Justin Bieber: Never Say Never

CAST: Justin Bieber, Miley Cyrus, Jaden Smith, Shawn Stockman, Wanya Morris, Nathan Morris; DIRECTOR: Jon Chu; GENRE: Documentary, Musical; RUNNING TIME: 105 min.

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

Never Say Never traces the career of teen idol Justin Bieber from the time his mother Pattie Mallette posted home videos of Justin singing pop songs to YouTube for family members to see—to the moment the 16-year-old performed at the world famous Madison Square Garden in New York. Through juxtaposition of family video clips and professional performances, both starring Bieber, a story emerges about an ordinary but musically precocious boy from a small Canadian town 150 kilometers west of Toronto. He was cute as a baby, and is still cute now as a as a singing sensation.

If Never Say Never were crafted like a usual fictional movie or literary work, its climax would be when the singer contracts an infected throat, threatening his scheduled performances, and its denouement would be when he gets over the sore throat and finally sends his fans screaming during the show that was reportedly sold out in 22 minutes.

So, is Never Say Never, directed by Jon Chu, a documentary, a bio-flick, a concert movie, or a publicist’s opus? A little of each, perhaps, having been crafted together out of the devotion of Bieber’s family, the adoration of his fans, the enthusiasm of his coaches and the enterprise of his managers.

We see videos of the toddler Justin displaying his drum-tapping genius on any surface he can get his hands on. We discover he’s a lefty when he’s shown as a little boy strumming a guitar. We hear his husky-for-his-age voice as he busks at a downtown sidewalk. And we view snapshots of this wide-eyed baby as though leafing through a family friend’s photo album.

When the camera is not on Bieber, it’s focused on his mother and grandparents being interviewed, his childhood playmates, his voice coach “Mama Jan”, his bodyguard Ryan Good, his manager Scooter Braun, and even (as in a cameo role) his estranged father who shows up at a performance.

There are tour-bus antics spliced in, glimpses of backstage goings on, clips of Bieber adeptly styling his now world-famous hair, off-stage moments of hugging and horseplay with family and friends, vocalization sessions, rehearsals, team prayers, encounters with fans and other scenes apparently calculated to project a more endearing guy-next-door image for “Bieber Beliebers.”

The outcome is not quite a movie, strictly speaking; instead it’s more like a victory parade winding through but three years of an internet-launched career. Bieber is a winner, and this movie is a celebration of his triumph over ordinariness. Also participating in this parade are young stars Miley Cyrus and Jaden Smith singing and dancing with Bieber in the highlights of the 86-show arena tour. Watching Never Say Never is like seeing the best of 86 Bieber shows for the price of a movie ticket.
As a film, Never Say Never is entertaining—even inspiring, in fact, particularly for his target audience of preteens, young tweeners (age 10-15) and 3rd millennium teenyboppers—but it does not break ground. Nonetheless, it is expected to rake in more millions as it has already reportedly exceeded the earnings of Michael Jackson’s This Is It in two months.

Watching Never Say Never, you might wonder what it is about this blond mophead that sends girls shrieking and weeping and gasping “Omigod!” at his appearance? Nothing like that seen since the Beatles, but the British mopheads were four in all. Bieber’s music is… well, it’s for his target audience, not for music afficionados; and his dance routine won’t take your breath away. It’s a relief, however, that aside from a bit of fireworks, director Chu is careful not to overshadow Bieber’s music with mise-en-scene or smother the boy’s considerable talent with theatrics.

So what’s so hot about Justin Bieber? Why do girls go ga-ga over him, doing silly things like brandishing placards that say “Marry me!” and “I’ll be his wife”? We can only guess: his boyish features and behavior which project innocence could be one reason; another is his passion for his music which suggests he has no time for hanky-panky and which challenges them all the more. There is also a playful air about him that syncs perfectly with his non-threatening physique: Bieber is 5’4” tall, weighs 108 lbs, wear XS shirts, size 27 pants and size 7 shoes—rather petite for a 17-year old Caucasian male, the more to invite cuddling and babying from adoring females.

He’s the squeaky-clean boy next door, obedient to elders, respectful to everyone, honestly cares for fans and entertains them without having to…uh…stroke his crotch.

This could owe to the fact that he has been raised by a mother who speaks about God as though He were part of the family, and grandparents whose nurturing presence has more than made up for the absence of his own father since he was an infant. The Christian home environment is duplicated in his workplace where prayer and offering of self and actions to God is de rigueur before each performance. All the signs say Bieber is a good boy.

But is Justin Bieber really as pure as the driven snow as Never Say Never would have audiences believe? Grandmothers who in yesteryears swooned over Elvis Presley, grandfathers who coveted Frank Sinatra’s voice, parents who grew up with The Carpenters may not be able to resonate with Bieber’s Eenie Meenie or Baby but they surely see Bieber’s menu as a healthy alternative to what other teen stars are dishing out to their children and grandchildren.

How long Bieber will reign supreme, or stay relatively uncorrupted, nobody knows. He is fortunate to have been born in the cyber era when it’s so easy for anyone with even a modicum of talent to be discovered and catapulted to fame at the click of a mouse. But fortune is a two sided coin. The problem is not getting to the top, but staying on top, and not just at the top of the sales charts, but on top of the traps waiting to ensnare one who tastes fame and fortune too much too soon.

The influences around Bieber are an interesting, combustible mix. In the first circle there is his mother and his grandparents forming a protective mantle of love around him; next there are his business partners, his growing, strengthening second family who will inevitably have a say on his future. Among them is Bieber’s idol and mentor, Usher, under whose label Bieber sings and who is known for his songs that exalt raw sex. Add to these influences the sway of his fans some of whom blatantly worship him like a god.

Will Justin Bieber eventually retire as a small town gospel singer or will he be packaged as a Junior Usher until the next YouTube sensation comes along? Will his star burn out before he’s 21 or will he walk with head held high until he finds his inner hero? That’s the beauty of Never Say Never—as long as you view it as a mere part of a process, a transition from boyhood to manhood, the metamorphosis of a human being—you’re free to write your own ending to it.

Rango

CAST: Johnny Depp, Isla Fisher, Abigail Breslin, Alfred Molina, Bill Nighy, Harry Dean Stanton, Ray Winstone, Timothy Olyphant, Ned Beatty, Stephen Root; DIRECTOR: Gore Verbinski; WRITERS: John Logan, Gore Verbinski, James Byrkit; GENRE: Animation, Action/Adventure; RUNNING TIME: 107 min.

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

A road accident throws a caged pet chameleon off its master’s car, leaving the dazed creature alone to fend for himself in the Mojave desert. Yes it’s a male. As he is later to name himself, Rango (Johnny Depp) loves to spin tales of his own greatness as he craves social interaction. Life can be lonely for a domesticated lizard, after all, and he needs to survive in this treeless jungle he’s thrust in. If Rango could have his way, he would be an actor, and so Fate lets him blend into the scenery. He finds himself in a town called “Dirt”, populated by desert animals badly needing a bath and a hero. With luck on his side—and the chameleon’s natural gift of taking on the color of its environment—Rango causes the death of the dreaded predatory bird, then he is hailed as Dirt’s sheriff.

