. Kabilang dito ang batang si Lucas (Marvin Agustin) na nagnakaw ng isang pares ng sapatos na pula ni Imelda Marcos. Ibinigay niya ang kanang pares sa kanyang ina (Lisa Lorena) na nagluluksa sa pagkamatay ng kanilang padre de pamilya (Tirso Crus III) at ang kaliwang kapares naman ay ibinigay niya sa kanyang unang babaeng minahal na si Betina (Nikki Gil). Sa kanilang paglaki ay magiging magkasintahan sina Lucas at Betina ngunit sila’y magkakahiwalay bunga ng matinding di-pagkakaunawaan na mag-uugat sa pagtataksil ni Lucas. Samantalang ang ina naman ni Lucas ay panay ang pagkonsulta sa mga ispiritista upang makausap ang kaluluwa ng kanyang amang natabunan sa ginagawang Film Center ni Imelda.

Kakaiba ang kuwentong nais ihatid ng The Red Shoes. Nagawa nitong kilitiin ang imahinasyon ng manonood sa pagkokonekta nito sa mga tunay na pangyayari sa ating kasaysayan. Maayos naman ang pagkakalahad ng kuwento bagama’t magulo sa kabuuan ang mensahe nito. Maganda ang mga kuha ng kamera at ang mga lokasyong ginamit. Kitang-kita na nag-uumapaw sa talinong artistiko ang mga nasa likod ng pelikula. Maganda rin ang intensiyon nilang magbigay ng panibagong putahe sa mga manonood ng pelikulang Pilipino. Mahuhusay naman ang mga nagsiganap, yun nga lang, bihira silang maramdaman bilang mga tunay na tao--dala ng masyadong pag-ayos sa istruktura ng pelikula, lumabas na pawang artipisyal at mukhang mga karikatura ang kanilang mga karakter. Sayang, sapagkat kita naman ang sinseridad ng lahat sa maayos na pagganap.

Sa simula pa lang ay problemado na ang pelikula sa maraming usaping moral. Nariyan agad ang "romanticizing" sa pagnanakaw ng isang bata. Bagama’t walang malisya sa parte ng bata ang pagnanakaw, hindi nililinaw ng pelikula kung ang pagnanakaw ay tama o mali. Maaari ding sinasabi ng pelikula na hindi ito mabuti sa pamamagitan ng pagpapakitang hindi naging maayos ang buhay ng pangunahing tauhan sa kabuuan, subalit ang ganoong mga mensahe ay dapat na dumating ng lubos na malinaw upang hindi nakakalabo sa isipan ng nanonood. Umikot ang kuwento sa iba’t-ibang uri ng pagnanakaw: pang-aagaw ng asawa, pagnanakaw ng sandali ng pagtataksil. Nariyan din ang paniniwala ng ina ni Lucas sa mga ispiritista at ilang mga pamahiin. Ipinakita namang ang gawaing pagtawag ng kaluluwa at paniniwala sa ispirtista ay hindi tama at madalas, ang mga ito’y pawang mga huwad. Hindi rin mabuti na ipinipresenta ng pelikula na katanggap-tanggap ang pagtatalik ng dalawang taong hindi naman kasal. Mabuti na nga lang at wala namang hubaran at malabis na halikan na ipinakita. Nakakabahala nga lang na baka isipin ng mga batang manonood na sapat na dahilan ang pagmamahal upang humantong sa pagtatalik ang relasyon. Sa kabuuan naman ng pelikula ay malinaw ang pinaka-mensahe nito ukol sa pagmamahal, pagpapatawad at pagpaparaya.

Extraordinary Measures

Cast: Brendan Fraser, Harrison Ford, Keri Russell; Director: Tom Vaughn; Producers: Carla Santos Shamberg, Michael Shamberg, Stacey Sher; Screenwriters: Robert Nelson Jacobs, Geeta Anand; Music: Andrea Guerra; Editor: Anne V. Coates; Genre: Drama; Cinematography: Andrew Dunn; Distributor: CBS Films; Location: USA; Running Time: 105mins.