Rango is a delightful western with cartooned desert creatures as lead characters. The main element in this animated western is the mysterious stranger turned savior and protector of the terrified townsfolk in an outpost in the middle of nowhere. This movie actually pays homage to classics (such as High Noon and Blazing Saddles) is appealing to adults especially those who love westerns, spaghetti or authentic. However, it could be boring or scary to young children who will certainly miss the innuendoes and allusions to Hollywood cowboy heroes. Depp pairs up anew with Gore Verbinski who directed him in three of the Pirates of the Caribbean series; their team up works, not only because Depp, known for his madhatter roles, suits the crazy lizard’s character to a T, but also because the director has the versatility to handle both action and animation with finesse. Add to that the vividness of the animation drawings and you have a virtually striking opus that gives viewing pleasure minus the cumbersome platic 3D glasses.

Families will enjoy this tale of the accidental hero. What the kids will enjoy, let them enjoy; what they won’t understand, they will not miss. But adults of all ages will have something refreshing to pick up from the movie.

Limitless

CAST: Bradley Cooper, Robert De Niro, Anna Friel, Johnny Whitworth; DIRECTOR: Neil Burger; SCREENPLAY: Leslie Dixon; CINEMATOGRAPHY: Jo Willems; EDITOR: Naomi Geraghty; MUSIC: Paul Leonard Morgan and Nico Muhly; PRODUCERS: Leslie Dixon, Scott Kroopf, and Ryan Kavanaugh; EXECUTIVE PRODUDER: Tucker Tooley; PRODUCTION DESIGNER: Patrizia Von Brandenstein; GENRE: Action thriller; RUNNING TIME: 105 minutes

Technical Assessment: 4
Moral Assessment: 2
CINEMA Rating: Audience Age 18 and above

Struggling writer Eddie Morra (Bradley Cooper) is at a low point of his life --- career, relationship and finances, when he accidentally meets his former brother-in-law Vernon ((Johnny Whitworth) while walking in the street. Realizing his present state during a brief catch up, Vernon offers Morra a mind-stimulating pill called NZT that allows him to access 100 percent brain intelligence function and enables him to step up in his life. Cynical at the beginning, but on discovery of immediate amazing effect on his first try, he knows what to do next. He asks Vernon to give him more pills. But before Morra gets his share, Vernon is murdered. Morra manages to find a bag of pills. As expected, he suddenly gains back the lost glory as a writer, his girlfriend, and the liberty to enjoy the benefits of overflowing knowledge. His services become in demand in the business community where he had the opportunity to work with a business wallstreet tycoon Carl Van Loon (Robert De Niro).

The film "Limitless" has an interesting plot to start with. However, as the story builds up, it somehow struggles to sustain the interesting momentum. The scenes become predictable and has the tendency to prolong unnecessarily. The chasing scenes, for example, are not clearly established whether there is paranoia, real life and death situation, or just obsessions to the pills. For any reason, why death scenes have to be very violent. The director may also have overestimated the use of voice over for this film, because often the narration causes destruction. It already has a good casting coup that fits the requirements of the characters in the film. Acting wise, both Cooper and De Niro did well in their respective roles. If not of the good special effects, the film can be dragging at some points. Lighting is good and it helps in establishing emotions as required by the scenes. The cinematography is well complimented by special effects. Overall, the film goes with good technical qualities.

The film shows that accessing 100 percent utilization of brain function can bring amazing effects to the person, the economy and society in general. The problem is, the film disregards the natural process for it and instead promotes cheating and so called "instant" culture. It is simply drug addiction that is harmful to the body. The film shows how it makes people greed for instant success, money, fame, and power. The main technology is the human mind that people can use to bring out their full potentials with due respects to natural process. But the film ends with an alarming conclusion that it is okay to continue with an experimental drug for as long as it is taken "responsibly" with a right dosage and for a good purpose. The film also shows that sex is an easy trade off for a service of 'smart' person. The death scenes are too violent and absurd (such as sipping human blood). The film requires a mature audience who can understand the whole saga of this wonder drug and the accompanying circumstances.

World Invasion: Battle Los Angeles

CAST: Aaron Eckhart, Ramon Rodriguez, Bridget Moynahan, Michelle Rodriguez, Ne-Yo, Michael Peña, Ramon Rodriguez, Will Rothhaar, Cory Hardrict, Jim Parrack, Gino Anthony Pesi; DIRECTOR: Jonathan Liebesman; SCREENWRITER: Christopher Bertolini; MUSICAL DIRECTOR: Bryan Tyler; GENRE: War/Action/Fiction; LOCATION: USA; RUNNING TIME: 116 min.

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: Audience Age 18 and above

SYNOPSIS: For years, there have been documented cases of UFO sightings around the world – Buenos Aires, Seoul, France, Germany,... China. But in 2011, what were once just sightings will become a terrifying reality when Earth is attacked by unknown forces. As people everywhere watch the world's great cities fall, Los Angeles becomes the last stand for mankind in a battle no one expected. It's up to a Marine staff sergeant and his new platoon to draw a line in the sand as they take on an enemy unlike any they've ever encountered before.

Mars Needs Moms

CAST: Seth Green, Dan Folgi, Joan Cusack, Elisabeth Harnois, Mindy Sterling, Julene Renee, Ryan Ochoa, Jacquie Barnbrook, Matthew Wolf, Raymond Ochoa; DIRECTOR: Simon Wells; SCREENWRITER: Simon Wells, Wendy Wells, Berkeley Breathed; PRODUCER: Robert Zemeckis, Steven J. Boyd; GENRE: Action & Adventure, Animation, Science Fiction & Fantasy, Comedy; DISTRIBUTOR: Walt Disney Pictures; RUNNING TIME: 88 min.

Technical Assessment: 4
Moral Assessment: 4
CINEMA Rating: Audience Age 13 and below with parental guidance

SYNOPSIS: Take out the trash; eat your broccoli -- who needs moms, anyway? Nine-year-old Milo finds out just how much he needs... his mom when she's nabbed by Martians who plan to steal her mom-ness for their own young. "Mars Needs Moms" showcases Milo's quest to save his mom -- a wild adventure that involves stowing away on a spaceship, navigating an elaborate, multi-level planet and taking on the alien nation and their leader. With the help of a tech-savvy, underground earthman named Gribble and a rebel Martian girl called Ki, Milo just might find his way back to his mom -- in more ways than one.

Red Riding Hood

CAST: Amanda Seyfried, Gary Oldman, Billy Burke, Lukas Haas,Shiloh Fernandez, Michael Shanks, Julie Christie, Virginia Madsen, Max Irons, Darren Shahlavi; DIRECTOR: Catherine Hardwicke; GENRE: Drama; RUNNING TIME: 100 min.

Technical Assessment: 3
Moral Assessment: 2.5
CINEMA Rating: Viewers 14 and above

Valerie (Amanda Seyfried) is in love with the brooding but passionate Peter (Shiloh Fernandez) but her parents want her to marry nice village boy Henry instead to help the family financially. Neither man is bad looking, and Valerie who likes Henry but is more attracted to Peter, agrees to elope with Peter. But their situation gets more complicated when Valerie’s sister is killed by a werewolf that strikes every full moon night. This terrifies the whole village: why would the werewolf kill a human being despite the village’s monthly animal sacrifice to keep the creature satisfied? So they call in famous werewolf hunter Father Solomon (Gary Oldman) who arrives in the village with a retinue of black bodyguards and a huge metal elephant. Soon, during another full moon attack, Valerie discovers she has a connection with the killer wolf but she keeps the discovery a secret. Father Solomon tells the villagers the werewolf takes human form by day, thus it could be one of them. Valerie suspects the werewolf could be someone she loves or who loves her.

Any screen character portrayed by Seyfried seems to automatically elicit sympathy from the audience, thanks to her wide-eyed look that lends her face childlike innocence. The trailer of Red Riding Hood apparently implies evil lurking behind those can’t-do-anything-bad eyes, but the movie would soon belie that sneaking suspicion. Obviously she’s not the werewolf but you nonetheless hang on to find out what ultimately happens. That, dear viewer, shows you how a bias for certain actors gets you hooked on the story despite the presence of some elements you would otherwise consider ridiculous or irrelevant. Here, they are the metal elephant that turns out to be torture chamber for suspected werewolves and witches, and the color of Valerie’s hood which contributes nothing to the story but which makes a great frame against a snow-covered landscape. The title itself makes you wonder, why “red riding hood” when Valerie never rides; doesn’t she only walk to her grandmother’s cottage and run away from the wolf? Some film critics would rip Red Riding Hood apart on account of its bearing vestiges of Twilight—this thing about werewolves, virginal heroines falling for bad boys yet spared from wolf attacks, but whatever, it’s an engaging story from beginning to end.

Of course, it’s a sin to kill a human being. But when a werewolf kills, it is not quite human, so is the act of killing then outside the scope of human morality? Aah, that’s a gray area in red riding hood country! How could CINEMA pass judgment on a werewolf’s trespasses, or is it worth the bother at all? We cannot do that without spoilers, so you might as well see for yourself why we’re giving it a 2.5 score in the moral arena. This teaser might help you, though: Why did the carnivorous werewolf who used to be satisfied by the villagers’ animal sacrifices kill a woman but did not eat her? a) the werewolf was scared away by the woman’s screaming; b) the werewolf was allergic to the fabric of the woman’s dress; c) the werewolf wasn’t hungry. Enjoy the ride.

The Adjustment Bureau

CAST: Emily Blunt, Matt Damon, Anthony Mackie, Terence Stamp,John Slattery, Daniel Dae Kim, Shohreh Aghdashloo, Michael Kelly, Liam Ferguson, Anthony Ruivivar; DIRECTOR: George Nolfi; WRITERS: George Nolfi and Philip K. Dick; GENRE: Romance, SciFi/Fantasy; RUNNING TIME: 106 min.


Technical Assessment: 3
Moral Assessment: 2.5
CINEMA rating: For viewers 18 and up

BRIEF SYNOPSIS: If the movie seems a hybrid of Matrix and Sleepless in Seattle, it’s because it strives to deal intelligently and entertainingly about fate, choice, free will, predestination, topics that elsewhere would require doctorate degrees to understand. On the brink of winning a seat in the U.S. Senate, ambitious politician David Norris meets beautiful contemporary ballet dancer Elise Sellas. But just as he realizes he's falling for her, mysterious men conspire to keep the two apart. A metaphysical puzzle for mature minds; it could also be mistaken for a romantic sci-fi.

The Eagle

CAST: Channing Tatum, Jamie Bell, Donald Sutherland, Dakin Matthews; DIRECTOR: Kevin Macdonald; SCREENWRITER: Jeremy Brock; PRODUCER: Duncan Kenworthy; EDITOR: MUSICAL DIRECTOR: Atli Orvarsson; CINEMATOGRAPHER: Anthony Dod Mantle; GENRE: Drama, Action, Adventure; DISTRIBUTOR: Focus Features; LOCATION: Scotland; RUNNING TIME: 114 minutes


Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: Audience Age 14 and above

BRIEF FILM SYNOPSIS: In 2nd-Century Britain, two men - master and slave - venture beyond the edge of the known world on a dangerous and obsessive quest that will push them beyond the boundaries of loyalty and betrayal, friendship and hatred, deceit and heroism. Screenplay adapted Rosemary Sutcliff's classic novel The Eagle of the Ninth.

Senior Year

CAST: Che Ramos, LJ Moreno, RJ Ledesma, Ina Feleo, Arnold Reyes, Dimples Romana, Ramon Bautista, Aaron Balana, Celina Peñaflorida, Rossanne de Boda, Eric Marquez, Sheila Bulanhagui, Francez Bunda, Daniel Medrana, Nikita Conwi, Mary Lojo, Daniel Lumain; SCREENPLAY & DIRECTOR: Jerrold Tarog; LOCATION: Manila; GENRE: Drama
RUNNING TIME:100 minutes

Technical Assessment: 3
Moral Assessment: 4
CINEMA Rating: Audience Age 14 and above

Class Reunion sa hinaharap ng high school batch 2010 ng St. Frederick School. Inaalala ng class valedictorian na si Henry (RJ Ledesma) ang mga nangyari noong huling taon sa high school ng batch niya habang nag-iipon siya ng lakas at dahilan upang tumuloy at magpakita sa reunion. Dito magsisimulang manumbalik ang isang makulay na taon at iba’t-ibang kuwento ng kanyang mga batchmates. Nariyan ang hirap na dinanas niya sa pagbuo ng kanyang graduation speech habang tinitikis ang lihim niyang pagtingin kay Sofia. Kasabay nito ay ilang pagaalinlangan ng kanyang mga kaibigan sa kanilang buhay sa kasalukuyan at hinaharap habang nalalapit ang kanilang pinakahihintay na graduation.

Mahusay ang pagkakagawa ng pelikula at buo ang pagkakalahad ng kuwento ng Senior Year. Kahit pa maraming tauhan at kuwentong uminog sa iisang kalugaran, nagawa pa rin ng direktor na habiin ang ang lahat ng elemento sa isang makabuluhang kabuuan. Sino ba naman ang hindi nakakaalala sa kanyang high school life? Sobrang aliw ang pelikula sa pagbibigay-buhay sa mga tipikal na kuwento at tauhan sa high school. Sa pagkakataong ito, mga tunay na estudyante at hindi artista ang mga nagsiganap at lumabas na sobrang tototo ang pelikula. Parang pinapanood ng mga manonood ang kani-kanilang buhay noong sila ay nasa mataas na paaralan. Ang ilang tauhan naman ay pawang mga nakasalamuha mo nga noong ika’y dumaraan sa parehas na panahon. Ang resulta’y isang nakakaaliw na pelikula na pumupukaw sa isip at damdamin dahil parang hindi pelikula ang napapanood kundi ang totoong buhay. Buhay high school.