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

The movie is based on the reports of Wall Street journalist, Geeta Anand in 2004. It follows the struggles of John Crowley (Brendan Fraser), a pharmaceutical executive on the rise, whose 8-year-old son and 6-year-old daughter have been diagnosed with Pompe disease. His greatest dilemma is that this rare genetic disorder with no known cure will eventually spread to his children’s vital organs and kill them at a young age. But John will not give up and lose his children so easily. He meets Dr. Robert Stonehill, (Harrison Ford), a rustic University researcher who has discovered an enzyme that could possibly cure Pompe disease. The bulk of the plot focuses on John’s struggle to build a foundation, then run a bio-tech company and try to work with Dr. Robert in spite of personality clashes.

The plot is easy to follow and develops quite predictably. The script has a tendency to be too syrupy and weepy at times and has a prolonged focus on the melodrama. But still Jacobs and Vaughan manage to create a captivating movie. The performances of Fraser, Ford and Russell are solid and genuine. The camerawork is clean and the editing is tight. Technically, the movie is more than good but not necessarily great. Overall, the movie succeeds in evoking sympathy for a father battling the odds to save his children.

The movie is strong in its message about family. John’s efforts are commendable and Aileen’s (his wife) support for him despite the uncertainty of the situation is inspiring. Another strong point of the movie is its message of hope and acceptance of God’s will. Accepting one’s fate, no matter how painful, is a sign of humility and complete trust in His providence. The movie would have been perfect if the element of prayer or faith were also highlighted as source of courage and strength in overcoming his ordeal. It would be best for parents to remind their children that in real life, faith and spirituality play a major role in sustaining a person through his pain and struggles.

The emotional stress of the movie might not be suitable for very young audiences. Although it does have a strong positive message, parents might feel uncomfortable to have their children sit through all the yelling and crying in the movie.

Cop Out

Cast: Bruce Willis, Tracy Morgan, Juan Carlos Hernandez; Director: Kevin Smith; Producers: Polly Cohen Johnsen, Marc Platt, Michael Tadross; Screenwriters: Robb Cullen, Mark Cullen; Music: Harold Faltermeyer; Editor: Kevin Smith; Genre: Action/ Comedy; Cinematography: David Klein; Distributor: Warner Bros. Pictures; Location: New York, USA; Running Time: 107 mins.

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

Cop buddies Jimmy Monroe (Bruce Willis) and Paul Hodges (Tracy Morgan) receive a one-month suspension without pay for bungling up a bust operation which ends up with an informant dead. Bristling with indignation, the two surrender their official firearms and badges but continue to do their own investigating. Feeling very sure of their hunches, they get involved in the usual police work as though they were not under suspension, barging into homes and arresting suspects without warrants, rescuing hostages and madly pursuing and shooting dead those they think to be the bad guys. Will a couple of daring but disobedient cops fight lawbreakers while defying rules themselves?

The action/comedy flick directed by Kevin Smith has all the elements to entertain moviegoers as long as they don’t demand much beyond what’s served them. Car chases, shoot-outs, a bit of drama in relationship snags, laughter, tension from good guys versus bad buys battles—ingredients that keep you amused and alert for around a couple of hours. If the more critical moviegoer detects weaknesses in Cop Out, it is perhaps due to the fact that it is Smith’s first shot at mainstream action-comedy entertainment. While Smith has built a reputation as a ground-breaker, he is better known as a writer than as a director, thus his being the director but not the writer of Cop Out would be responsible for the movie’s occasional weedy spots, like poor camera angles, talking heads, trite gags and villains no one would take seriously.

So that you won’t berate yourself for coughing up nearly two hundred pesos (including the popcorn and soda) for the love of Bruce Willis and then finding him not quite up to your expectations, look at the brighter side of Cop Out. Indeed it has some bright and solid notes that pull the movie up considerably, like that part where Paul goes mad with suspicion over his wife’s fooling around, and that where Jimmy gets into a battle of wills against his ex-wife’s husband (about his daughter’s forthcoming wedding). Watch out for those two moments because they provide subtle leads into your own ideas about good and bad. They’re good points for discussion with family, classmates, friends or prayer community as well. As for the predictable but implausible ending which should make you question the worthiness of the two cops who pursue a case on their own and in spite of their suspension order, be reminded that Cop Out is meant to be action/comedy—and if you understand that its primary aim is to entertain, you’ll see why its plot is based on fantasy, not reality.