Tulad sa totoong buhay, maraming ibinato at inihaing nararapat pag-isipan sa pelikulang Senior Year. Ito nga ba ang panahon kung saan ang mga kabataan ay naghahanap ng kahulugan sa kawalang-kahulugan ng lahat ng kanilang pinagdadaanan? Dahil dito’y naging kahanga-hanga ang papel ng mga guro sa mga mag-aaral dahil nagsisilbi silang inspirasyon sa mga ito upang maging mabubuting mamamayan na maghahatid ng pagbabago sa lipunan. Sa kabilang banda rin ay marami ding dapat ipagpasalamat ang mga guro sa kanilang mga estudyante na nagtuturo din sa kanila ng maraming bagay ng higit sa kanilang nalalaman. Ang buhay high school nga naman ay isang matinding pagtawid – pagtawid mula sa pagkabata tungo sa pagtanda, pagtawid mula sa nakaraan tungo sa pagharap sa kinabukasan. Nariyan pa ang ilang kalituhan ukol sa pag-ibig, pamilya, pagkakaibigan at maging sa moral. Hindi naghusga ang pelikula at hindi rin ito nagsermon ngunit nag-iwan ito ng maraming malalim na konsepto na nararapat bigyang pansin kaakibat ang matinding pagsubok sa bawat isa na gawing makabuluhan ang pagkabata upang maging maliwanag ang kinabukasan pagtanda. Hindi nawawala ang pananalig sa Diyos, sa kapwa, sa sarili at sa mga institusyon na katulad ng paaralan. Gaano man katindi, kakulay, kapait ang buhay high school, ang isa’y makakapulot pa rin ng aral mula dito gaano man kaliit, dala pa rin ito habambuhay. Makabubuting kasama ng mga magulang ang kanilang mga anak sa panonood ng pelikulang ito hindi lamang para gabayan ngunit para mas higit pa nilang malaman ang mga saloobin ng mga kabataan ngayon.

I Am Number Four

CAST: Alex Pettyfer, Timothy Olyphant, Teresa Palmer, Dianna Agron, Callan McAuliffe, Kevin Durand; DIRECTOR: D.J. Caruso; WRITERS: Alfred Gough, Miles Millar, Marti Noxon; GENRE: Action/Adventure, Suspense/Thriller; RUNNING TIME: 104 min.

Technical Assessment: 2.5
Moral Assessment: 2.5
CINEMA Rating: For viewers aged 14 and up.

John (Alex Pettyfer) is Number Four, an alien disguising himself on earth as “John Smith” to elude annihilation by the Mogadorians. Looking like a handsome ordinary American teenager he easily blends in with the rest of the high school crowd. Everybody takes his being a jet ski whiz as a simple athletic gift until one day, at the beach, when out from his leg emanates a strange light as he writhes in pain. It’s the third scar branded into his leg, and it means his Mogadorian pursuers have succeeded in killing Number Three. He has a protector posing as his father in the person of fellow Mogadorian Henri (Timothy Olyphant) who thinks it is time to move out to a safer hiding place, but John would not leave his girlfriend Sarah (Dianna Agron) behind. Meanwhile the Mogadorians are closing in and a confrontation becomes inevitable, revealing the presence on earth of a couple of John’s allies, one of whom is the Number Six (Teresa Palmer).

I am Number Four looked promising in the trailer but the real thing seems like a patchwork quilt whose most colorful elements are facsimiles of box office hits. A love between an earthling and Someone Who’s Not From Here? Doesn’t Twilight have that? Battles fought in the air? Plenty of that in Harry Potter! A cute puppy morphing into a monster? Well, don’t flashy cars go clank-clackety-clank to become giant metal murderers in … was it Transformers and/or Hulk? A sexy chick kicking ass with nary a drop of sweat? Remember Michelle Pfeiffer, Zhang Zi Yi, Michelle Liu, La Jolie and others who’ve done superwoman stuff? And what about ugly, menacing aliens? Ho-hum. But that’s not the most disappointing. The patch up job would have been tolerable if there had been a good plot to sew it up decently. But as it is, it seems like I Am Number Four has been produced to sell—only that, to sell, targeting 12-15 year olds who get high on escapist fantasy-cum-forbidden-love formula movies.

Because there’s no coherent story really testing the moral strength of the protagonists, all the violence and destruction seems mere debris floating in the air, defying gravity and direction, thereby remaining weightless and worthless as indicators of sound judgment. The lack of a story explains the lack of meaningful dialogue advancing the story. The Olyphant character almost provides a semblance of depth to his nearly-human thinking but it gets buried beneath the raucous computer-generated action. This patchwork movie leaves many holes uncovered, is fraying at the edges, and in its overload of borrowed colors loses its identity.

Faster

CAST: Dwayne Johnson, Billy Bob Thornton, Carla Gugino, Moon Bloodgood, Maggie Grace, Tom Berenger, Micaela Johnson, Jennifer Carpenter, Adewale Akinnuoye-Agbaje, Courtney Gains; DIRECTOR: George Tillman, Jr.; SCREENWRITER: Joe Gayton & Tony Gayton; PRODUCER: Martin Shafer, Tony Gayton, Liz Glotzer; EDITOR: Dirk Westervelt; MUSICAL DIRECTOR: Clint Mansell; CINEMATOGRAPHER: Michael Grady; GENRE: Action/Adventure; LOCATION: US; RUNNING TIME: 95 minutes

Technical Assessment: 2.5
Moral Assessment: 1
CINEMA Rating: Audience Age 18 and above.

BRIEF SYNOPSIS: After 10 years in prison, Driver has a singular focus - to avenge the murder of his brother during the botched bank robbery that led to his imprisonment. Now a free man with a deadly to-do list in hand, he's finally on his mission. It's a do or die race to the list's finish as the mystery surrounding his brother's murder deepens, and new details emerge along the way hinting that Driver's list may be incomplete.

Who's That Girl?

CAST: Anne Curtis, Luis Manzano, Eugene Domingo, Dina Bonnevie; DIRECTOR: Wenn Deramas; PRODUCER/ DISTRIBUTOR: Viva Films ; GENRE: Romantic Comedy; LOCATION: Manila; RUNNING TIME:120 minutes;

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

Humaling na humaling si Elizabeth Pedrosa (Anne Curtis) sa campus figure na si John Eduque (Luis Manzano) mula nung sila’y na sa kolehiyo pa. Yun nga lang, palihim ang paghanga ni Elizabeth kay John at pawang nasa pedestal kung ituring niya ito. Kinimkim ito ni Elizabeth hanggang sa sila’y magkalayo na ng landas at magkaroon ng kani-kaniyang buhay pagkatapos ng kolehiyo. Ngunit magbabago ang takbo ng lahat nang mabasa ni Elizabeth ang pangalan ni John sa obitwaryo. Pupunta siya sa burol at gagawa ng malaking eksena para lang malaman na ang namatay ay hindi si John kundi ang ama nito na kanyang kapangalan. Dala ng matinding hiya ay hindi na makakapagpaliwanag pa si Elizabeth at kakaripas na lang ng takbo. Mabibigla ang lahat sa burol at kanilang aakalain na nagkaroon ng ibang babae ang ama ni John na labis na ikagagalit ng ina niyang si Belinda (Eugene Domingo). Ipapahanap at tutugisin ni Belinda si Elizabeth habang si John ay ganun din ang gagawin. Yun nga lang, sa pagkikita at pagkakakilala nina John kay Elizabeth ay unti-unting mahuhulog ang loob nila sa isa’t-isa.

Naghatid ng matinding aliw ang Who’s That Girl sa mga manonood nito sa kabuuan. Pinakamatingkad na yaman ng pelikula ang talento ng mga nagsiganap lalo na si Domingo na wala pa ring kupas sa pagpapatawa. Mahuhusay din ang mga pangunahing tauhan na sina Curtis at Manzano yun nga lang, parang nagkulang pa sa hagod ang kanilang tambalan upang maging tunay na nakakakilig. Maganda ang naging simula ng kuwento at naging matindi ang interes ng manonood sa takbo nito. Talaga namang hagalpakan lahat sa kakatawa sa tuwing hihirit ang kakatwang karakter ni Domingo. Yun nga lang, parang nakakasawa na rin ang iba paglaon. Hindi pa rin napigilan ang pelikulang ito na gaya ng inaasahan sa isang pelikulang gawa ni Deramas, marami pa ring eksenang pawang pilit na isinisingit ang pagpapapatalastas ng mga produkto. Naging matahimik naman sa pagkakataong ito ang mga product placements pero pawang nahahalata pa rin ng maraming manonood. Nakakaapekto pa rin ito ng malaki sa daloy ng pelikula sa kabuuan.

Patungkol ang Who’s That Girl sa kung paanong maraming nagkakasira sa maling akala at kung paanong ang pagkakasirang ito ay maari namang maayos ng pagmamahalan. Yun nga lang, tila may mga bagay na sadyang pag nasira na ay mahirap nang ayusin pa. Tulad na lamang ng maraming bagay na nagawa ng galit ni Belinda dahil sa kanyang maling akala. Pinagsisihan naman niya ito sa bandang huli at naliwanagan din siya sa kahalagahan ng tunay na pag-ibig. Yun nga lang, maraming bagay sa pelikula ang nagkulang sa hagod at pagbibigay ng tamang kahulugan lalo na sa konsepto ng pag-ibig. Hindi gaanong malinaw kung ano ang nagtulak kina Elizabeth at John upang mahalin ang isa’t-isa. Ang kay Elizabeth ay malinaw na pagkahumaling pero tinatawag niya itong pag-ibig. Kay John naman ay pawang pagnanasa pero tinawag din nila itong pag-ibig. Nakababaha lang na magdulot ng maling impresyon at konsepto ang pelikula, lalo na sa mga kabataan, kung ano nga ba talaga ang tunay at wagas na pag-ibig. Ipinakita na sana ito sa pagmamahalan nina Belinda at John Sr. ngunit nasira din naman kalaunan. Malabo tuloy ang mensahe ng pelikula sa kabuuan. Sa gitna ng mga aliw at halakhak ay tila naman yata walang laman ang pelikula. Nariyan pa ang mangilan-ngilang paghuhubad ng ilang tauhan na nasa konteksto naman ngunit kinakailangan pa ring gabayan ang mga batang manonood.

Black Swan

CAST: Natalie Portman, Mila Kunis, Winona Ryder, Sebastian Stan, Vincent Cassel, Janet Montgomery, Barbara Hershey,Christopher Gartin, Toby Hemingway, Kristina Anapau; DIRECTOR: Darren Aronofsky; WRITER: Andres Heinz, Mark Heyman, John McLaughlin; GENRE: Drama, Suspense/Thriller; RUNNING TIME: 110 min.

Technical Assessment: 4
Moral Assessment: 1.5
CINEMA Rating: For viewers 18 and above.

A ballerina with the New York Ballet Company, Nina Sayers (Natalie Portman) gets her dream role as Queen Swan when the impresario Thomas Leroy (Vincent Cassel) thinks Beth (Wynona Rider) has become too old for the role. As Swan Lake’s lead dancer, however, NIna has to inhabit two roles—the good White Swan and the evil Black Swan. The problem is while Nina has her technique honed to perfection, she lacks the passion to fill the Black Swan part. At 28 she is still treated by her mother Erica (Barbara Hershey) as though she were 20 years younger, sleeping in a bedroom all pink and fluffy and populated by teddy bears and other stuffed toys. Not for a moment dissuaded by Nina’s frigidity, Leroy spurs her on with calculated seduction, teasing her and then tormenting her by flying in the passionate Lily (Mila Kunis) from California to dance the Black Swan part. Partly to fulfill her ideal of perfection and partly to spite her overprotective mother—a retired dancer living her life through her daughter’s career—Nina is inevitably lured to explore her dark side.

Every single actor in Black Swan have all their feathers neatly in place: smooth, credible performance, good line delivery, great rapport all the way. Cassel is as charming as a devil can be. Hershey fits the aging stage mama role to a T. And Portman gives a performance worth a standing ovation. She’s really good at such roles—as in The Other Boleyn Girl—playing flawed characters who are definitely assured of a place in Dante’s Inferno. Director Darren Aronofsky carries you away with his sense of aesthetics; you get so busy gawking at his mesmerizing art that you lose track and don’t question anything till the end when you somehow suspect you’ve been had.

The story is seen from the point of view of an artist—Nina—who instead of losing herself in her art loses her sanity. Thus the thin line between reality and fantasy is blurred, and it’s you who lose yourself in Tchaikovsky’s music (albeit chopped up and overlayed with electronic muck reminiscent of Terminator). And when Nina does what she does at the end of the dance, you wake up and say, “Hey, wait a minute! How can you be so sure this act is not another nightmare or hallucination or one of those fears and fantasies that rattle her in her sleep and lull her to stupor when she’s awake?”

Who the hell cares? The point is, for CINEMA, aesthetics isn’t everything—neither is technique. Black Swan is both eye candy and tricky brainteaser, sure, but where’s the meat? Its only saving grace in terms of ethical content is the devotion Nina has for her craft, her drive towards perfection. But then again, the devotion crosses the boundary to neurosis, and the drive leads to the perfection of self-destruction. Black Swan is not about ballet—in fact it’s unflattering to the ballet industry; it’s more about an obsession dipped in the glitter of high art but which remains lowly nonetheless because the film chooses to overpower the heroine by her semi-conscious acquiescence to evil. Ask yourself: In the misguided pursuit of perfection is it worth sacrificing your soul for your art?

From Prada to Nada

CAST: Camilla Belle, Alexa Vega, April Bowlby, Kuno Becker, Wilmer Valderrama, Nicholas D'Agosto, Adriana Barraza, Karla Souza, Alexis Ayala; DIRECTOR: Angel Garcia; SCREENWRITER: Luis Alfaro, Craig Fernandez, Fina Torres; PRODUCER: Gigi Pritzker, Linda McDonough, Rossana Arau, Gary Gilbert &Lisa Ellzey, EDITOR: Brad Maclaughlin; MUSICAL DIRECTOR/COMPOSER: Daniel Hubbert, Andrea von Foerster, Sebastian Zuleta, Neitor Pereira; CINEMATOGRAPHER: Hector Ortega; DISTRIBUTOR: Lionsgate; GENRE: Comedy, Romance; LOCATION: USA ; RUNNING TIME: 107 minutes

Technical Assessment: 2.5
Moral Assessment: 3
CINEMA Rating: V14

Nora (Camille Belle) and Mary (Alexa) are beautiful, rich, spoiled and pampered. Although their last name is Dominguez, they definitely do not consider themselves Latina and have put no effort to learning their mother’s native tongue. The sisters think they have everything until their father dies and they find themselves penniless and at the mercy of the woman with whom their father had an affair with. The sisters are kicked out of the house and are force to live with their auntie in the poor side of East Los Angeles. At first, they are bemused at the living conditions of the people and look at themselves as a class way above the rest. However, the Latino community is not impressed with the newcomers. Over time, only when the sisters learn to live beyond their designers’ clothes and BMWs and value themselves for the real person inside their hearts and start treating other people as equals do they find true meaning in life.

The movie is a weak spin off on Jane Austen’s “Sense and Sensibility”. Although, there are numerous instances where we find the girls in hilarious situations, the humor fails to deliver a good punch because the storyline is too predictable and the plot takes a long time to make the necessary twist for character redemption. The problem is in the script. The characters are too shallow and empty-headed that by the time they make the transformation, it is a bit too late to be genuine and to elicit sympath. And because the script is flat and the script shallow, you cannot really expect a stellar performance from the lead actors. On the positive side, the movie is cute and adorable production-wise. The movie starts with an interesting and promising premise but fails to deliver a great movie.

There are several good points that the movie emphasizes:

First, we say that material wealth should not be the basis of judging a person. FROM PRADA TO NADA shows this clearly as characters find meaning in life and self-respect not when they were covered with blings, brands and expensive things but when they were stripped of all possessions and began to interact using their hearts.

Second, people are always capable of changing. We can never say that just because a person was born and raised in a certain way, he or she will remain like that for the rest of his or her life. We clearly see how the lead characters made a complete 360 in dealing and respecting people and in discovering their self-worth.

Lastly, success is sometimes handed down the family line, but it is sweeter and more meaningful when it comes hand in hand with perseverance and hard work. People who have invested sweat, talent and determination in their achievements value the fruits and rewards even more.

The movie is not one of the must-see films but for those who would or plan to, there are good lessons to take home afterwards.

Unknown

CAST: Liam Neeson (Dr. Martin Harris), Diane Kruger (Gina), January Jones (Elizabeth Harris), Aidan Quinn (Martin B), Bruno Ganz (Ernst Jurgen), Frank Langella (Rodney Cole); DIRECTOR: Jaume Collet-Serra; SCREENWRITER: Stephen Cornwell, Oliver Butcher; GENRE: Drama, Horror, Mystery & Suspense; DISTRIBUTOR: Warner Bros. Pictures; LOCATION: Berlin, Germany; RUNNING TIME: 115 minutes

Technical Assessment: 3 ½ .
Moral Assessment: 2 ½ .
CINEMA Rating: Audience Age 18 and above

American botanist Martin Harris (Liam Neeson) flies to Berlin with his wife Elizabeth (January Jones) to speak at a biotechnology conference. Checking in at the hotel he misses his briefcase, rushes back to the airport in a cab to retrieve it and gets into an accident that causes brain trauma resulting in partial memory loss. After cab driver Gina (Diane Kruger) bravely saves him from death, the police take him to a hospital where he lies in coma for four days. He awakens, wonders why no one has looked for him, and recalls just enough to escape from the hospital and return to the hotel to find his wife he hopes will establish his identity. He finds her with a stranger (Aidan Quinn) who claims to be the real Martin Harris. Worse she denies knowing him and confirms that her husband Martin Harris is the man with her. It’s a mystery the bewildered Harris would give his all to solve, and he is helped by Gina and her friend Ernst Jurgen, a private investigator (Bruno Ganz) who used to work in the East German secret police.

Based on French writer Didier van Cauwelaert's novel, Unknown may keep you at your seat’s edge rooting for the accident victim—credit that to Neeson’s looks which seem to naturally evoke sympathy. But of course he’s an actor who feels his role to the bone, even if his character be in such an absurd situation as Harris. Good direction by Jaume Collet-Serra pulls together the pieces of this brain-teasing story into clarity, aided by the lead actors’ self-convinced portrayal of their roles. Ganz as the ex-spy, wizened and wise and blessed with a prickly humor by his Stasi past, lends depth—even heroism—to the plot. If it were up to us, Ganz should get a nomination for Best Supporting Actor. Action and violence abound as the audience is led further into the dark, until close to the end of the 115-minute thriller when the unknown becomes known.

Unknown seems to have been made just to puzzle the brain. Older generations would call it “mental calisthenics”, the younger ones would say it’s “mind f—k”. It may entertain many who like to solve riddles but it offers little ethical guidance for those expecting it. Its redemptive factor comes late in the movie when—the mystery having been demystified—a character tries to influence another towards a new life direction. Unknown, however, may arouse one’s curiosity regarding the killer-for-hire industry, to ask questions like: How deeply is a spy indoctrinated to prepare for his or her mission? How does the training impact his self-image? How much of his real self is lost in the process? Does this then still hold him morally culpable for the acts he is paid to commit? Is there another process by which the killer-for-hire is disengaged totally from his role upon the completion of his mission? You see, even movies that critics would judge unworthy may lead to profound thoughts a world in chaos needs today.

Just Go With It

CAST: Adam Sandler, Jennifer Aniston, Nicole Kidman, Brooklyn Decker, Bailee Madison, Antoinette Nikprelaj, Nick Swardson,Heidi Montag, Rachel Specter, Elena Satine; DIRECTOR: Dennis Dugan; WRITERS: Allan Loeb, Timothy Dowling; GENRE: Comedy, Romance; LOCATION: Los Angeles and Hawaii; RUNNING TIME: 110 min.

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

Former cardiologist turned plastic surgeon Danny (Adam Sandler) plays on different women to get over the trauma of aborted wedding many years ago. He discovers the power of a wedding ring on his finger to win the sympathy of women by pretending to be in an unhappy marriage with a difficult wife. He does not realize that the same fake wedding ring will send him away from Palmer (Brooklyn Decker), a woman he finally falls in love with and likes to marry. Palmer is a family-oriented young woman who works for a children’s institution and does not want to be involved with a married man. Danny is determined to win Palmer back, so he invents another lies and tells her that he is already divorced. The problem is, Palmer wants to meet his “former wife" and eventually the "children". So Danny plans a scheme that costs him money involving his long time clinic assistant Katherine (Jennifer Aniston) and her 2 children from his divorced husband to act as wife and children respectively. As a boss, Adam does not have a hard time convincing Katherine (Jennifer) but not the two children who are so clever to make demands for money and luxury trip to Hawaii to get their cooperation for the scheme. So the show goes all the way to Hawaii. The scheme turns out to be an opportunity of discovery of many things among Danny, Katherine and her two children.

“Just Go With It” is a sex comedy film that appears to make up from the boring plot through an effort to inject a serious family theme at the last part of the story. It was difficult to believe that a popular and rich plastic surgeon can live a lie about his status for the longest time and manages to sleep with one woman to another without being caught. Insertions of twists in the story add up to destructions. The acting does not offer any less with the exemption of Aniston who naturally transformed into the character of a cool clinic assistant and mom to grown up children and finally discovers something special for her longtime boss. The director seems to focus on the delivery of comedy but has the tendency to over do some of the scenes like that of the child in the toilet, the mashing of one-side oversized breast of a woman in the clinic, and the crack of many ‘dick’ jokes. The lighting helps in projecting required emotions in some scenes. The make up and production design in the scenes particularly the settings in the 80’s was not initially good but eventually improved as the film progressed to its ending. Nonetheless, the film has a good cinematography and offers impressive compositions in some of the scenes such as the scenes in Hawaii trip.

In Filipino culture, it is unusual for a single man to pretend that he is married just to play around on women. It is more usual for married man to pretend as single so he can womanize. Morally, neither of the two are unacceptable. The film is about living a life of lies at the expense of women. After victimizing many of them, Danny was trapped but was still able to get away with it. It is difficult to imagine how safe women clients in his plastic surgery clinic from exploitation are. The images of children portrayed in this film as crooked are a bit disturbing too and should not be tolerated. The viewers should be mindful of the context of the children's attitude in this movie that is partly due to parents' separation. Whilst the film ended highlighting the value of family, it did not appear to be the intention for the most part during the entire run of the film. Danny took a long time to recover from his trauma because he finds himself comfortable with lies. People has to be mindful about life's comfort because it may lead to be focusing only to yourself and become insensitive to others. Women and children are human beings and therefore deserved respect their dignity.

The Mechanic

CAST: Jason Stratham (Arthur Bishop), Ben Foster (Steve Mckenna), Donald Sutherland (Harry McKenna), tony Goldwyn (Dean Sanderson), Jeff Chase (Burke); DIRECTOR: Simon West; SCREENWRITER: Karl Gajdusek; GENRE: Drama, Action & Adventure, Mystery & Suspense; DISTRIBUTOR: CBS Films; RUNNING TIME: 100 minutes

Technical Assessment: 3.5
Moral Assessment: 2
CINEMA Rating: Audience Age 18 and above


The mechanic in The Mechanic is Arthur Bishop (Jason Statham), a professional killer employed by a murder-for-money corporation that specializes in murders where murderers are untraceable because the modus operandi mislead and the killings don’t look like murders at all. Bishop is a cool criminal, competent in his field in that he leaves his heart in his freezer when he goes out to kill. He is assigned to kill his friend and mentor Harry (Donald Sutherland); he thinks it is a painful job but proceeds anyway—it’s just a job, and Harry is another killer anyway—all in a day’s work. The Mechanic is actually about the relationship between Bishop and Steve, a bum of a son who idolizes Bishop and pleads to be taken under the former’s wing to learn his trade. He learns fast, until the two practically become a team that kills for money during the day and spends the money on prostitutes during the night.

The Mechanic is a remake of a 1972 Charles Bronson starrer, and is reminiscent of The American of George Clooney. The mere mention of action he-man Statham as lead character should give audiences a clue as to the sound and fury in the movie. Directing is Simon West (Tomb Raiders) who follows in the footsteps of Michael Winner (who directed the Bronson version). Whether their movies are worth making at all is beside the point—these directors are accomplished technicians who have honed their skills to the extent of leading their audience to like noise and action as entertainment. The script by Richard Wenk somehow attempts to inject human meaning into this kill-or-be-killed movie, as when the white-haired, hangdog-faced Sutherland character on a wheelchair is credited with more dignity than it deserves.

It can be so disturbing to watch a movie about a killing corporation—a company that employs people to kill. With all the news nowadays about people getting shot at close range by assassins speeding away on motorcycles, one would think it’s not only in the movies after all, that people are hired to murder. If you are strong enough to separate the reel from the real, you may still find entertainment in The Mechanic, because technically it’s good. Substance-wise it’s not entirely bad as there’s the character Steve who acts like a meat-tenderizer for the whole story—watch closely what goes on between the teary eyed Steve and Arthur on the brink of a confession and you’ll know what we mean. But then the ending is inconclusive and leaves the audience to decide what will now happen to the mechanic. He is a genius at cheating death—he is victorious because he prepares for his victories. So, will his hardened heart finally lead to his turn around? Whatever you wish for him to become, remember that in a world that professes that Jesus is the Son of God, killers (even killers of killers) should never be revered as heroes.

The Rite

CAST: Anthony Hopskin (Father Lucas Trevant), Claran Hinds (Father Xavier), Alice Braca (Angeline), Toby Jones ( Father Matthew), Collin O’Donoghue (Michael Kovak), Rutger Hauer (Istvan Kovak); DIRECTOR: Mikael Håfström; WRITER: Matt Baglio, Michael Petroni; DISTRIBUTOR: Warner Bros Pictures, New Line Cinema; LOCATION: Chicago, USA, Budapest, Hungary, Rome, Italy; GENRE: Mystery & Suspense, Drama; RUNNING TIME: 112 min.

Technical Assessment: 3.5
Moral Assessment: 3.5
CINEMA Rating: Audience Age 14 and above


The only way Michael Kovak (Colin O’Donoghue) can go through college—as his father demands—is to continue as a mortician in his father’s business, or become a priest. So, to be independent of his father Istvan (Rutger Hauer), while getting a four-year college education for free, Michael enters the seminary. Michael is a skeptic and has set his mind on leaving the seminary right after his ordination as a deacon. But his superior Fr. Matthew (Toby Jones) who is convinced of the young man’s potential as a pastor despite his skepticism will not let him off the hook that easily. He wants to send Michael off to Rome to take a Vatican-sponsored course on exorcism in Rome; otherwise he will roll his four years in the seminary over into a $100,000 student loan. In Rome, Michael comes under the tutelage of a Dominican priest, Fr. Xavier (Ciaran Hinds). Believing more in psychology than in theology, Michael vents his doubts with Fr. Xavier and a classmate, journalist Angeline (Alice Braga) who is attending the course for research purposes. Seeing Michael to be a hard case, Fr. Xavier assigns him as a virtual apprentice with the eccentric Fr. Lucas who is known for his unusual but effective approach to demon-fighting. Michael comes face to face with evil as he witnesses the aging priest drive away demons from the possessed.

Although it is fiction, The Rite is based on the life story of a priest—Fr. Gary Thomas from the Diocese of San Jose, California—which is the meat of the book “The Rite: The Making of a Modern Exorcist” released in 2009 by journalist/author Matt Baglio. Dubbed as “supernatural horror”, Warner Bros.’ The Rite, being a movie on excorcism, naturally has its share of bodies contorting and convulsing, gory scenes, expletives, abusive language, physical violence, sexual innuendoes and disparaging remarks about Jesus and God. However, nothing of such necessary evil (pardon the pun) is exaggerated, thus the movie doesn’t descend to the level of an average chillfest. Adding to its technical merits is the spot-on casting: newcomers Colin O’Donoghue and Marta Gastini (as the possessed Rosaria) are equally impressive in this first outing; Hauer is credible as the anguished mortician widower, just as Jones and Hinds are effective in their priest-characters. It is Hopkins’ Fr. Lucas, however, that strings everything all together into one neat bundle of thrills. Hopkins seems born to do borderline cases but somehow he escapes the stereotyping trap. Like Geoffrey Rush or Morgan Freeman, he is one thespian whose characters you cannot but take seriously.

The poster for The Rite says that you can defeat the devil only when you believe it. Based on this premise, The Rite intrigues its audience with the idea that a skeptic can be moved to believe in God by seeing the havoc that the devil wreaks. The movie is not a substitute for a theology textbook but it is certainly rich with talking points for those fascinated by or simply curious about absolute good and evil, death of a parent, psychological disorders vs. demonic possession, incest, fear vs. faith, and one’s intention in answering the call to the priesthood. In spite of an incidental colorful word uttered by priests, screenwriter Michael Petroni and director Mikael Hafstrom do not disrespect either the priest’s person or the Catholic religion. In fact the film’s affirmation of faith and the value of priestly ministry reverberates in its entirety, from the opening frame which quotes Pope John Paul II to the closing scene which will be a spoiler to reveal. Suffice it to say that in The Rite, a twist of fate leads to a turn in faith.

127 Hours

CAST: James Franco; DIRECTOR: Danny Boyle; AUTHOR: Aron Ralston; SCREENPLAY: Danny Boyle and Simon Beaufoy; PHOTOGRAPHY: Anthony Dod Mantle; MUSIC: A.R. Rahman; GENRE: Thriller; RUNNING TIME: 1 hour and 33 minutes

Technical Assessment: 3.5
Moral Assessment: 3
CINEMA Rating: V14

127 Hours is the true and tragic but triumphant story of Aron Ralston, an experienced mountain climber, as powerfully told by Director Danny Boyle and excellently portrayed by the talented actor James Franco. Cocky with self-confidence, twenty seven year old Aron Ralston ventures alone into the Blue John Canyon in Utah, for some climbing and exploring which he does with much exhilaration. Moving around with some familiarity of the territory, he comes across two female hikers Megan (Amber Tamblyn) and Kristi (Kate Mara) who lost their way and he helps them get to their destination. Shortly after, Aron has an accident. He falls down to the bottom of a shaft where a big rock crushes his arm and pins it against a tunnel wall. Unable to free his arm in spite of all his valiant efforts, survival skills and the use of limited tools, he remains trapped within a narrow space for 127 hours, a little more than 5 days from the end of April to the beginning of May 2003. A loner, he left home without telling anyone. He realizes he can die here without anyone knowing where he is. Now, he knows no help is forthcoming. With his camcorder, he does a video of his thoughts and experiences with the hope that whoever finds it may return his body to his parents. Subjected to vagaries of the weather, hunger and thirst, he has dreams and visions. But in spite of his “half-crazed state” he continues his efforts and is determined to live. How does Aron beat the odds? The viewer may be interested in knowing the details.

The film is based on the autobiography of Aron Ralston entitled Between a Rock and a Hard Place which focuses mainly on his particular searing ordeal in the Canyon. Director Boyle has succeeded in transforming a relatively simple survival tale into a singularly intense cinematic experience. He begins with striking, brightly colored visuals and awesome landscape shots to the accompaniment of A.R. Rahman’s throbbing music. These images give us an early insight into the overweening self-worth of the charismatic main character as well as show-off the beautifully photographed vast and rugged setting. In his dynamic storytelling, Boyle successfully captures on the screen the difficulties of the protagonist (as the latter suffers extremes in temperature, dehydration, fatigue, and mental anguish in the face of death) and deftly intertwines these scenes with flashbacks and hallucinations, without much distraction from the storyline. The film builds in intensity (though not in suspense) and has its apex when Aron makes his radical decision and performs the painful procedure on himself in order to live. The scene is unflinching in its realism, stark and graphic. It is difficult to watch and is not for the fainthearted.

James Franco has been known as a support actor in films like the Spider Man franchise but in 127 Hours he has most probably given a career-altering performance. He is on the screen in nearly every frame and often in close-up, so he “carries” the film for more than an hour. His insightful and very good portrayal of his role keeps us interested and engaged all the time. The others in the cast like Amber Tamblyn, Kate Mara and Lizzy Caplan do comeo performances creditably.

As mentioned, the film is not for the faint-hearted. Neither is it for the very young. The extreme realism with the violence, gore and self-inflicted pain maybe disturbing for them. But in spite of the negative points, 127 Hours is a life-affirming film. In these days when life is viewed cheap by abortionists and hired killers, a film that champions the value of life is most salutary. This is a story of determination and survival, heroism and courage. When Aron finds himself in the desperate situation when there seems no reason for hope, he does not lose heart; he continues to “fight” it out. He does not give up. He is determined to live. He succeeds but with much pain and sacrifice. He had to give up something in order to have the greater good – his life. We may not be able to do what Aron did, but in other instances when we are faced with a desperate situation in life, we may be reminded of Aron’s predicament. And we remember that the determination to continue trying, even after many failures, maybe rewarded. Or we may be called upon to sacrifice or give up something in order to achieve a greater good. And we might just do that. In a way, he did something heroic: save his life. This film shows or suggests that when one wants to do what is good, often it can be done, even in the face of adversity and difficulty, if one is determined to do it. This film depicts the triumph of the human spirit.

Shaolin

CAST: Andy Lau, Jacky Chan, Fan Bingbing, Nicholas Tse; DIRECTOR: Benny Chan; SCREENPLAY: Allan Yuen; DISTRIBUTOR: Cinestar; GENRE: Action/Drama; LOCATION: China; RUNNING TIME: 130 minutes

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

Set in China at a time when feuding warlords are expanding their territories in neighboring lands, young and arrogant general Huo Chieh (Andy Lau) desecrates a Shaolin temple as he kills a wounded enemy who has sought refuge with the monks. But betrayal of a trusted soldier will turn his fate, losing his power and family in the process. He ends up seeking refuge in the very same Shaolin temple he desecrated. Left with nothing, he realizes the mistakes of his past and decides to dedicate himself through living the way of the monks. Eventually he learns to let go of his anger and follow the righteous path. However, civil unrest and people’s suffering will force him and the monks to take a fiery stand against the evil warlords and the soldiers who betrayed him.

Although Shaolin works on a rather time-tested story template of an arrogant man fallen from grace finding redemption in a different way of life, still, the film has its universal charm that has worked effectively in its totality. The movie is packaged as an action genre but it turns out that it’s more dramatic than action-filled. The highlights of the film are not really the action scenes but the dramatic ones when characters pour out their emotions. This is quite unusual for a kung-fu film but it fits quite well and has given the film a different turn. Andy Lau delivers the part in multi-faceted levels of action and drama. Jacky Chan underplays the character as support but his mere screen presence and brand of humor is as always a delight to the audience. The relatively unknown supporting characters deliver well and each is able to make an impact. The fight and chase scenes are spectacular though sometimes a bit toned-down. The coherent and solid storytelling elevates the kung-fu genre into a film that is worth taking seriously.

Amidst the violence and some level of gore, Shaolin advocates more than anything else, universal values of love, sacrifice, forgiveness, peace, humility and courage through the ways of the monks. The realization of Huo that greed for power leads to destruction is a timely message now that wealth and power are on top of people’s priorities. Absolute power corrupts absolutely and this is what happened to Huo. His karma has taken away all he’s got but he is able to find renewal through sincere repentance. He takes full responsibility for what his soldiers have become. This is such a rare trait of a remarkable leader. Even in the middle of the war, peace can still reign for as long as there is goodness in man’s heart. The evil may destroy everything but still hope springs eternal for those who follow the path to righteousness. Though in context, Shaolin inevitably shows graphic violence, and that may influence the vulnerable minds of the very young, so CINEMA recommends the film to be appropriate to viewers 14 years old and above.